The book starts with a narrative of how the narrator and other women slept in a gymnasium. However, they have been not allowed to talk to each different as Aunt Sara, and Aunt Elizabeth patrolled them using electric cattle. The aunts were now not authorized to have guns, but the angels were permitted. Moreover, the female learned to how use lip-read by whispering. Thus they exchanged their names. The first chapter shows the brutality and the juxtaposition of the innocence. Availability of woman supervisors who have a confronting name such as “aunts” which are similar to the cruel amazons. Furthermore, there is an phantasm of protection with the symbolized by the barbed wire of the fence leaving many questions regarding the status of the inmates.
Chapter two explores the stimulation that the Offred had due to living in the environment full of females. The persistent color suggests the woman and menstruation color which signifying the color of the Handmaid uniforms. In chapter three, Offred recalls the friendship she had with Moira, her childhood and the failed attempt to escape Canada (Atwood 10). This emotional suppression shows how violence separated her from being a wife and mother in Handmaid training and the placement with the family of commanders. Chapter four presented the focus, and the character of Offred’s life has been full of opportunity, love, learning, and optimism.
However, despite her mother been a feminist, she failed to appreciate the privileges and rights of woman thus paying attention to political, social climate and the religion which showed an escalation in misogyny. Offred recalls how she was trained to cope with the change of life such as loneliness. She battles with ennui through pondering paintings of luxuriant. She ironically sees herself as a prototype for been kept. She remembers how her family was attempting to escape oppression (Atwood 22). Regardless of the sexuality, the prelude to the scene provide details in the pre-coital symphony. Furthermore, the urgent need for Offred’S human contact forced her to recall the kicking of their unborn child with Luke when they laid in the bed.
Work cited
Atwood, Margaret. The Handmaid’s Tale. Boston: Houghton Mifflin, 1986, P 1-42.
