“The Handmaid's Tale”的意思、由来-开放百科全书

The Handmaid's Tale is a dystopian novel^[2] by Canadian author Margaret Atwood,^[3]^[4] originally published in 1985. It is set in a near-future New England, in a totalitarian state resembling a theonomy that has overthrown the United States government.^[5] The novel focuses on the journey of the handmaid Offred. Her name derives from the possessive form "of Fred"; handmaids are forbidden to use their birth names and must echo the male, or master, whom they serve.

The Handmaid's Tale is structured into two parts, night and other various events. This novel can be interpreted as a double narrative, Offred's tale and the handmaids' tales. The night sections are solely about Offred, and the other sections (shopping, waiting room, household, etc.) are the stories that describe the possible life of every handmaid, though from the perspective of Offred. In many of these sections, Offred jumps between past and present as she retells the events leading up to the fall of women's rights and the current details of the life which she now lives.

The Handmaid's Tale won the 1985 Governor General's Award and the first Arthur C. Clarke Award in 1987; it was also nominated for the 1986 Nebula Award, the 1986 Booker Prize, and the 1987 Prometheus Award. The book has been adapted into a 1990 film, a 2000 opera, a television series, and other media.

In 2018, Atwood announced that a sequel novel, The Testaments, will be published in 2019.^[7]

Plot summary

Beginning with a staged attack that killed the president and most of Congress, a radical political group calling itself the "Sons of Jacob", exploiting religious ideology closely resembling some traits of Christian fundamentalism (and especially of Christian Reconstructionism), launches a revolution. The United States Constitution is suspended, newspapers are censored, and what was formerly the United States of America changes drastically into a theonomic military dictatorship known as the Republic of Gilead.^[5] The new regime moves quickly to consolidate its power, overtaking all pre-existing religious groups, including traditional Christian denominations; and reorganises society along a new militarised, hierarchical model of Old Testament-inspired social and religious fanaticism among its newly created social classes. Above all, the biggest change is the severe limitation of people's rights, especially those of women, making them unable to hold property, handle money, as well as forbidding them from reading or writing.

The story is told in the first-person narration by a woman called Offred. In this era of declining birth rates due to increasing infertility brought about by environmental pollution and radiation, she is one of those few women with healthy reproductive systems. Hence she is forcibly assigned to produce children for the ruling class of men "Commanders", and is known as a "Handmaid" based on the biblical story of Rachel and her handmaid Bilhah. Apart from Handmaids, other women are also classed socially and follow a strict dress code, ranked highest to lowest: the Commanders' Wives in blue, the Handmaids in red with the exception of white veils around their faces, the Aunts (who train and indoctrinate the Handmaids) in brown, the Marthas (cooks and maids) in green, "Econowives" which handle everything in the domestic sphere in stripes, and young and unmarried girls in white.

Offred details her life starting with her third assignment as a Handmaid to one such Commander. Interspersed with her narratives of her present-day experiences are flashback discussions of her life from before and during the beginning of the revolution, when she finds she has lost all autonomy to her husband, their failed attempt to escape to Canada, her indoctrination into life as a Handmaid by government-trained women called "Aunts", and the successful escape of her friend Moira. At her new home, she is treated poorly by the Commander's wife Serena Joy, a Christian media personality who supported women's domesticity and subordinate role well before Gilead was established, but to her surprise, the Commander requests to see her outside of the "Ceremony", a ritual of rape intended to result in conception and at which his wife is present. The two begin an illegal relationship where they play Scrabble and Offred is allowed to ask for favours from him, whether in terms of information or material items. Finally, he gives her lingerie and takes her to a government-run brothel called Jezebel's meant to add variety to men's sex lives which, as claimed by the Commander, is necessary. Offred unexpectedly encounters Moira there, with her will broken, and learns that while those who are found breaking the law are mostly sent to the Colonies to clean up toxic waste, women are also allowed to work at Jezebel's as a punishment.

In the days between her visits to the Commander, Offred also learns from her shopping partner, a woman called Ofglen, of the Mayday resistance, an underground network working to overthrow the Republic of Gilead. Not knowing of Offred's criminal acts with her husband, Serena begins to suspect that the Commander is infertile, and arranges for Offred to begin a covert sexual relationship with Nick, the Commander's personal servant. After her initial sexual encounter, she and Nick begin to meet at their own initiative as well, with Offred discovering how she enjoys these intimate moments despite her memories of her husband, and shares potentially dangerous information about her past with him. However, shortly after, Ofglen disappears (reported as a suicide), and Serena finds evidence of the relationship between Offred and the Commander, making Offred contemplate suicide.

Offred tells Nick that she thinks she is pregnant. Shortly afterwards, men arrive at the house wearing the uniform of the secret police, the Eyes of God, known informally as "the Eyes", to take her away. As she is led to a waiting van, Nick tells her to trust him and go with the men. It is unclear whether the men are actually Eyes, or members of the Mayday resistance. Offred is still unsure if Nick is a member of Mayday or an Eye posing as one, and is unsure if leaving will result in her escape or her capture. Ultimately, she enters the van with her future uncertain.

The novel concludes with a metafictional epilogue that explains how the events of the novel were recorded onto cassette tapes shortly after the beginning of what is called "the Gilead Period". It is implied that, following the collapse of the theonomic Republic of Gilead, a more equal society re-emerged with a restoration of full rights for women and freedom of religion.

Characters

Offred

Offred is the protagonist and narrator. She was labeled a "wanton woman" when Gilead was established because she had married a man who was divorced. All divorces were nullified by the new government, meaning her husband was now considered still married to his first wife, making Offred an adulteress. In trying to escape Gilead, she was separated from her husband and daughter. She is part of the first generation of Gilead's women, those who remember pre-Gilead times. Proved fertile, she is considered an important commodity and has been placed as a "handmaid" in the home of "the Commander" and his wife Serena Joy, to bear a child for them (Serena Joy is believed to be infertile).^[8]

Offred is a slave name that describes her function: she is "of Fred" (i.e., she belongs to Fred (presumed to be the name of the Commander), and is considered a concubine). In the novel, Offred says that she is not a concubine, but a tool; a "two legged womb". The Handmaids' names say nothing about who the women really are; their only identity is as the Commander's property. "Offred" is also a pun on the word "offered", as in "offered as a sacrifice", and "of red" because the red dress assigned for the handmaids in Gilead.

In Atwood's original novel, Offred's real name is never revealed; however, both the film and television adaptations have given her a real name. Volker Schlöndorff's 1990 film adaptation gave Offred the real name Kate,^[9] while the television series gave her the real name June.

The women in training to be handmaids whisper names across their beds at night. The names are "Alma. Janine. Dolores. Moira. June," and all are later accounted for except June. In addition, one of the Aunts tells the handmaids-in-training to stop "mooning and June-ing".{{Sfn | Atwood | 1986 | p = 220}} From this and other references, some readers have inferred that her birth name could be "June".^[10] Miner suggests that "June" is a pseudonym. As "Mayday" is the name of the Gilead resistance, June could be an invention by the protagonist. The Nunavut conference covered in the epilogue takes place in June.^[11] When the Hulu TV series chose to state outright that Offred's real name is June, Atwood wrote that it was not her original intention to imply that Offred's real name is June "but it fits, so readers are welcome to it if they wish".^[6]

The Commander

The Commander says that he is a sort of scientist and was previously involved in something similar to market research, pre-Gilead. Later, it is hypothesized, but not confirmed, that he might have been one of the architects of the Republic and its laws. Presumably, his first name is "Fred", though that, too, may be a pseudonym. He engages in forbidden intellectual pursuits with Offred, such as playing Scrabble, and introduces her to a secret club that serves as a brothel for high-ranking officers. Offred learns that the Commander carried on a similar relationship with his previous handmaid and that she killed herself when his wife found out.

In the epilogue an academic speculates that one of two figures, both instrumental in the establishment of Gilead, may have been the Commander, based on the name "Fred". It is his belief that the Commander was a man named Frederick R. Waterford who was killed in a purge shortly after Offred was taken away, charged with harbouring an enemy agent.

Serena Joy

Serena Joy is a former televangelist and the Commander's wife in the fundamentalist theonomy. The state took away her power and public recognition, and tries to hide her past as a television figure. Offred identifies her master's wife by recalling seeing her on TV when she was a little girl early on Saturday mornings while waiting for the cartoons to air. Believed to be sterile (although the suggestion is made that the Commander is sterile, Gileadean laws attribute sterility only to women), she is forced to accept that he has use of a handmaid. She resents having to take part in the monthly fertility ritual. She strikes a deal with Offred to arrange for her to have sex with Nick in order to become pregnant. According to Professor Pieixoto in the epilogue, "Serena Joy" or "Pam" are pseudonyms; the character's real name is implied to be Thelma.

Ofglen

Ofglen is a neighbour of Offred's and a fellow Handmaid. She is partnered with Offred to do the daily shopping. Handmaids are never alone and are expected to police each other's behaviour. Ofglen is a member of the Mayday resistance. In contrast to Offred, she is daring. She knocks out a Mayday spy who is to be tortured and killed in order to save him the pain of a violent death. Offred is told that when Ofglen vanishes, it is because she has committed suicide before the government can take her into custody due to her membership in the resistance, possibly to avoid giving away any information.

A new handmaid, also called Ofglen, takes Ofglen's place, and is assigned as Offred's shopping partner. She threatens Offred against any thought of resistance. She breaks protocol by telling her what happened to the first Ofglen.

Nick

Nick is the Commander's chauffeur, who lives above the garage. By Serena Joy's arrangement, he and Offred start a sexual relationship to increase her chance of getting pregnant. If she were unable to bear the Commander a child, she would be declared sterile and shipped to the ecological wastelands of the Colonies. Offred begins to develop feelings for him. Nick is an ambiguous character, and Offred does not know if he is a party loyalist or part of the resistance, though he identifies himself as the latter. The epilogue suggests that he really was part of the resistance, and aided Offred in escaping the Commander's house.

Moira

Moira has been a close friend of Offred's since college. A lesbian, she has resisted the homophobia of Gilead society. Moira is taken to be a Handmaid soon after Offred. She escapes by stealing an Aunt's pass and clothes, but Offred later finds her working as a prostitute in a party-run brothel. She was caught and chose the brothel rather than to be sent to the Colonies.

Luke

Luke was Offred's husband before the formation of Gilead, having divorced his first wife to marry her. Under Gilead, all divorces were retroactively nullified, resulting in Offred being considered an adulteress and their daughter illegitimate. Offred was forced to become a Handmaid and her daughter was given to a loyalist family. Since their attempt to escape to Canada, Offred has heard nothing of Luke.

Professor Pieixoto

Pieixoto is the "co-discoverer [with Professor Knotly Wade] of Offred's tapes". In his presentation at an academic conference, he talks about "the 'Problems of Authentication in Reference to The Handmaid's Tale{{'"}}.^[8]

Pieixoto is therefore the person who is retelling Offred's story, and so makes the narration even more unreliable than it was originally.

Setting

The novel is set in an indeterminate future, speculated to be around the year 2005,^[12] with a fundamentalist theonomy ruling the territory of what had been the United States but is now the Republic of Gilead. Individuals are segregated by categories and dressed according to their social functions. Complex dress codes play a key role in imposing social control within the new society and serve to distinguish people by sex, occupation, and caste.

The action takes place in what once was the Harvard Square neighbourhood of Cambridge, Massachusetts;{{Sfn | Atwood | 1998 | loc = An Interview | ps =: 'Q: We can figure out that the main character lives in Cambridge, Massachusetts'}}^[13] Atwood studied at Radcliffe College, located in this area.

Politics

In Gilead, the bodies of fertile women are politicized and controlled. The North American population is falling as more men and women become infertile (though in Gilead, legally, it is only women who can be the cause of infertility). Gilead's treatment of women is based upon a literal, fundamentalist interpretation of the Bible, meaning that women are the property of and subordinate to their husband, father, or head of household. They are not allowed to do anything that would grant them any power independent of this system. They are not allowed to vote, hold a job, read, possess money, or own anything, among many other restrictions.

A particular quote from The Handmaid's Tale sums this up: "The Republic of Gilead, said Aunt Lydia, knows no bounds. Gilead is within you" (HT 5.2). This describes that there is no way around the societal bounds of women in this new state of government. Handmaids, being not allowed to wed, are given two-year assignments with a commander, and lose their own name: they are called "Of [their Commander's first name]", such as the novel's protagonist, known only as Offred. When a handmaid is reassigned, her name changes with her. Their original identities before the revolution are suppressed, although while being re-educated as handmaids, they surreptitiously share their names with each other.

In this book, the government appears to be strong though "no one in Gilead seems to be a true believer in its revolution" (Beauchamp). The Commanders, portrayed via Commander Fred, do not agree with their own doctrines. The commander takes Offred at one point to a brothel in order to have sex with her in an informal setting apart from the Ceremony. The wives, portrayed via Serena Joy, former television evangelist, disobey the rules set forth by their commander husbands. Serena smokes black market cigarettes and expresses the forbidden idea that men may be infertile, and schemes to get Offred impregnated by her chauffeur.

Religion

Bruce Miller, the executive producer of The Handmaid's Tale television serial, declared with regard to Atwood's book, as well as his series, that Gilead is "a society that’s based kind of in a perverse misreading of Old Testament laws and codes".^[17] The author explains that Gilead tries to embody the "utopian idealism" present in 20th-century régimes, as well as earlier New England Puritanism.^[18] Both Atwood and Miller stated that the people running Gilead are "not genuinely Christian".^[14]^[17] The group running Gilead, according to Atwood, is "not really interested in religion; they're interested in power."^[21] In fact, in her prayers to God, Offred, reflecting on Gilead, prays “I don't believe for an instant that what's going on out there is what You meant…. I suppose I should say I forgive whoever did this, and whatever they’re doing now. I’ll try, but it isn’t easy.”^[15] Margaret Atwood, writing on this, says that "Offred herself has a private version of the Lord's Prayer and refuses to believe that this regime has been mandated by a just and merciful God."^[16]

Christian churches that do not support the actions of the Sons of Jacob are systematically demolished, and the people living in Gilead are never seen attending church.^[17] Christian denominations, including Quakers, Baptists and Roman Catholics, are specifically named as enemies of the Sons of Jacob.^[18]^[17] Nuns who refuse conversion are considered "Unwomen" and banished to the Colonies, owing to their reluctance to marry and refusal (or inability) to bear children. Priests unwilling to convert are executed and hanged from the Wall. Atwood pits Quaker Christians against the régime by having them help the oppressed, something she feels they would do in reality: "The Quakers have gone underground, and are running an escape route to Canada, as—I suspect—they would."^[16]

Jews are named an exception and classified Sons of Jacob. Offred observes that Jews refusing to convert are allowed to emigrate from Gilead to Israel, and most choose to leave. However, in the Epilogue, Professor Pieixoto reveals that many of the emigrating Jews ended up being dumped into the sea while on the ships ostensibly tasked with transporting them to Israel, due to privatization of the "repatriation program" and capitalists' effort to maximize profits. Offred mentions that many Jews who chose to stay were caught secretly practicing Judaism and executed.

Caste and class

African Americans, the main non-white ethnic group in this society, are called the Children of Ham. A state TV broadcast mentions they have been relocated en masse to "National Homelands" in the Midwest, which are suggestive of the Apartheid-era homelands set up by South Africa. It is implied that Native Americans living in territories under the rule of Gilead are exterminated.

Sex and occupation

The sexes are strictly divided. Gilead's society values reproduction by white women most highly. Women are categorised "hierarchically according to class status and reproductive capacity" as well as "metonymically colour-coded according to their function and their labour" (Kauffman 232). The Commander expresses his personal opinion that women may be considered inferior to men.

Women are segregated by clothing, as are men. With rare exception, men wear military or paramilitary uniforms. All classes of men and women are defined by the colors they wear (as in Aldous Huxley's dystopian Brave New World), drawing on colour symbolism and psychology. All lower-status individuals are regulated by this dress code. All "non-persons" are banished to the "Colonies". Sterile, unmarried women are considered to be non-persons. Both men and women sent there wear grey dresses.

Legitimate women

The division of labour among the women generates some resentment. Marthas, Wives and Econowives perceive Handmaids as promiscuous and are taught to scorn them. Offred mourns that the women of the various groups have lost their ability to empathize with each other. They are divided in their oppression.

Illegitimate women

Men

Men who engage in homosexuality or related acts are declared "gender traitors"; they are either hanged or sent to the Colonies to die a slow death.

Babies

The Ceremony

"The Ceremony" is a non-marital sexual act sanctioned for reproduction. The ritual requires the Handmaid to lie on her back between the legs of the Wife during the sex act as if they were one person. The Wife has to invite the Handmaid to share her power this way; many Wives consider this both humiliating and offensive. Offred describes the ceremony:

Language

In the novel's fictional fundamentalist society, sterile is an outlawed word.{{Sfn | Atwood | 1998 | p = 161}} In this society, there is no such thing as a sterile man. In this culture, women are either fruitful or barren, the latter of which are declared to be "unwomen" and are sent to the colonies with the rest of the "unwomen" to do life-threatening work until their death, which is, on average, three years.

Atwood emphasises how changes in context affect behaviours and attitudes by repeating the phrase "Context is all" throughout the novel, establishing this precept as a motif.{{Sfn | Atwood | 1998 | pp = 144, 192}} Playing the game of Scrabble with her Commander illustrates the key significance of changes in "context"; once "the game of old men and women", the game became forbidden for women to play and therefore "desirable".{{Sfn | Atwood | 1998 | pp = 178–79}} Through living in a morally rigid society, Offred has come to perceive the world differently from earlier. Offred expresses amazement at how "It has taken so little time to change our minds about things".{{Sfn | Atwood | 1998 | pp = 36}} Wearing revealing clothes and makeup had been part of her former life, but when she sees Japanese tourists dressed that way, she now feels the women are inappropriately dressed.{{Sfn | Atwood | 1998 | pp = 36}}

Offred can read but not translate the phrase "nolite te bastardes carborundorum" carved into the closet wall of her small bedroom; this mock-Latin aphorism signifies "Don't let the bastards grind you down".{{Sfn | Atwood | 1998 | pp = 235}}

Genre classification

In interviews and essays Atwood has discussed generic classification of The Handmaid's Tale as "science fiction" or "speculative fiction", observing:

Hugo-winning science fiction critic David Langford observed in a column: "The Handmaid's Tale won the very first Arthur C. Clarke Award in 1987. She's been trying to live this down ever since." He says:

In distinguishing between these genre labels science fiction and speculative fiction, Atwood acknowledges that others may use the terms interchangeably. But she notes her interest in this type of work to explore themes in ways that "realistic fiction" cannot do.^[3]

Historical context

Fitting with her claims that The Handmaid's Tale is a work of speculative fiction, not science fiction, Atwood's novel offers a satirical view of various social, political, and religious trends of the 1980s United States. Further, Atwood questions what would happen if these trends, and especially "casually held attitudes about women" were taken to their logical end.^[19] Atwood continues to argue that all of the scenarios offered in The Handmaid's Tale have actually occurred in real life—in an interview she gave regarding Oryx and Crake, Atwood maintains that "As with The Handmaid's Tale, I didn't put in anything that we haven't already done, we're not already doing, we're seriously trying to do, coupled with trends that are already in progress... So all of those things are real, and therefore the amount of pure invention is close to nil."^[20] Atwood was also known to carry around newspaper clippings to her various interviews to support her fiction's basis in reality.^[21] Atwood has explained that The Handmaid's Tale is a response to those who claim the oppressive, totalitarian, and religious governments that have taken hold in other countries throughout the years "can't happen here"—but in this work, she has tried to show how such a takeover might play out.^[22]

Atwood's inspiration for the Republic of Gilead came from her time studying early American Puritans while at Harvard, which she attended on a Woodrow Wilson Fellowship.^[19] Atwood argues that the modern view of the Puritans—that they came to America to flee religious persecution in England and set up a religiously tolerant society—is misleading, and that instead, these Puritan leaders wanted to establish a monolithic theocracy where religious dissent would not be tolerated.^[19] Atwood also had a personal connection to the Puritans, and she dedicates the novel to her own ancestor Mary Webster, who was accused of witchcraft in Puritan New England but survived her hanging.^[23] Due to the totalitarian nature of Gileadan society, Atwood, in creating the setting, drew from the "utopian idealism" present in 20th century régimes, such as Cambodia and Romania, as well as earlier New England Puritanism.^[18] Atwood has argued that a coup, such as the one depicted in The Handmaid's Tale, would misuse religion in order to achieve its own ends:^[24]

In the same vein, Atwood also declared that "In the real world today, some religious groups are leading movements for the protection of vulnerable groups, including women."^[16] Atwood also draws connections between the ways in which Gilead's leaders maintain their power and other examples of actual totalitarian governments. In her interviews, Atwood offers up Afghanistan as examples of religious theocracies forcing women out of the public sphere and into their homes, as in Gilead.^[21]^[19] The "state-sanctioned murder of dissidents" was inspired by the Philippines, and the last General Secretary of the Romanian Communist Party Nicolae Ceaușescu's obsession with increasing the birth rate led to the strict policing of pregnant women and the outlawing of birth control and abortion.^[21] However, Atwood clearly explains that many of these deplorable acts were not just present in other cultures and countries, "but within Western society, and within the 'Christian' tradition itself".^[25]

The Republic of Gilead struggles with infertility, making Offred's services as a Handmaid vital to producing children and thus reproducing the society. Handmaids themselves are "untouchable", but their ability to signify status is equated to that of slaves or servants throughout history.^[25] Atwood connects their concerns with infertility to real-life problems our world faces, such as radiation, chemical pollution, and venereal disease (HIV/AIDS is specifically mentioned in the "Historical Notes" section at the end of the novel, which was a relatively new disease at the time of Atwood's writing whose long-term impact was still unknown). Atwood's strong stance on environmental issues and their negative consequences for our society has presented itself in other works such as her MaddAddam trilogy, and refers back to her growing up with biologists and her own scientific curiosity.^[27]

Critical reception

Even today, many reviewers hold that Atwood's novel remains as foreboding and powerful as ever, largely because of its basis in historical fact.^[31]^[32] Yet when her book was first published in 1985, not all reviewers were convinced of the "cautionary tale" Atwood presented. For example, Mary McCarthy's New York Times review argued that The Handmaid's Tale lacked the "surprised recognition" necessary for readers to see "our present selves in a distorting mirror, of what we may be turning into if current trends are allowed to continue".^[33]

In the aftermath of the television series' debut in 2017, there was much debate on whether parallels could be drawn between the series (and by extension, this book) and American society following the election of Donald Trump as President of the United States and that of Mike Pence as Vice President of the United States.^[34]^[35]

Feminist reading

Much of the discussion about The Handmaid's Tale has centered on its categorization as feminist literature. Atwood does not see the Republic of Gilead as a purely feminist dystopia, as not all men have greater rights than women.^[25] Instead, this society presents a typical dictatorship: "shaped like a pyramid, with the powerful of both sexes at the apex, the men generally outranking the women at the same level; then descending levels of power and status with men and women in each, all the way down to the bottom, where the unmarried men must serve in the ranks before being awarded an Econowife".^[25] Additionally, Atwood has argued that while some of the observations that informed the content of The Handmaid's Tale may be feminist, her novel is not meant to say "one thing to one person" or serve as a political message—instead, The Handmaid's Tale is "a study of power, and how it operates and how it deforms or shapes the people who are living within that kind of regime".^[22]^[30]

Some scholars have offered such a feminist interpretation, however, connecting Atwood's use of religious fundamentalism in the pages of The Handmaid's Tale to a condemnation of their presence in current American society.^[36]^[37] Yet others have argued that The Handmaid's Tale critiques typical notions of feminism, as Atwood's novel appears to subvert the traditional "women helping women" ideals of the movement and turn toward the possibility of "the matriarchal network ... and a new form of misogyny: women's hatred of women".^[38]

Race

Ana Cottle characterized The Handmaid{{'}}s Tale as "white feminism", noting that Atwood does away with black people in a few lines by relocating the "Children of Ham" while borrowing heavily from the African-American experience and applying it to white women.^[39] Other critics have noted the parallels with apartheid and that it misrepresents how black people resist in times of crisis. The writer Mikki Kendall said about the book,

Awards

Academic reception

Atwood's novels, and especially her works of speculative fiction The Handmaid's Tale and Oryx and Crake, are frequently offered as examples for the final, open-ended question on the North American Advanced Placement English Literature and Composition exam each year.^[42] As such, her books are often assigned in high-school classrooms to students taking this Advanced Placement course, despite the mature themes the work presents. Atwood herself has expressed surprise that her books are being assigned to high-school audiences, largely due to her own censored education in the 1950s, but she has assured readers that this increased attention from high-school students has not altered the material she has chosen to write about since.^[43]

Many people have expressed discontent at The Handmaid's Tale{{'s}} presence in the classroom, as it has been frequently challenged or banned over the last 30 years. Some of these challenges have come from parents concerned about the explicit sexuality and other adult themes represented in the book. Others have argued that The Handmaid's Tale depicts a negative view of religion, a view supported by several academics who propose that Atwood's work satirizes contemporary religious fundamentalists in the United States, offering a feminist critique of the trends this movement to the Right represents.^[36]^[37]

The American Library Association (ALA) lists The Handmaid's Tale as number 37 on the "100 Most Frequently Challenged Books of 1990–2000".^[44] Atwood participated in discussing The Handmaid's Tale as the subject of an ALA discussion series titled "One Book, One Conference".^[45]

In her earlier account (14 January 2009), Rushowy reported that a Toronto District School Board committee was "reviewing the novel". While noting that "The Handmaid's Tale is listed as one of the 100 'most frequently challenged books' from 1990 to 1999 on the American Library Association's website", Rushowy reports that "The Canadian Library Association says there is 'no known instance of a challenge to this novel in Canada' but says the book was called anti-Christian and pornographic by parents after being placed on a reading list for secondary students in Texas in the 1990s."^[48]

In November 2012 two parents in Guilford County, North Carolina protested against inclusion of the book on a required reading list at a local high school. The parents presented the school board with a petition signed by 2,300 people, prompting a review of the book by the school's media advisory committee. According to local news reports, one of the parents said "she felt Christian students are bullied in society, in that they're made to feel uncomfortable about their beliefs by non-believers. She said including books like The Handmaid's Tale contributes to that discomfort, because of its negative view on religion and its anti-biblical attitudes toward sex."^[49]

Other use in academia

In institutions of higher education, professors have found The Handmaid's Tale to be useful, largely because of its historical and religious basis and Atwood's captivating delivery. The novel's teaching points include: introducing politics and the social sciences to students in a more concrete way;^[50]^[51] demonstrating the importance of reading to our freedom, both intellectual and political;^[52] and acknowledging the "most insidious and violent manifestations of power in Western history" in a compelling manner.^[53] The chapter entitled "Historical Notes" at the end of the novel also represents a warning to academics who run the risk of misreading and misunderstanding historical texts, pointing to the satirized Professor Pieixoto as an example of a male scholar who has taken over and overpowered Offred's narrative with his own interpretation.^[54]

In other media

Audio

Film

Radio

Stage

Television

Sequel

In November 2018, Atwood announced that a sequel, titled The Testaments, would be published in September 2019. It will be set fifteen years after Offred's final scene, and feature three female narrators.^[66]

See also

Notes

References

1. ^{{cite magazine| last1 = Cosstick| first1 = Ruth| title = Book review: The Handmaids Tale| url = https://www.umanitoba.ca/cm/cmarchive/vol14no1/handmaidstale.html| publisher = CM Archive| date = January 1986| volume = 14| issue = 1| access-date = 2016-06-26| quote = Tad Aronowicz's jaggedly surrealistic cover design is most appropriate.}}
2. ^{{cite web | url = http://www.gradesaver.com/the-handmaids-tale/study-guide/section9/ | title = The Handmaid's Tale Study Guide: About Speculative Fiction | website= Gradesaver | date = 22 May 2009}}
3. ^¹²{{Cite news | first = Margaret | last = Atwood| author-link = Margaret Atwood | url = https://www.theguardian.com/film/2005/jun/17/sciencefictionfantasyandhorror.margaretatwood | location = UK | newspaper = The Guardian | title = Aliens have taken the place of angels | quote = If you're writing about the future and you aren't doing forecast journalism, you'll probably be writing something people will call either science fiction or speculative fiction. I like to make a distinction between science fiction proper and speculative fiction. For me, the science fiction label belongs on books with things in them that we can't yet do, such as going through a wormhole in space to another universe; and speculative fiction means a work that employs the means already to hand, such as DNA identification and credit cards, and that takes place on Planet Earth. But the terms are fluid. Some use speculative fiction as an umbrella covering science fiction and all its hyphenated forms–science fiction fantasy, and so forth–and others choose the reverse... I have written two works of science fiction or, if you prefer, speculative fiction: The Handmaid's Tale and Oryx and Crake. Here are some of the things these kinds of narratives can do that socially realistic novels cannot do. | date=17 June 2005}}
4. ^¹{{Harvnb | Langford | 2003}}.
5. ^¹{{cite news|title='The Handmaid's Tale and Ours'|last=Douthat|first=Ross|date=24 May 2017|work=The New York Times|language=English|quote=Now, in the era of the Trump administration, liberal TV watchers find a perverse sort of comfort in the horrific alternate reality of the Republic of Gilead, where a cabal of theonomist Christians have established a totalitarian state that forbids women to read, sets a secret police to watch their every move and deploys them as slave-concubines to childless elites. }}
6. ^¹²{{cite news|last1=Atwood|first1=Margaret|title=Margaret Atwood on What 'The Handmaid's Tale' Means in the Age of Trump|url=https://www.nytimes.com/2017/03/10/books/review/margaret-atwood-handmaids-tale-age-of-trump.html?smid=fb-nytimes&smtyp=cur|accessdate=11 March 2017|work=The New York Times|date=10 March 2017}}
7. ^[https://www.cbc.ca/news/entertainment/atwood-handmaids-sequel-1.4923605 "Margaret Atwood announces sequel to The Handmaid's Tale"]. CBC News, November 28, 2018.
8. ^¹{{cite web | url = http://www.gradesaver.com/the-handmaids-tale/study-guide/character-list/ | title = The Handmaid's Tale Study Guide: Character List | publisher = Gradesaver | date = 22 May 2009}}
9. ^[https://www.theatlantic.com/entertainment/archive/2015/03/the-forgotten-handmaids-tale/388514/ "The Forgotten Handmaid's Tale"]. The Atlantic, March 24, 2015.
10. ^"Offred’s Real Name In 'The Handmaid’s Tale' Is The Only Piece Of Power She Still Holds" by Dana Getz, Bustle, April 26, 2017, "In Margaret Atwood's original novel, Offred's real name is never revealed. Many eagle-eyed readers deduced that it was June based on contextual clues: Of the names the Handmaids trade in hushed tones as they lie awake at night, "June" is the only one that's never heard again once Offred is narrating." https://www.bustle.com/p/offreds-real-name-in-the-handmaids-tale-is-the-only-piece-of-power-she-still-holds-53607
11. ^{{Harvnb | Madonne | 1991}}{{Page needed | date = October 2013}}
12. ^{{Cite magazine |url=http://www.nybooks.com/articles/2006/11/02/margaret-atwoods-tale/|title=Margaret Atwood's Tale|last=Oates|first=Joyce Carol|date=2 November 2006|magazine=The New York Review of Books|access-date=29 March 2016|via=}}
13. ^{{Cite news|last=Mccarthy |first=Mary |url=https://www.nytimes.com/1986/02/09/books/no-headline-423986.html?pagewanted=2 |title=No Headline – The New York Times |publisher=Nytimes.com |date=9 February 1986 |accessdate=2018-04-26|newspaper=The New York Times }}
14. ^{{cite web|url=http://catholicherald.co.uk/commentandblogs/2017/05/29/should-catholics-watch-the-handmaids-tale/|title=Should Catholics watch The Handmaid's Tale?|last=Lucie-Smith|first=Alexander|date=29 May 2017|publisher=The Catholic Herald|language=English|accessdate=18 June 2017}}
15. ^{{cite web|url=https://www.americamagazine.org/arts-culture/2017/04/28/reflecting-frightening-lessons-handmaids-tale|title=Reflecting on the frightening lessons of 'The Handmaid's Tale'|last=Blondiau|first=Eloise|date=28 April 2017|publisher=America|language=English|accessdate=21 June 2017}}
16. ^¹²{{Cite news|url=https://www.nytimes.com/2017/03/10/books/review/margaret-atwood-handmaids-tale-age-of-trump.html|title=Margaret Atwood on What 'The Handmaid's Tale' Means in the Age of Trump|last=Atwood|first=Margaret|date=10 March 2017|newspaper=The New York Times|language=English|accessdate=21 June 2017}}
17. ^¹²³{{cite web|url=http://blog.familytheater.org/the-handmaids-tale-on-hulu-what-should-catholics-think/|title='The Handmaid's Tale' on Hulu: What Should Catholics Think?|last=O'Hare|first=Kate|date=16 April 2017|publisher=Faith & Family Media Blog|language=English|accessdate=18 June 2017}}
18. ^¹²{{cite web|url=https://sojo.net/articles/margaret-atwood-christianity-handmaid-s-tale-and-what-faithful-activism-looks-today|title=Margaret Atwood on Christianity, 'The Handmaid's Tale,' and What Faithful Activism Looks Like Today|last=Williams|first=Layton E.|date=25 April 2017|publisher=Sojourners|language=English|accessdate=18 June 2017}}
19. ^¹²³{{cite web|url=http://www.library.nashville.org/nashvillereads/margaretatwood_interview_handmaidstale.pdf|title=An Interview with Margaret Atwood on her novel, The Handmaid's Tale|last=|first=|date=|publisher=Nashville Public Library|access-date=27 March 2016|deadurl=yes|archiveurl=https://web.archive.org/web/20160413050007/http://www.library.nashville.org/nashvillereads/margaretatwood_interview_handmaidstale.pdf|archivedate=13 April 2016|df=dmy-all}}
20. ^{{cite web|url=http://www.genderforum.org/fileadmin/archiv/genderforum/queer/interview_atwood.html|title="People confuse interpersonal relations with legal structures." An Interview with Margaret Atwood|last=Gruss|first=Susanne|date=2004|publisher=Gender Forum|access-date=28 March 2016|deadurl=yes|archiveurl=https://web.archive.org/web/20160427013239/http://www.genderforum.org/fileadmin/archiv/genderforum/queer/interview_atwood.html|archivedate=27 April 2016|df=dmy-all}}
21. ^¹²{{Cite journal|last=Neuman|first=Shirley|date=2006|title='Just a Backlash': Margaret Atwood, Feminism, and The Handmaid's Tale|url=https://muse.jhu.edu/journals/university_of_toronto_quarterly/v075/75.3neuman.html#FOOT6|journal=University of Toronto Quarterly|volume=75|issue=3|pages=857–868|access-date=25 March 2016|doi=10.1353/utq.2006.0260}}
22. ^¹²{{Cite news |last=Rothstein|first=Mervyn|date=17 February 1986|title=No Balm in Gilead for Margaret Atwood|url=https://www.nytimes.com/books/00/09/03/specials/atwood-gilead.html |newspaper=The New York Times|access-date=25 March 2016}}
23. ^{{Cite book|title=Versions of History: The Handmaid's Tale and its Dedicatees|last=Evans|first=Mark|work=Margaret Atwood: Writing and Subjectivity|publisher=Palgrave Macmillan UK|year=1994|isbn=|editor-last=Nicholson|editor-first=Colin|location=London|pages=177–188}}
24. ^{{cite web|url=http://ew.com/books/2017/07/14/emma-watson-interviews-margaret-atwood-handmaids-tale/|title=Emma Watson interviews Margaret Atwood about 'The Handmaid's Tale'|date=14 July 2017|publisher=Entertainment Weekly|language=English|accessdate=26 July 2017|quote=Recently, someone said, “Religion doesn’t radicalize people, people radicalize religion.” So you can use any religion as an excuse for being repressive, and you can use any religion as an excuse for resisting repression; it works both ways, as it does in the book. So that was one set of inspirations.}}
25. ^¹²³⁴⁵⁶{{Cite news|url=https://www.theguardian.com/books/2012/jan/20/handmaids-tale-margaret-atwood|title=Haunted by the Handmaid's Tale|last=Atwood|first=Margaret|date=20 January 2012|work=The Guardian|access-date=3 March 2016|via=}}
26. ^{{cite web|url=https://sojo.net/articles/margaret-atwood-christianity-handmaid-s-tale-and-what-faithful-activism-looks-today|title=Margaret Atwood on Christianity, 'The Handmaid's Tale,' and What Faithful Activism Looks Like Today|last=Williams|first=Layton E.|date=25 April 2017|publisher=Sojourners|language=English|accessdate=18 June 2017}}
27. ^{{cite web|url=http://loe.org/shows/segments.html?programID=14-P13-00024&segmentID=5|title=Margaret Atwood on Fiction, The Future, and Environmental Crisis|last=Curwood|first=Steve|date=13 June 2014|work=Living on Earth|publisher=|access-date=27 March 2016}}
28. ^{{Cite journal|last=Greene|first=Gayle|date=July 1986|title=Choice of Evils|jstor=4019952|journal=The Women's Review of Books}}
29. ^{{Cite journal|last=Armbruster|first=Jane|date=Fall 1990|title=Memory and Politics – A Reflection on "The Handmaid's Tale"|jstor=29766564|journal=Social Justice}}
30. ^¹{{Cite journal|last=Atwood|first=Margaret|date=May 2004|title=The Handmaid's Tale and Oryx and Crake "In Context"|url=|journal=PMLA}}
31. ^{{Cite news|url=https://www.theverge.com/2014/12/20/7424951/does-the-handmaids-tale-hold-up-dystopia-feminism-fiction|title=Does The Handmaid's Tale hold up?|last=Robertson|first=Adi|date=20 December 2014|work=The Verge|access-date=28 March 2016|via=}}
32. ^{{Cite news|url=https://www.theguardian.com/books/2010/sep/26/the-handmaids-tale-margaret-atwood|title=The Handmaid's Tale by Margaret Atwood|last=Newman|first=Charlotte|date=25 September 2010|work=The Guardian|access-date=22 March 2016|via=}}
33. ^{{Cite news|url=https://www.nytimes.com/books/00/03/26/specials/mccarthy-atwood.html|title=Book Review|last=McCarthy|first=Mary|date=9 February 1986|work=The New York Times|access-date=29 March 2016|via=}}
34. ^For articles that attempt to draw parallels between The Handmaid's Tale and Trump's election as President of the United States, see*{{cite news|last1=Nally|first1=Claire|title=How The Handmaid's Tale is being transformed from fantasy into fact|url=https://www.independent.co.uk/arts-entertainment/tv/features/the-handmaids-tale-elizabeth-moss-channel-4-margaret-atwood-donald-trump-feminism-abortion-a7763646.html|accessdate=18 June 2017|work=The Independent|date=31 May 2017}}*{{cite news|last1=Brooks|first1=Katherine|title=How ‘The Handmaid’s Tale’ Villains Were Inspired By Trump|url=http://www.huffingtonpost.com/entry/-handmaids-tale-villains-inspired-by-trump_us_5925bf4ce4b0ec129d31a7b3|accessdate=18 June 2017|work=Huffington Post|date=24 May 2017}}*{{cite news|last1=Robertson|first1=Adi|title=In Trump's America, The Handmaid's Tale matters more than ever|url=https://www.theverge.com/2014/12/20/7424951/does-the-handmaids-tale-hold-up-dystopia-feminism-fiction|accessdate=29 July 2017|work=The Verge|date=9 November 2016}}*{{cite news|last1=Douthat|first1=Ross|title=The Handmaid’s Tale,’ and Ours|url=https://www.nytimes.com/2017/05/24/opinion/handmaids-tale-and-ours.html|accessdate=28 July 2017|work=The New York Times|date=24 May 2017}}
35. ^For articles that disagree with attempts to draw parallels between The Handmaid's Tale and Trump's election as President of the United States, see*{{cite news|last1=Crispin|first1=Jessa|title=The Handmaid's Tale is just like Trump's America? Not so fast|url=https://www.theguardian.com/commentisfree/2017/may/02/handmaids-tale-donald-trump-america|accessdate=18 June 2017|work=The Guardian|date=2 May 2017}}*{{cite news|last1=Smith|first1=Kyle|title=Sorry: ‘Handmaid’s Tale’ tells us nothing about Trump’s America|url=https://nypost.com/2017/04/28/sorry-handmaids-tale-tells-us-nothing-about-trumps-america/|accessdate=18 June 2017|work=New York Post|date=28 April 2017}}*{{cite news|last1=Cohen|first1=Ariel|title=Stop comparing 'The Handmaid's Tale' to Trump's America|url=http://www.washingtonexaminer.com/stop-comparing-the-handmaids-tale-to-trumps-america/article/2621863|accessdate=29 July 2017|work=The Washington Examiner|date=2 May 2017}}
36. ^¹{{Cite journal|last=Hines|first=Molly|date=2006|title=Margaret Atwood's "The Handmaid's Tale": Fundamentalist religiosity and the oppression of women|url=http://search.proquest.com/docview/304914133/abstract/2573C15A1C0844DAPQ/1?accountid=9920|journal=Angelo State University|access-date=28 March 2016}}
37. ^¹{{Cite journal|last=Mercer|first=Naomi|date=2013|title="Subversive Feminist Thrusts": Feminist Dystopian Writing and Religious Fundamentalism in Margaret Atwood's "The Handmaid's Tale", Louise Marley's "The Terrorists of Irustan", Marge Piercy's "He, She and It", and Sheri S. Tepper's "Raising the Stones"|url=http://search.proquest.com/docview/1428851608/abstract/D3C5F41D0BB1478DPQ/1?accountid=9920|journal=University of Wisconsin – Madison|access-date=29 March 2016}}
38. ^{{Cite journal|last=Callaway|first=Alanna|date=2008|title=Women disunited: Margaret Atwood's The Handmaid's Tale as a critique of feminism|url=http://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=4501&context=etd_theses|journal=San Jose State University|access-date=28 March 2016}}
39. ^{{cite web|url=https://theestablishment.co/the-handmaids-tale-a-white-feminist-s-dystopia-80da75a40dc5|title=The Handmaid's Tale: A White Feminist Dystopia|website=theestablishment.co|date=17 May 2017}}
40. ^{{cite web|website=Vulture|date=June 2017|title=The Handmaid's Tale's Greatest Failing Is How It Handles Race|author=Kendall, Mikki|url=http://www.vulture.com/2017/06/the-handmaids-tale-greatest-failing-is-how-it-handles-race.html}}
41. ^{{cite web|website=Twitter|title=Mikki Kendall @Karnythia |url=https://twitter.com/Karnythia/status/857415398832181249}}
42. ^{{cite web|url=http://apcentral.collegeboard.com/apc/members/exam/exam_information/2002.html#name15|title=AP English Literature and Composition Exam|last=|first=|date=10 July 2006|website=College Board|access-date=26 March 2016}}
43. ^{{Cite news|url=http://www.oregonlive.com/books/index.ssf/2014/12/margaret_atwood_and_the_four_u.html|title=Margaret Atwood and the 'Four Unwise Republicans': 12 surprises from the legendary writer's Reddit AMA|last=Perry|first=Douglas|date=30 December 2014|work=The Oregonian|access-date=29 March 2016|via=}}
44. ^{{cite web | url = http://www.ala.org/ala/issuesadvocacy/banned/frequentlychallenged/challengedbydecade/1990_1999/ | website= American Library Association | title = The 100 Most Frequently Challenged Books of 1990–2000| date= 27 March 2013 }}
45. ^{{cite web | url = http://www.ala.org/ala/aboutala/governance/annualreport/annualreport/annualreportarch/20022003/conferences.cfm | title = Annual Report 2002–2003: One Book, One Conference | website= American Library Association | date = June 2003 | accessdate = 21 May 2009 | deadurl = yes | archiveurl = https://web.archive.org/web/20091201022613/http://www.ala.org/ala/aboutala/governance/annualreport/annualreport/annualreportarch/20022003/conferences.cfm | archivedate = 1 December 2009 | df = dmy-all }} Concerns inaugural program featuring Margaret Atwood held in Toronto, 19–25 June 2003.
46. ^{{Cite book |author=Doyle, Robert P. | title = Banned Books: Defending Our Freedom to Read |year=2017 | publisher = American Library Association |isbn=978-0-8389-8962-3}}
47. ^{{Harvnb | Rushowy | 2009 | ps =: "Committee reviews 'fictional drivel' alleged to violate board policy on respect, profanity". [In his letter to his son's school principal (quoted by Rushowy), a parent, Robert Edwards, observes that The Handmaid's Tale] "is rife with brutality towards and mistreatment of women (and men at times), sexual scenes, and bleak depression... I can't really understand what it is my son is supposed to be learning from this fictional drivel... I have a major problem with a curriculum book that cannot be fully read out loud in class, in front of an assembly, directly to a teacher, a parent, or, for that matter, contains attitudes and words that cannot be used by students in class discussion or hallway conversation. Let alone a description of situations that must be embarrassing and uncomfortable to any young woman in that class – and probably the young men, too." [Rushowy reports:] "According to Toronto District School board policy, any complaint that can't be solved at the school level goes to a review committee... Such a committee is now reviewing The Handmaid's Tale... It met yesterday [15 January 2009]... and will eventually make a recommendation to the director of education. If Edwards still isn't satisfied, he can appeal to trustees."}}
48. ^{{Harvnb | Rushowy | 2009b | ps =: "Committee to consider objection to book; concern may centre on sexuality, religion."}}
49. ^{{cite news |first=Mitch |last=Carr |title=Guilford County moms want reading list criteria changed |url=http://www.journalnow.com/news/state_region/guilford-county-moms-want-reading-list-criteria-changed/article_572e4054-24dd-11e2-8a23-0019bb30f31a.html |newspaper=Winston-Salem Journal |date=2 November 2012 |accessdate=18 April 2017}}
50. ^{{Cite journal|last=Burack|first=Cynthia|date=Winter 1988–89|title=Bringing Women's Studies to Political Science: The Handmaid in the Classroom |journal=NWSA Journal |volume=1 |number=2 |pages=274–283 |jstor=4315901 }}
51. ^{{Cite journal |last=Laz |first=Cheryl |date=January 1996 |title=Science Fiction and Introductory Sociology: The 'Handmaid' in the Classroom |jstor=1318898 |journal=Teaching Sociology |volume=24 |issue=1 |pages=54–63 }}
52. ^{{Cite journal|last=Bergmann|first=Harriet|date=December 1989|title="Teaching Them to Read": A Fishing Expedition in the Handmaid's Tale|jstor=378090|journal=College English}}
53. ^{{Cite journal|last=Larson|first=Janet|date=Spring 1989|title=Margaret Atwood and the Future of Prophecy|url=|journal=Religion and Literature}}
54. ^{{Cite journal|last=Stein|first=Karen|date=1996|title=Margaret Atwood's Modest Proposal: The Handmaid's Tale|url=http://digitalcommons.uri.edu/cgi/viewcontent.cgi?article=1001&context=eng_facpubs|journal=University of Rhode Island|access-date=27 March 2016}}
55. ^{{cite web | url = http://joeaudio.com/index.html | title = 2013 Audie Awards® Finalists by category| last = Gummere | first = Joe| website = joeaudio.com | publisher = | access-date = 2017-01-09 }}
56. ^{{cite web |title=Artists: Lakes of Canada |url=http://artists.cbcmusic.ca/artist/38445 |work=CBC Music |accessdate=18 April 2017}}
57. ^{{cite web|url=http://dramadance.tufts.edu/performances/pastProductions.htm|title=Tufts University: Department of Drama and Dance: Performances & Events|website=dramadance.tufts.edu|access-date=2017-05-08}}
58. ^{{Cite news | date = 5 April 2003 | place = UK | title = Classical music & opera | url = https://www.theguardian.com/music/2003/apr/05/classicalmusicandopera.artsfeatures2 | newspaper = The Guardian | first = Andrew | last = Clements}}
59. ^{{Citation | last = Littler | first = William | title = Opera Canada | date = 15 December 2004| title-link = Opera Canada }}.
60. ^{{cite web | title = The Handmaid's tale | url = http://www.uktw.co.uk/archive/play/the-handmaids-tale/L0405535074/ | publisher = UKTW}}
61. ^{{cite news| place = CA | url = http://www.cbc.ca/news/arts/the-handmaid-s-tale-debuts-as-ballet-in-winnipeg-1.2055207 |title= The Handmaid's Tale debuts as ballet in Winnipeg| publisher= CBC News|date= 15 October 2013| accessdate = 16 October 2013}}
62. ^{{cite web |last=Lyman |first=David |date=24 January 2015 |url=http://www.cincinnati.com/story/entertainment/theater/2015/01/24/handmaid-tale-know-theater-review/22271029/ |title='Handmaid's Tale' offers extreme view of future |publisher=Cincinnati.com}}
63. ^{{cite news|last1=Hardawar|first1=Devindra|title=Hulu is adapting Margaret Atwood's 'The Handmaid's Tale'|url=https://www.engadget.com/2016/04/29/hulu-is-adapting-margaret-atwoods-the-handmaids-tale/|accessdate=30 April 2016|work=Engadget|date=29 April 2016}}
64. ^{{cite news|last1=Otterson|first1=Joe|title='Hulu Carried to Emmys Glory by Eight Wins for ‘Handmaid’s Tale’|url=https://variety.com/2017/tv/news/emmys-2017-hulu-handmaids-tale-1202557512/|accessdate=1 April 2018|work=Variety|date=17 September 2017}}
65. ^{{cite web |url=https://variety.com/2018/tv/news/the-handmaids-tale-renewed-hulu-season-3-1202794440/ |title='The Handmaid's Tale' Renewed for Season 3 at Hulu |work=Variety |first=Daniel |last=Holloway |date=2 May 2018 |accessdate=2 May 2018}}
66. ^{{cite news|url=https://www.theguardian.com/books/2018/nov/28/margaret-atwood-announces-the-handmaids-tale-sequel-the-testaments|work=The Guardian|title=Margaret Atwood announces The Handmaid's Tale sequel, The Testaments|first=Sian|last=Cain|date=28 November 2018}}

Works cited

Andriano, Joseph. "The Handmaid’s Tale as Scrabble Game." Critical Insights: The Handmaid’s Tale, edited by J. Brooks Bouson, Salem, 2009. Salem Online.