‘The Handmaid’s Tale’ Quotes Flashcards

(82 cards)

1
Q

Offred’s Latin - Human Perseverance & Female Unity

A

Nolite te bastardes carborandorum

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2
Q

Offred’s Scrabble Words as Evidence of Women’s Use of Language Impacting Thought (also Paranoia about Surveillance)

A

‘Larynx…Quince…Zygote’ - permitted lexicon as a “two-legged womb”… sacred vessels”, “ambulatory chalices”

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3
Q

Constant Danger of Violence, and a Reminder of the Futility of Resistance when under Surveillance in Gilead

A

‘Two Eyes, in grey suits, leap from the opening double doors at the back. They grab a man who is walking along, a man with a briefcase, an ordinary looking man;

Cowardice = At the end of chapter 27, Offred admits to herself that she is glad she is not the victim of the secret service beating up a man and realizes the limit of her courage (violence squashes hope)

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4
Q

Hierarchy of Women in Gilead and how it is denoted by colour/uniform

A

“the dull green of the Marthas”

“the striped dresses, red and blue and green and cheap and skimpy, that mark the women of the poorer men. Econowives, they’re called. These women are not divided into functions. They have to do everything; if they can.”

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5
Q

Aunt Lydia on Freedom

A

“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…”

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6
Q

Offred on her body

A

“My nakedness is strange to me already.” = unfamiliarity with oneself

“My body seems outdated.” = temporal disconect

“Did I really wear bathing suits, at the beach?” = how quickly the norm changes

“Shameful, immodest.” = mental indoctrination

“I don’t want to look at something [her body] that determines me so completely.”

“I used to think of my body as an instrument, of pleasure, or a means of transportation, or an implement for the accomplishment of my will.” = bodily agency removed, their body as an instrument of the state, temporal disconnect

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7
Q

Offred on the past

A

“I’m a refugee from the past”

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8
Q

Religion and the Handmaids

A

“A Sister dipped in blood”

“Blessed be the fruit”-“May the lord open”

“‘Under his eye’

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9
Q

Offred’s Lord’s Prayer

A

“Oh God, obliterate me. Make me fruitful. Mortify my flesh, so that I may be multiplied. Let me be fulfilled…” = subversion of biblical language in order to reclaim agency

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10
Q

Perversion of Religion Quotes

A

“GOD IS A NATIONAL RESOURCE”

“For Adam was first formed, then Eve…Adam was not deceived, but the woman being deceived was in the transgression”

‘They can hit us, there’s Scriptural Precedent’

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11
Q

The Commander as using political rhetoric to justify Gilead

A

“We’ve given them more than we’ve taken away….Think of the trouble they had before.”

Describes dating as “The meat market”.

“Money was the only measure of worth,

“This way they’re [mothers] protected, they can fulfil their biological destinies in peace.

…“What did we overlook?’ ‘Love’, I said.”

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12
Q

Violence of regime chapter 1

A

‘they had a electric cattle prods slung on thongs from their leather belts’

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13
Q

Handmaid’s as prisoners chapter 1

A

‘ in the army cots that had been set up in rows, with spaces between so we could not talk. We had flannelette sheets, like children’s, and army-issue blankets, old ones that still said U.S.’
‘we weren’t allowed out, except for a walks, twice daily, two by two around the football field, which was enclosed now by a chain-link fence topped with barbed wire’

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14
Q

Offred on Thought chapter 2

A

‘ like other things now, thought must be rationed…thinking can hurt your chances and I intend to last’

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15
Q

Sex is described as…

A

a business transaction

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16
Q

Offred on spying…

A

The truth is that she is my spy and I am hers

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17
Q

Professor Pieixoto on the Past

A

“ As we know from the study of history, no new system can impose self upon a previous one without uncle printing, many of the elements to be found in the latter.’’

Gilead’s racist policies were “firmly rooted in the pre-Gilead period”

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18
Q

Gilead’s slogan [MARX told it’s from BIBLE]

A

From each according to her ability, to each according to his needs -

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19
Q

Introduction idea

A

The tradition of utopian fiction in western culture goes back to the ancient Greeks with Plato‘s Republic written about 350BC. Writers have always invented imaginary good and bad societies in order to comment on distinctive features and trends of their own societies. They may offer models for the future or more frequently they make satiric attacks on present society and deliver strong warnings against the consequences of particular kinds of political and social behaviour.

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20
Q

Misreading as a common theme

A

misreading Old Testament (“The Bible -based rhetoric [of Gilead’s propaganda] represents the distortion of its sources (mainly the book of Genesis) in the interests of an official policy or ideological position” ; an “abuse” - Coral Ann Howells) historical notes misreading Offred’s narrative all about perspective/interpretation “the novel demonstrates that wrong or inadequate interpretations of texts are possible” - Coral Ann Howells

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21
Q

Massachusetts

A

the home of the same witch trials and sight of Harvard university. The wall as both the wall round Harvard Yard on the Ballon wall twisted in place in 1984 when writing.

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22
Q

Atwood

A

“Fiction is one of the few forms left through which we may examine our society”

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23
Q

Temporality

A

“Double vision…shifting constantly between the present and the past” - Coral Ann Howells (Important thematic motif of the ‘double’ (Offred & Ofglen are doubles)); Offred sees the present through her memories of the past and judges it according to former values

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24
Q

Prefatory material / epigraph

A

quotations from bible Genesis 30:1-3 Old Testament biblical precedent for sexual practices in Gilead Jonathan Swift’s ‘A Modest Proposal’ 1729

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25
Book dedicated to Mary Webster
one Atwood’s puritan ancestors hanged as a witch in Connecticut in 1683; survived the hanging & allowed to go free like Offred; she was a woman who successfully flouted the law of the puritan state.
26
7 x ‘night’ sections
time away from public scrutiny; public/private world; ‘step sideways’ into memory
27
1st chapter
child-like touching of hands [human condition / survival] ‘Cattle prods’ used by the police and US civil rights and race rights in the late 1960s
28
THT Bits & Pieces
Patrynomic [Offred] Woman’s fictive autobiography
29
‘Angels’
possibly linked with New York :guardian angels’ paramilitary force used to curb social violence
30
Biblical Referencing
The many religious references give biblical authority to the practices of the fundamentalist society: ‘Eye’ from Proverbs 15:3 ‘Blessed be the fruit’ Luke 1:42
31
Dystopia; merging the familiar and the unfamiliar
“The odd mixture of familiar and unfamiliar which characterises Giladean society where ordinary domesticity and military regimentation exist side-by-side: biblical car brand names combined religious fundamentalism with late 20th century technology. …‘The car is a very expensive one a Whirlwind; better than the Chariot much better than the chunky practical Behemoth.’ - The names of the cars are religious allusions to stories from the Old Testament; a chariot and a whirlwind are both mentioned in 2 Kings (2:11) when the prophet Elijah is taken to heaven while a behemoth a term used to name a large animal is mentioned in Job (40:15). - Coral Ann Howells
32
Loneliness
yearns for child Luke & moira clings onto message from past Handmaid ‘bastardes’
33
Chapter 6 end
Offered determined to try to stay sane under the tyranny by refusing to believe is distorted versions of reality which Gilead tries to impose
34
Storytelling & memory as a survival tool (chapter 7)
self-conscious narrator - find quotes
35
Chapter 10
Offred reflects on her old attitude of social irresponsibility
36
Cushion in Offred’s room
FAITH but hope & charity are missing in Gilead
37
Atwood’s interest in sexual power politics & the female body in
‘The Female Body’ in Good Bones
38
Performing as someone else
what I must present as a made thing not something born at the end of chapter 12 echoing those of the French feminist Simone De Beauvoir in the second sex 1949; the art of performing according to social convention has merely taken on a different direction
39
Nazi arm concentration camps
“Four digits and an eye a passport in reverse’ on Handmaid’s
40
‘Écriture feminine’
where writing about her body provides the sight of Offred’s resistance to Gileadean ideology - exploration of body psychologically in chapter 13 QUOTES?
41
Gilead’s racism
‘Children of Ham’ and ‘National Homeland one’ ; Gilead is racist and antisemitic policies of forced repatriation: ham was black. Blacks are rounded up and ‘resettled’ in ‘national homelands’ a term that recalls South African apartheid policies.
42
Small actions of resistance in other characters growing of novel progresses
Nick’s wink & touching Offred’s shoe Offred’s thoughts stealing small items from rooms ; chapter 17 stealing a withered daffodil memory swinging her hips to flaunt her sexuality to soldiers Handmaid’s buttering themselves Serena Joy offering Nick for sex
43
Power of reading
Only male elite allowed to read sacred texts
44
Offred’s deliberate narrative detachment in The Ceremony
situates herself outside as ‘One’ no ‘I’
45
The ceremony
is a parodic version of Genesis 30:1-3
46
Offred/Nick embrace in chapter 17 as all the more sexually charged/attractive because it’s forbidden
same with meetings with commander to play scrabble all things forbidden have the hint of sexuality/scandal
47
Hope as the greatest power of resistance Offred has
hope Luke is alive chapter 18 QUOTES
48
Ecological warnings by Atwood
‘Hardball’ and ‘We want it all’ in Good Bones (1992)
49
Female pain in childbirth
as punishment for Eve’s original sin ‘I will greatly multiply thy sorrow’ in chapter 19
50
Gilead altering history
in films in Red Center about sexual politics in 70s-80s chapter 20
51
John Wyndam’s 1955 The Chrysalids
A puritan dystopia where deformed mutant babies are hidden or destroyed LIKE THT ‘unbabies’
52
Chapter 21
The feminist phrase “a woman’s culture” appropriated by conservative ideology “an example of the Orwellian abuses of language which characterise the official rhetoric of Gilead and of the frightening way the fundamentalist Christian right has usurped the vocabulary of radical feminism” - Coral Ann Howells
53
Atwood on the writer’s moral responsibilities to bear witness
‘to retain memory and courage in the face of unspeakable suffering’ in Second Words 1981 amnesty international address
54
Chapter 24: “Context is all”
circumstances change her perception of the significance of events and how what is ‘normal’ is always a relative concept
55
Importance of Hope
After Commander & Scrabble / Reading old magazines; hope/human connection; psychological shift; she enjoys Serena Joy’s garden & the beauty of it; symbolic of hope & feminism compared to pollution man made Gilead; likening it’s beauty to poetry “a Tennyson garden” and “The Maud” 1855; she is given further hope & a sense of life when she discovers Ofglen is a member of the underground Mayday resistance group
56
Preservation of State control as necessitating conformity
“State control cannot function if people see each other as individuals” ; chapter 26 second ceremony but now Offred is emotionally involved as mistress
57
Soul Scrolls
The computerised prayer factories
58
Fragility of Freedom
She reflects on how the advances by feminism in the 1970s and 80s were swept away simply by changing computer databases ; loss of economic freedom for women was first step in takeover
59
Small acts of autonomy and resistance
Offred reclaims what little power she has by subtly flaunting sexuality & also playing on the Commander’s sense of guilt about last Handmaid’s suicide & Offred plays with words in her head to reclaim them see ironic version of Lord’s Prayer; Offred’s request for information from the commander is a show of her resistance
60
Gilead tries to force women apart ; Martha & Wives hatred of Handmaid’s Handmaid’s spying on & rivalry with each other - but women still find ways to connect (Offred emotionally connected with predecessor & Moira little resistances); hope for human connection
61
Claustrophobic
both characters (Winston & Offred) have a room
62
Prayvaganza’s
mass weddings are impersonal
63
“God is a national resource” banner
religion is strongly underpinned by the market values of American capitalism
64
Atwood shows that in an authoritarian society subversive humour is essential for those who wish to remain sane
see Offred OfGlenn’s irreverent comments about the Prayvaganza celebrations and Moira’s comment that “there is a bomb in Gilead” an irreverent pun on American folk hymn that starts “there is a balm in Gilead”
65
Offred’s long nostalgic digression on ‘falling in love’
mirrors Winston’s thoughts on tragedy & love being lost
66
OBJECT
Commander ties a label on Offred’s wrist at Jezebel’s & steers her
67
Jezebel’s
state brothel
68
Cynicism
even brave Moira doesn’t escape becomes part of state sexual machinery
69
The underground female road
is an allusion to the underground rail road between escape route for runaway slaves from the United States to Canada between 1814 and 1860 prior to be abolition of slavery after the American Civil War. It was an informal network of safehouses and people about 30 000 slaves reached Canada that way.
70
Offred sees Salvaging as
a Distortion of graduation ceremony until the proceedings begin
71
Getting people to sanction / collaborate in violence
handmaids force become collaborators by putting their hands on the hanging rope before the salvaging to signify their assent; Aunt Lydia blowing whistle before Particicution like game; normalisation / enjoyment of violence; brutalising effects of crowd hysteria like Two Minutes Hate
72
The horror of the Particiution is vividly portrayed in
Volker Schlondorff’s 1990 film and also in Paul Ruder’s opera of the handmaids tale 2001
73
Constant paranoia
in moments of hope Offred is repeatedly shown that the state is watching / something to be feared; for example the disappearance if Ofglen man getting beat up in street
74
Novel ends
“and so I step up into the darkness within or else the light”; hope as Nick uses her real name given whilst lovemaking & says it’s Mayday; ambiguous but more optimistic
75
Language in 1984 & THT
Like Orwell’s Newspeak the Gileadean rhetoric of ‘Aunts’ ‘angels’ and ‘salvagings’ take words with reassuring emotional connotations and distort them into euphemisms for the instruments of oppression
76
Contextual interpretation of two novels
“The shift in the narrator's gender allows us to view the handmaid's tale as a revisioning of 1984… Gilead has a similarly oppressive structure to Oceania though it voices the political social and environmental anxieties of 20th century capitalist North American culture” rather than the worries of the bleak postwar period of the 1940s in the context of the Cold War the rise of Stalinist terrorism the building of the Berlin Wall and pervaded by recent memories of Nazi Germany
77
A key difference Winston & Offred’s vision
Winston reads & writes continuingly at the Ministry of truth employed to destroy historical records by shoving them down the ‘memory hole’ to forge new historical facts according to the dictates of the party propaganda machine. His job was to invent the kind of news reported Offred watched on the television in Serena Joy’s sitting room. Offred cannot see what is going on around her even when she is allowed out because of the handmaid's white headdress.
78
Feminine vs Masculine narrative focus
“Offred’s narrative focus on the trivial events of her daily life as she looks for ‘tiny peepholes’ and fracture lines in the system appears as a deliberate resistance to Orwell’s masculine fascination with institutional politics and military tactics
79
Historical Notes
‘ there was little that was truly original with or indigenous to Gilead: it’s genius was synthesis’
80
Dystopia
“The novel exists on that borderline territory between history and prophecy which is one of the dominant characteristics of the dystopian genre”
81
Power of the Individual and of Stories
“Her main interest is not on ‘political’ in the sense of state power politics or even Ofglen’s resistance movement instead her narrative is a version of the 1970s feminist slogan ‘The personal is political’ for her ‘little narrative’ challenges the absolute authority of Gilead’s ‘grand narrative’ of history by chronicling an alternative feminised version.”
82
News in THT
“Who knows if any of it is trey? It could be old clips, it could be faked…” talking about the “Angels of the Apocalypse, Fourth Divisions, 21st Battalion of the Angels of Light” They only show victories, never defeat”