Zachary Marquart
Film
July 15, 2019
Research Paper
“On the wall hang the three women from this morning, still in their
dresses, still in their shoes, still with the white bags over their heads. Their arms
have been untied and are stiff and proper at their sides. The blue one is in the
middle, the two red ones on either side, though the colors are no longer as bright;
they seem to have faded, grown dingy, like dead butterflies or tropical fish drying
on land. (Atwood 295.)”
The Handmaid’s Tale written by Margaret Atwood written in 1985; turned into a
television series in 2017, tells the story of June, also known as Offred, she is a Handmaid in the
state Gilead, Gilead is what we come to know as the United states of America. The Gilead was
created after the government was overthrown by a religious party that now controls the state and
its residents. Offred’s role as a Handmaid is to bare children to the higher class and more
powerful men in the state whose wives are unable to bare children of their own; Handmaids are
assigned to a commanders house hold by the legislative government. She is placed in the
Waterford residence, Serena Joy, is wife of Commander Waterford, Serena has absolute control
over Offred and has the power to control Offred’s fate. The novel depicts a patriarchal society in
which men have power over the female population, but it also portrays female antagonists as
enforcers of these patriarchal structures. In this research paper, we will discuss the effects of a
dominant white male patriarchal capitalistic society in film.
Offred and Serena Joy are antagonists that complement each other. Offred is the
protagonist and main character of the novel and television series. Even though Serena Joy is a
minor character, the power dynamic between Offred and serena plays an important role in the
critique of patriarchy presented in The Handmaid’s Tale. Offred is used as a incubator to
complement Serena Joy’s infertility. Offred is our eye’s as a reader and viewer into this new
society, as she gives her thoughts and feelings both on pre-Gilead and her new found reality.
Serena Joy functions primarily as the patriarchy’s implementer as she advocates traditional
gender roles and family values. They are placed into different social groups based on their
biological abilities this is represented by different colors of their clothing.
In Gilead, women are forced by the patriarchal government to function as resources for
the society depending on their fertility and their occupation before the Gilead. The over throwing
of the government continued with small things after an major attack on the president and
congress in order to make it more secure. After a while, all economical assets belonging to
women were frozen and on the same day women were dismissed from their workplaces: “Any
account with an F on it instead of an M. All they needed to do is push a few buttons. We’re cut
off. ... Women can’t hold property any more, she said. It’s a new law” (Atwood 187).
In the decades leading up to Gilead, childbirth decreased due to radiation from toxic
waste and nuclear weapons, resulting in both male and female infertility. In Gilead, the women
who remain fertile are assigned the roles of Handmaids, like that of Offred. The arrangement
with Handmaids is based on certain exactments from a biblical text in which Rachel is infertile
and unable to procreate with Jacob. Racheal offers her maid Bilhah, who carries a child in
Rachel’s place: “Behold my maid Bilhah, go in unto her; and she shall bear upon my knees, that
I may also have children by her” (Atwood 7).
All Handmaids have been assigned a name with the prefix ‘of’ to show which male
patriarch the Handmaid belongs to: Offred is thus the property of Fred Waterford. The women in
Gilead have literally become nameless and powerless. Their social status is further undermined
as they are divided into social groups that are color coded to decipher the groups from each
other.
There are six different categories of women in this new society. The Wives, who are
wives to the powerful and important men. The Handmaids, fertile women who are issued to
those households where the Wives are infertile. The Marthas are those who are servants and
kitchen maids. Econowives are women who are the Wives of the poor and less powerful men of
Gilead. They also perform the duty that of the Marthas and if possible, a Handmaid. There is also
the Aunts, who instruct and educate the Handmaids at Red Centers before they are assigned to a
household. The aunts are at the same level of authority as the wives of the commanders. Lastly,
there are the Unwomen these women are sent to the Colonies where they clean up toxic waste.
Each category of women wears a specific color based on the functions that they preform, by
Fiona Tolan described as social status marked by a color code (150). The Wives wear blue, red is
the color that the Handmaids wear, a dull green is a representation for the Martha’s and lastly the
Econowives’ dresses are white with stripes in blue, green and red.
The duty of that of Handmaid is to bare the children for those who are infertile this not
based on a pleasurable experience but that of a ritual. This ritual is known as The Ceremony, this
act takes place once a month when the Handmaid is at her peek fertile time in her ovulation
cycle. The Ceremony starts with the husband reading a biblical passage in front of the Wife,
Handmaid, Martha’s, and other servants in the house. All household members must be present
for the ceremony. The Wife sits on the bed, while the Handmaid lays between the Wife’s legs,
and the husband inseminates the handmaid.
The novel and televisions series dystopic setting highlights the negative aspects of the
patriarchal values upheld in Gilead. Defined by Merriam-Webster Dictionary, a dystopia is “an
imaginary place where people lead dehumanized and often fearful lives.” Lyman Tower Sargent
defines a literary dystopia as a fictional society that a contemporary reader perceives as being
worse than the society that one lives in (Sargent 9). For a contemporary read on Atwood’s novel,
the restriction of female rights and the use of women as incubators in this story is far from the
reality in a modern, more equal society.
A critique is offered by Raffaella Baccolini who examines dystopic novels further, where
the reader is left with little to no hope, from critical dystopic novels and argues that, in Atwood’s
novel, there is resistance and hope thanks to the absence of subjugation (520). Instead of having
the readers view Offred as crushed under the government’s demands, which is more common in
dystopic novels according to Baccolini. There is hope within the novel not only for the
protaginast but for the reader and viewer alike (520). Baccolini argues that this charactistic is a
vital function that of critical dystopic novels, together with the presence of a collective memory
(520). By allowing the individual memory to develop into a collective memory, allows the
feeling of hope to still present (Baccolini 521). In Atwood’s novel and in the television series
this is portrayed by Offred having conversations both with another Handmaid, named Ofglen,
and with a friend from the pre-Gilead era, named Moira. Baccolini states, this sense of hope is
not a guarantee for a utopian ending (521) and in Atwood’s novel, readers are left with their hope
that Offred managed to escape Gilead but aren’t as certain if this actually happens.
Fiona Tolan gives a view from a different alternative perspective, who in her book on
Atwood’s works reasons on how certain aspects of the dystopic world of Gilead could be
considered a type of feminist utopia. This is mostly because the women are freed from the fear of
men that they used to have pre-Gilead (Tolan 152). Women are no longer objectified and do not
have to fear abuse or rape as they now are protected in their assigned roles (Tolan 151). This is
given to us by one of the Aunts: “There is more than one kind of freedom, said Aunt Lydia.
Freedom to and freedom from. In the days of anarchy, it was freedom to. Now you are being
given freedom from. Don’t underrate it” (Atwood 34). Tolan argues that the Handmaids, at the
Red Center, are in a type of utopia as it is an all-female environment where women teach other
women (Tolan 152). Although there are armed guards surrounding the women as these events
take place, it is a safe space for the handmaids. Gilead as a society might not be a feminist
utopia, Tolan argues that it reaches feminist goals as women will be united further down the road
(152). This is also the message that is conveyed by Aunt Lydia: “There can be bonds of real
affection, she said, blinking at us ingratiatingly, under such conditions. Women united for a
common end!” (Atwood 171). Through a socialist feminist analysis of the characters, I show that
Gilead is not a utopia and that the patriarchal division of women in Gilead contributes to the
novel functioning as a critique.
Socialist feminist literary criticism has its roots in feminist literary theory, described by
Lois Tyson as a theory that “examines the ways in which literature (and other cultural
productions) reinforces or undermines the economic, political, social, and psychological
oppression of women” (83). This oppression of women is, among other things, being upheld by
traditional gender roles that make it possible to justify unequal conditions in the workplace and
in society as a whole (Tyson 85). These gender roles prescribe different qualities and abilities to
the sexes that produce a view that men are more suitable to be in high positions in politics,
corporations and in the academic world (Tyson 85) and this is clearly the case in The
Handmaid’s Tale too. According to Tyson, this is due to the society as a whole viewing men as
superior to women. Men have always been seen as strong, decisive and rational, while women
are more nurturing and irrationally emotional, weak and submissive, qualities more fitting for
family life and minor roles in the work place (85-86). These traditional gender roles contribute to
the notion of marriage as a form of saving and guarantee for female happiness, and a way of
controlling female sexuality (Tyson 89), roles that have been used in the creation of the roles in
The Handmaid’s Tale. Deborah L. Madsen, defines socialist feminist theory as certain aspects
derived from Marxist theory, and as defined by it focuses on the oppressive power relationships
that are found in society and how they are strengthened by the roles produced in families
(Madsen 184). Thus, the family is the place where male domination and female subordination are
learned (Madsen 185).
In the society of The Handmaid’s Tale, families are dismantled and new families are
created in which gender imbalances and male domination are centered around. Socialist
feminism also examines how patriarchy and capitalism cross paths in terms of power relationship
and oppression (Madsen 186) and below I show how complicated the relationship between
capitalism and women’s rights is in The Handmaid’s Tale. Socialist feminism compares women
to the proletariat and men to the bourgeoisie where the female ability to bare children is
considered as a form of production, where the product in this case infants can be sold or traded
(Madsen 194), which makes the theory particularly suitable for the analysis of this novel and
television series. Madsen presents the work of socialist feminists like Juliet Mitchell, Sheila
Rowbotham and Zillah Eisenstein, and a selection of their concepts are used in my analysis of
the two characters, such as the domestic family roles and the oppression of women within the
home.
The Handmaid’s Tale has been the topic of numerous feminist analyses, Katharyn
Privett’s article on the subject shows how, though it is a patriarchal society, a matriarchy
consisting of the Wives and Aunts ensure the laws of the men are enforced and being
implemented (265). Privett also points to Offred’s body being a symbol of enslavement but also
that of survival, because of this she will avoid being sent to the Colonies (Privett 266). The
reason for the derogation of female rights is that men felt that women were becoming and
already were too independent. This made the traditional marriage and traditional gender roles
redundant. In the Gilead society, the men have full and total control and the ability to feel.
Offred’s Commander Fred Waterford, justifies their actions as “Better never means better for
everyone, he says. It always means worse, for some” (Atwood 222).
In this society the Handmaids are not supposed to spend time alone with their
Commanders; they are only to meet during the Ceremonies. But one evening, the Commander’s
driver Nick finds Offred to tell her that the Commander wishes to see her in his office the
following evening (Atwood 109-110). This of course puts Offred in a precarious situation as it is
forbidden; not even his Wife is allowed in his office: it is not a place for women (Atwood 146).
To allow this to happen would be breaking the rules, but disobeying the commanders request
would also be unacceptable. She complies with his wish and goes to his office:
My presence here is illegal. It’s forbidden for us to be alone with the
Commanders. We are for breeding purposes: we aren’t concubines, geisha girls,
courtesans. On the contrary: everything possible has been done to remove us
from that category. There is supposed to be nothing entertaining about us, no
room is to be permitted for the flowering secret lusts; no special favours are to be
wheedled, by them or us, there are to be no toeholds for love. We are two-legged
wombs, that’s all: sacred vessels, ambulatory chalices. ... He isn’t supposed to
meddle in such household discipline, that’s women’s business. ... There’s no
doubt about who holds the real power (Atwood 146).
This quote explicitly demonstrates the function of the Handmaids to the reader and viewer as
Offred referes them as not being for pleasure; they are not geisha girls or courtesans. The
Handmaids are clothed in heavy, robe-like dresses that cover up the shape of their bodies. This is
meant so that there is nothing left for men to desire about them. Offred’s depiction of the
Handmaids as ambulatory chalices and sacred vessels connects their use further to the religiosity
and belief that govern the state. Nevertheless, Offred is invited by the Commander; she is sure
that he has called for her in regards to a sexual purpose. Upon complying with the request she
finds out that she is only invited there to play Scrabble. In the beginning, he desires her intellect
and thoughts, not her body, but this soon develops into a physical desire as he takes her to
Jezebel’s. Jezebel’s is a gentlemen’s club for Gilead’s wealthy, influential men. During this, she
is once more used as a belonging, a decoration for him to show off to other men that share the
same high positions as he does in Gilead.
Works Cited
Atwood, Margaret. The Handmaid’s Tale. 1985. Random House UK, 2016.
Baccolini, Raffaella. “The Persistance of Hope in Dystopian Science Fiction”. PMLA, vol. 119,
no. 3, 2004, pp. 518-521.
"Dystopia". Merriam-Webster.com. Merriam-Webster. www.merriamwebster.com/dictionary/dystopia Accessed 10 July 2019.
Privett, Katharyn. “Dystopic Bodies and Enslaved Motherhood.” Women: A Cultural Review,
vol. 18, no. 3, 2007, pp. 257-281, doi:10.1080/09574040701612403. Accessed 15 July
2019.
Madsen, Deborah L. Feminist Theory and Literary Practice. Pluto Press, 2000. Ebsco, Access
no: 72478. Accessed 9 July 2019.
Sargent, Lyman Tower. “The Three Faces of Utopianism Revisited.” Utopian studies, vol. 5, no.
1, 1994, pp. 1-37.
Tolan, Fiona. “The Handmaid’s Tale: Second-Wave Feminism as Anti-Utopia.” Margaret
Atwood: Feminism and Fiction. Brill Academic Publishers, 2007, pp. 144-173. Ebsco,
Access no. 205212. Accessed 15 July 2019.
Tyson, Lois. Critical Theory Today: A User-Friendly Guide. 2nd ed., Routledge, 2006.