The Handmaid's Tale

by Margaret Atwood

We stole extra paper packets of sugar for her, from the cafeteria at mealtimes, smuggled them to her, at night, handing them from bed to bed. Probably she didn’t need the sugar but it was the only thing we could find to steal. To give.

My arms are raised; she holds my hands, each of mine in each of hers. This is supposed to signify that we are one flesh, one being. What it really means is that she is in control, of the process and thus of the product. If any. The rings of her left hand cut into my fingers. It may or may not be revenge.

Below it the Commander is fucking. What he is fucking is the lower part of my body. I do not say making love, because this is not what he’s doing. Copulating too would be inaccurate, because it would imply two people and only one is involved. Nor does rape cover it: nothing is going on here that I haven’t signed up for. There wasn’t a lot of choice but there was some, and this is what I chose.

What’s going on in this room, under Serena Joy’s silvery canopy, is not exciting. It has nothing to do with passion or love or romance or any of those other notions we used to titillate ourselves with. It has nothing to do with sexual desire, at least for me, and certainly not for Serena. Arousal and orgasm are no longer thought necessary; they would be a symptom of frivolity merely, like jazz garters or beauty spots: superfluous distractions for the light-minded. Outdated. It seems odd that women once spent such time and energy reading about such things, thinking about them, worrying about them, writing about them. They are so obviously recreational.

There is loathing in her voice, as if the touch of my flesh sickens and contaminates her. I untangle myself from her body, stand up; the juice of the Commander runs down my legs. Before I turn away I see her straighten her blue skirt, clench her legs together; she continues lying on the bed, gazing up at the canopy above her, stiff and straight as an effigy. Which of us is it worse for, her or me?

I rub the butter over my face, work it into the skin of my hands. There’s no longer any hand lotion or face cream, not for us. Such things are considered vanities. We are containers, it’s only the insides of our bodies that are important. The outside can become hard and wrinkled, for all they care, like the shell of a nut. This was a decree of the Wives, this absence of hand lotion. They don’t want us to look attractive. For them, things are bad enough as it is.

As long as we do this, butter our skin to keep it soft, we can believe that we will some day get out, that we will be touched again, in love or desire. We have ceremonies of our own, private ones.

I fold back the sheet, get carefully up, on silent bare feet, in my nightgown, go to the window, like a child, I want to see. The moon on the breast of the new-fallen snow. The sky is clear but hard to make out, because of the searchlight; but yes, in the obscured sky a moon does float, newly, a wishing moon, a sliver of ancient rock, a goddess, a wink. The moon is a stone and the sky is full of deadly hardware, but oh God, how beautiful anyway.

I want Luke here so badly. I want to be held and told my name. I want to be valued, in ways that I am not; I want to be more than valuable. I repeat my former name, remind myself of what I once could do, how others saw me. I want to steal something.

Then a whisper: “Don’t scream. It’s all right.” As if I’d scream, as if it’s all right. I turn: a shape, that’s all, dull glint of cheekbone, devoid of color. He steps towards me. Nick.

He puts his hand on my arm, pulls me against him, his mouth on mine, what else comes from such denial? Without a word. Both of us shaking, how I’d like to. In Serena’s parlor, with the dried flowers, on the Chinese carpet, his thin body. A man entirely unknown. It would be like shouting, it would be like shooting someone. My hand goes down, how about that, I could unbutton, and then. But it’s too dangerous, he knows it, we push each other away, not far. Too much trust, too much risk, too much already.

His fingers move, feeling my arm under the nightgown sleeve, as if his hand won’t listen to reason. It’s so good, to be touched by someone, to be felt so greedily, to feel so greedy. Luke, you’d know, you’d understand. It’s you here, in another body.

“He told me to,” Nick says. “He wants to see you. In his office.” “What do you mean?” I say. The Commander, it must be. See me? What does he mean by see? Hasn’t he had enough of me?

I lie in bed, still trembling. You can wet the rim of a glass and run your finger around the rim and it will make a sound. This is what I feel like: this sound of glass. I feel like the word shatter. I want to be with someone.

But this is wrong, nobody dies from lack of sex. It’s lack of love we die from. There’s nobody here I can love, all the people I could love are dead or elsewhere. Who knows where they are or what their names are now? They might as well be nowhere, as I am for them. I too am a missing person.

Anyway, they don’t do it well, the hair is ragged, the back of his neck is nicked, that’s hardly the worst, he looks ten years older, twenty, he’s bent like an old man, his eyes are pouched, small purple veins have burst in his cheeks, there’s a scar, no, a wound, it isn’t yet healed, the color of tulips, near the stem end, down the left side of his face where the flesh split recently. The body is so easily damaged, so easily disposed of, water and chemicals is all it is, hardly more to it than a jellyfish, drying on sand.

He finds it painful to move his hands, painful to move. He doesn’t know what he’s accused of. A problem. There must be something, some accusation. Otherwise why are they keeping him, why isn’t he already dead? He must know something they want to know. I can’t imagine. I can’t imagine he hasn’t already said whatever it is. I would.

believe in the resistance as I believe there can be no light without shadow; or rather, no shadow unless there is also light. There must be a resistance, or where do all the criminals come from, on the television?

Sanity is a valuable possession; I hoard it the way people once hoarded money. I save it, so I will have enough, when the time comes.

These are the kinds of litanies I use, to compose myself.

profusion. I think that this is what God must look like: an egg. The life of the moon may not be on the surface, but inside.

The minimalist life. Pleasure is an egg. Blessings that can be counted, on the fingers of one hand. But possibly this is how I am expected to react. If I have an egg, what more can I want?

In reduced circumstances the desire to live attaches itself to strange objects. I would like a pet: a bird, say, or a cat. A familiar. Anything at all familiar. A rat would do, in a pinch, but there’s no chance of that. This house is too clean.

“Ofwarren,” she shouts back. Impulsively she grabs my hand, squeezes it, as we lurch around the corner; she turns to me and I see her face, there are tears running down her cheeks, but tears of what? Envy, disappointment? But no, she’s laughing, she throws her arms around me, I’ve never seen her before, she hugs me, she has large breasts, under the red habit, she wipes her sleeve across her face. On this day we can do anything we want. I revise that: within limits.

Of course, some women believed there would be no future, they thought the world would explode. That was the excuse they used, says Aunt Lydia. They said there was no sense in breeding. Aunt Lydia’s nostrils narrow: such wickedness. They were lazy women, she says. They were sluts.

They made mistakes, says Aunt Lydia. We don’t intend to repeat them. Her voice is pious, condescending, the voice of those whose duty it is to tell us unpleasant things for our own good. I would like to strangle her. I shove this thought away almost as soon as I think it.

Some man with a searchlight looking up between her legs, where she’s been shaved, a mere beardless girl, a trayful of bright sterilized knives, everyone with masks on. A cooperative patient. Once they drugged women, induced labor, cut them open, sewed them up. No more. No anesthetics, even. Aunt Elizabeth said it was better for the baby, but also: I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children.

Such a, so well behaved, not surly like some of them, do their job and that’s that. More like a daughter to you, as you might say. One of the family. Comfortable matronly chuckles. That’s all dear, you can go back to your room.

And after she’s gone: Little whores, all of them, but still, you can’t be choosy. You take what they hand out, right, girls? That from the Commander’s Wife, mine.

Oh, but you’ve been so lucky. Some of them, why, they aren’t even clean. And won’t give you a smile, mope in their rooms, don’t wash their hair, the smell. I have to get the Marthas to do it, almost have to hold her down in the bathtub, you practically have t...

I had to take stern measures with mine, and now she doesn’t eat her dinner properly; and as for the other thing, not a nibble, and we’ve been so regular. But yours, she’s a credit to you. And any day now, oh, you must be ...

More tea? Modestly changing the subject. I know the sort of thing that goes on. And Janine, up in her room, what does she do? Sits with the taste of sugar still in her mouth, licking her lips. Stares out the window. Breathes ...

they massage her tiny belly, just as if she’s really about to give birth herself.

Ofwarren is in the master bedroom, a good name for it; where this Commander and his Wife nightly bed down. She’s sitting on their king-size bed, propped with pillows: Janine, inflated but reduced, shorn of her former name. She’s wearing a white cotton shift, which is hiked up over her thighs; her long broom-colored hair is pulled back and tied behind her head, to keep it out of the way. Her eyes are squeezed closed, and this way I can almost like her. After all, she’s one of us; what did she ever want but to lead her life as agreeably as possible? What else did any of us want? It’s the possible that’s the catch. She’s not doing badly, under the circumstances.

You are a transitional generation, said Aunt Lydia. It is the hardest for you. We know the sacrifices you are being expected to make. It is hard when men revile you. For the ones who come after you, it will be easier. They will accept their duties with willing hearts. She did not say: Because they will have no memories, of any other way. She said: Because they won’t want things they can’t have.

Sometimes the movie she showed would be an old porno film, from the seventies or eighties. Women kneeling, sucking penises or guns, women tied up or chained or with dog collars around their necks, women hanging from trees, or upside-down, naked, with their legs held apart, women being raped, beaten up, killed. Once we had to watch a woman being slowly cut into pieces, her fingers and breasts snipped off with garden shears, her stomach slit open and her intestines pulled out. Consider the alternatives, said Aunt Lydia. You see what things used to be like? That was what they thought of women, then. Her voice trembled with indignation.

First come the title and some names, blacked out on the film with a crayon so we can’t read them, and then I see my mother. My young mother, younger than I remember her, as young as she must have been once before I was born. She’s wearing the kind of outfit Aunt Lydia told us was typical of Unwomen in those days, overall jeans with a green and mauve plaid shirt underneath and sneakers on her feet; the sort of thing Moira once wore, the sort of thing I can remember wearing, long ago, myself.

Her hair is tucked into a mauve kerchief tied behind her head. Her face is very young, very serious, even pretty. I’ve forgotten my mother was once as pretty and as earnest as that. She’s in a group of other women, dressed in the same fashion; she’s holding a stick, no, it’s part of a banner, the handle. The camera pans up and we see the writing, in paint, on what must have been a bedsheet: TAKE BACK THE NIGHT

Behind this sign there are other signs, and the camera notices them briefly: FREEDOM TO CHOOSE, EVERY BABY A WANTED BABY, RECAPTURE OUR BODIES, DO YOU BELIEVE A WOMAN’S PLACE IS ON THE KITCHEN TABLE? Under the last sign there’s a line drawing of a woman’s body, lying on a table, blood dripping out of it. Now my mother is moving forward, she’s smiling, laughing, they all move forward, and now they’re raising their fists in the air. The camera moves to the sky, where hundreds of balloons rise, trailing their strings: red balloons, with a circle painted on them, a circle with a stem like the stem of an apple, the stem of a cross. Back on the earth, my mother is part of the crowd now, and I can’t see her anymore.

You were a wanted child, all right, and did I get shit from some quarters! My oldest buddy Tricia accused me of being pronatalist, the bitch. Jealousy, I put that down to. Some of the others were okay though. But when I was six months’ pregnant, a lot of them started sending me these articles about how the birth-defect rate went zooming up after thirty-five. Just what I needed. And stuff about how hard it was to be a single parent. Fuck that shit, I told them, I’ve started this and I’m going to finish it. At the hospital they wrote down “Aged Primipara” on the chart, I caught them in the act. That’s what they call you when it’s your first baby over thirty, over thirty for god-sake. Garbage, I told them, biologically I’m twenty-two, I could run rings around you any day. I could have triplets and walk out of here while you were still trying to get up off the bed.

line. She liked to come over to my house and have a drink while Luke and I were fixing dinner and tell us what was wrong with her life, which always turned into what was wrong with ours. Her hair was gray by that time, of course. She wouldn’t dye it.

He had beautiful blue eyes though. But there’s something missing in them, even the nice ones. It’s like they’re permanently absent-minded, like they can’t quite remember who they are. They look at the sky too much. They lose touch with their feet. They aren’t a patch on a woman except they’re better at fixing cars and playing football, just what we need for the improvement of the human race, right?

You young people don’t appreciate things, she’d say. You don’t know what we had to go through, just to get you where you are. Look at him, slicing up the carrots. Don’t you know how many women’s lives, how many women’s bodies, the tanks had to roll over just to get that far?

Nothing, she’d say bitterly. You call it nothing. You don’t understand, do you. You don’t understand at all what I’m talking about. Sometimes she would cry. I was so lonely, she’d say. You have no idea how lonely I was. And I had friends, I was a lucky one, but I was lonely anyway.

I admired my mother in some ways, although things between us were never easy. She expected too much from me, I felt. She expected me to vindicate her life for her, and the choices she’d made. I didn’t want to live my life on her terms. I didn’t want to be the model offspring, the incarnation of her ideas. We used to fight about that. I am not your justification for existence, I said to her once. I want her back. I want everything back, the way it was. But there is no point to it, this wanting.

The Commander’s Wife hurries in, in her ridiculous white cotton nightgown, her spindly legs sticking out beneath it. Two of the Wives in their blue dresses and veils hold her by the arms, as if she needs it; she has a tight little smile on her face, like a hostess at a party she’d rather not be giving. She must know what we think of her. She scrambles onto the Birthing Stool, sits on the seat behind and above Janine, so that Janine is framed by her: her skinny legs come down on either side, like the arms of an eccentric chair. Oddly enough, she’s wearing white cotton socks, and bedroom slippers, blue ones made of fuzzy material, like toilet-seat covers. But we pay no attention to the Wife, we hardly even see her, our eyes are on Janine. In the dim light, in her white gown, she glows like a moon in cloud.

By now I’m wrung out, exhausted. My breasts are painful, they’re leaking a little. Fake milk, it happens this way with some of us. We sit on our benches, facing one another, as we are transported; we’re without emotion now, almost without feeling, we might be bundles of red cloth. We ache. Each of us holds in her lap a phantom, a ghost baby. What confronts us, now the excitement’s over, is our own failure. Mother, I think. Wherever you may be. Can you hear me? You wanted a women’s culture. Well, now there is one. It isn’t what you meant, but it exists. Be thankful for small mercies.

something, she thought Janine had been broken, she thought Janine was a true believer. But by that time Janine was like a puppy that’s been kicked too often, by too many people, at random: she’d roll over for anyone, she’d tell anything, just for a moment of approbation.

I could kill you, you know, said Moira, when Aunt Elizabeth was safely stowed out of sight behind the furnace. I could injure you badly so you would never feel good in your body again. I could zap you with this, or stick this thing into your eye. Just remember I didn’t, if it ever comes to that. Aunt Lydia didn’t repeat any of this part to Janine, but I expect Moira said something like it. In any case she didn’t kill or mutilate Aunt Elizabeth, who a few days later, after she’d recovered from her seven hours behind the furnace and presumably from the interrogation—for the possibility of collusion would not have been ruled out, by the Aunts or by anyone else—was back in operation at the Center.

She knew she would not have to kneel down anymore, at the front of the classroom, and listen to all of us shouting at her that it was her fault. Now it would be someone else for a while. She was, temporarily, off the hook.