Atwood’s The Handmaid’s Tale is a world without music, where silence itself becomes a tool of control. Yet by pairing the novel’s themes with real songs, we can hear what Gilead works so hard to suppress. Each track below captures a moment or motif, giving voice to characters who are otherwise silenced.

“Sound of Silence” – Simon & Garfunkel This song reflects Offred’s private inner world, where her thoughts become her only freedom. The lyric “people talking without speaking” mirrors how Handmaids must suppress their voices while secretly holding onto memory. Offred explains: “We were the people who were not in the papers. We lived in the blank white spaces at the edges of print” (p. 57). Silence, here, is both a prison and a form of survival.

“Every Breath You Take” – The Police Often mistaken for romantic, this song’s obsessive watching fits Gilead’s surveillance. The Eyes operate with constant visibility: “Under His Eye” (p. 57). The song’s refrain, “every step you take, I’ll be watching you,” echoes the suffocating feeling of being observed at all times. Even intimacy is turned into control.

“Caged Bird” – Alicia Keys Inspired by Maya Angelou’s poem, this song embodies the longing for freedom. Handmaids are the caged birds, forced into obedience but still carrying memory. Offred reflects: “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” (p. 112). Like the bird, she sings inside her cage, holding onto her sense of self.

“Strange Fruit” – Billie Holiday Holiday’s haunting protest song against racial violence parallels Gilead’s public executions. Offred describes the bodies on the Wall: “It’s the bags over their heads that are the worst, worse than the faces themselves” (p. 43). Just as “strange fruit” became a warning to maintain order, Gilead uses death as spectacle to control the living.

“Resistance” – Muse This song highlights love as rebellion: “Love is our resistance, they’ll keep us apart and they won’t stop breaking us down.” Offred’s relationship with Nick becomes her act of survival and defiance. She admits, “I tell him my real name, and feel that therefore I am known” (p. 270). In Gilead, where identity is erased, love becomes a radical force.

By imagining these songs inside Gilead, we restore sound to a world stripped of it. Each track voices silence, surveillance, memory, violence, and resistance—reminding us why music is dangerous to dictatorships. Atwood shows us that even when voices are muted, the desire for freedom finds its rhythm.

In a world crafted from silence, an art piece can speak louder than any voice. This piece serves as a depiction of the underlying themes in The Handmaid’s Tale, by Margaret Atwood. This piece explores a society where life and death, submission and rebellion, are woven into a single piece. It speaks for a story that requires depiction,attention to detail, and analysis. The focal point of the image lies in a small window, directly from Handmaid Offred’s Room. While inside the small window, it is filled with the color red. It’s devoted as a constant reminder of the color red throughout the story. The recurrence is less of a coincidence and more of an underlying theme. It represents the fertility, sacrifice, and violence endured by the people of Gilead. The women’s menstrual cycles don’t just play a significant role in their stories, but actually are the sole purpose of their existence. Their cycles can be seen as a sign of failure from the previous month, or a celebration of success at the sign of no blood. Similarly, it can be seen as the blood from childbirth, as it is the goal and terror of the life of a woman in Gilead. Likewise, readers may see the blood as a notion of public executions, intended to spread fear and threat. It may seem like a mure color, but it is intended by the author to be used as a constant reminder of the suffering of the people from Gilead, and what the women in particular have endured. It embodies the trauma held in the story within a single image. As for the window, it can be interpreted as a metaphor for containment. Filled with red inside, revealing the handmaids trapped within their system. The red handprints embody the countless number of women being dehumanized throughout the system. They are a sign of silent protest from the victims of Gilead, a sign of protest after years of silence, a break for escape.
Surrounding the window lay bouquets. They intend to show the unfufilled potential of the handmaids and wives. What they could be if their society gave them water and sunlight. They suggest hope in a world that feels hopeless, a sign of light, in a world full of darkness. They serve as a reminder that even in a world determined to oppress humanity and beauty, something will always push past its barriers and grow. For the window itself, it was the Handmaid, Offred’s only true connection to the outside world. It can be seen as a potential sign of escape, or just a sign for a future outside our field. The unidentified handprints illustrate the stripped identity of each woman, how they are visible, yet stripped of their names and stories, their identities being dulled down to a single purpose.
Ultimately, the art synthesizes the core depictions within The Handmaid’s Tale into a single image. It forces the reader to empathize with the lack of control the people of Gilead have. It embodies the oppression, fear, and trauma humans develop when they’re forced into a world of hatred.

When I read manhwa like Omniscient Reader’s Viewpoint, I get emotionally attracted to the character, sometimes it becomes too much. For me it is not just about liking the characters, it’s like me living alongside them mentally. When something tragic happens, or even hints at it happening, my mind goes into a deep spiral. I start to imagine all the worst possible outcomes and almost always, go into the worst-case scenarios. It’s not that I want a tragedy. It’s because I want to be ready for it. Maybe that’s why I connect deeply with the main character of Omniscient Reader’s Viewpoint, Kim Dokja. He’s a reader who knows the entire story. He reads every chapter, every twist and yet, when he is thrown into the world of the novel, he still gets emotionally attracted to all the characters. Even though he knows what is coming, he still chooses to suffer with all the characters. He tries to change their fates. He prepares for the worst, even what he has already seen written. That is how I feel when I read bittersweet stories. Like Kim Dokja said, “I wish to see the novel’s epilogue.” I know that the pain is coming, but I still imagine ways to prevent it. I still hope, yet I know it will hurt. Sometimes, I lie to myself about these stories not because I believe the lie, but because it helps me feel better. I try to imagine that the character survived, that the ending was different, that the pain was avoided. I know it’s fiction, I know it’s over. But my mind does not want to let go. It chooses to rewrite everything, trying to soften the blow. It is like an automatic coping mechanism that turns on by itself, and I myself have come to rely on it. In chapter 18 of The Handmaid Tale Offred’s line “Whatever the truth is, I will be ready for it.” (p.106) Here Offred doesn’t know what has happened to Luke, her husband. He might be dead. He might be imprisoned. He might have escaped. But for Offred she doesn’t have an answer, so her mind does what mine does: it imagines every possibility, especially the painful ones. Offred says: “I believe Luke is lying face down in a thicket…” (p.104). She continues,“I believe he’s safe. I believe he’s in danger. I believe he’s dead. I believe he is alive.” This isn’t just grief. It survival. Offred here prepares herself emotionally for every version of reality, because not knowing is worse than knowing. That is exactly how I feel when I read stories that leave characters in limbo or with unresolved pain. I always imagine the worst so I won’t be blindsided. I rehearse the worst outcome so I’m not caught off guard even if it never happens. At the beginning I saw Offred as the polar opposite of me. She seemed to wanted connection, attention, and intimacy, things that I despise. I isolate myself emotionally, especially when I get attached to fictional characters. I usually keep these emotions to myself. It is easier when no one is trying to fix it. So when Offred longed for Luke or reached for Nick, I could not relate. The 4th wall thought, “She is not like me.” But then came Chapter 18 my view of Offred shifted, with Offred imagining Luke’s fate, and suddenly I saw a piece of myself in Offred. She was not longing to seek love. She was doing what I do, which was mentally preparing for tragedy. She was rehearsing pain, not because she wanted it, but because she needed to be ready. At that moment I realized we both thought about the “what ifs.” For her, it is like a survival tactic during her lowest time. For me it is a way to brace myself emotionally, even when nothing has happened yet. This realization changed how I’ve been reading the novel so far. I stopped seeing Offred as someone unlike me. I started seeing her as someone who copes the same way I do quietly and internally through mental imagined scenarios and imagining different outcomes. With Offred shifting emotional state, her cycle of hope and despair contrast how I respond to stories like the manhwa I read. She imagines every possibility, not because she wants the pain, but because she needs to be ready for it.

“We thought we had such problems. How were we to know we were happy?” # 51 This line from Offred reflecting on his life before, with Hannah and Luke is simple but impactful. This realization is specific to Offred’s situation, but there’s something familiar about it. It’s the way people often can only really see and recognize their happiness when it is no longer present and the way normal complaints can suddenly seem like a luxury when viewed from a worse perspective. Margot Atwood is able to capture a real human feeling and experience in the moment, the realization of missing something when it is gone and the clarity that comes after things have already changed. What hits so deeply about this specific quote is the way it feels so realistic. People tend to focus so much on the bad parts of life, like what’s going wrong or what’s annoying us, that we tend to forget about the good. Offred had Luke and Hannah, she had freedom and a normal life, but she probably spent so much time worrying about the common things like work, stress and money. Now she is trapped in this horrible society where she’s been stripped of all her freedoms, she can’t even use her real name, and then looking back, all her old problems seem ridiculously small. This connects directly to the real world, when we think about the way we tend to view society changing, we often will feel nostalgic towards the past and romanticize what we had, but in the moment our problems still felt massive. This makes me think about the way my parents will talk about this generation and the way things were so much simpler when they were growing up, without social media and all the new technology, but im sure back then they were probably stressed about other things and didn’t realize they were living in what they would now probably call “ the good old days.” It’s almost like Margot Atwood is showing us a common pattern that occurs throughout history through this quote. People during Nazi Germany or the great depression probably looked back at times when things were normal and think the same thoughts “We thought we had such problems. How were we to know we were happy?” Or even more current times like the corona virus, we suddenly started wishing we had been grateful for simple things like grocery shopping and going to school when suddenly we were stuck in our homes. There’s constantly moments where society changes and everyone realizes the things they lost that they took for granted. If we constantly look back on times we miss, it’s scary to realize that at some point we will probably be missing right now. We could look back on 2025 and think all the things we currently worry about are not even a big deal. This quote also makes connections to how we view and talk about America compared to other countries. We constantly fight and complain about politics, the economy and other social issues and even though these complaints are completely valid and worth fighting for, if we look at countries like Afghanistan where women can’t even go to school or places like north korea with insane dictatorship, we realize that with all of our problems, we still have these freedoms that millions of people would do anything for. I think that’s one of the reasons the handmaid’s tale is such a scary book. Margot Atwood isn’t writing about a different planet nothing like ours, she is showing a society that looks like ours but could turn into the horrors of the handmaid’s tale. The women in the book used to have freedoms like American women, who never realized that they would lose the most basic rights. This represents the ways that democracy and freedom can be changed. We learn and read about societies that collapsed or turned into dictatorships but it never seems realistic. Margot Atwood’s quote shows us that people living this probably felt the same, they were just normal women dealing with regular problems, when everything changed. This is why this quote is so impactful because it’s not just about Offred missing her old life but also telling of how quickly things can change.

In The Handmaid’s Tale, by Margaret Atwood, I went through many different emotions reading about the societal standards present in the story to the hidden meanings, and references to the human nature of genders in page 45. I was able to experience a deeper understanding as I closely read At the beginning of page 45 as Offred says her farewells to Ofglen she states, “ She hesitates, as if to say something more, but then she turns away and walks down the street“ (45). I was confused at this interaction, but as I look deeper I find that because of Gilead’s rules of no intimacy between Handmaids they both fear and hesitate to get closer. This reminds me of how societal norms can affect the choices of people and how they act in accordance to the norms. For instance speaking out about anything that is hot in the media can result in judgement or even worse being canceled. Another line from the same paragraph says, “She’s like my own reflection, in a mirror from which I am moving away” (45). This shows the Handmaid’s similarity to each other, as they wear the same red uniform, and are subjected to the same rules and ganders. Not only are they similar in uniform, their identity is stripped of individuality and reduced to follow a role set on them.

One of the moments in this page that made me feel weird was when Nick, who was polishing the car, suddenly whistles and tries to talk to Offred. “Then he says, ‘Nice walk?’ I nod, but do not answer with my voice. He isn’t supposed to speak to me. Of course some of them will try, said Aunt Lydia. All flesh is weak” (45). Nick’s actions towards Offred triggers a flashback to when Aunt Lydia says that all flesh is weak, making a connection to the human nature of men and how their desires are inevitable. It also shows the gender double standards, as men breaking rules are seen as natural, but women bear the burden of restraint. I find that this also relates to chapter 23 as the Commander wants Offred to play a few games of scrabble with him and then at the end give him a kiss. Which further shows Aunt Lydia’s point about men’s desire being inevitable.

The connection that intrigued me the most was when Offred described Serena Joy’s garden and specifically the tulips. In this section Offred describes the tulips as “no longer wine cups but chalices; thrusting themselves up, to what end? They are, after all, empty” (45). I find that this line shows a connection to the Handmaids, and from the line, “thrusting themselves up,” it expresses sexual imagery about reproduction. With the line sentence following that being, “They are, after all, empty,” can be connected to how the Handmaid’s bodies are merely vessels for reproduction. Furthermore chalice is normally seen as a holy item, I feel like from the use of chalice it symbolizes Gilead’s use of religion to justify the control and actions being done to these women’s bodies. With the last bit saying they are all empty expressing the emptiness of this religious justification.

Additionally Offred shows the violent system in Gilead through the tulips. “When they are old they turn themselves inside out, then explode slowly, the petals thrown out like shards” (45). Offred implies that the slowing destruction of tulips over time mirrors the way women are consumed by the system, then eventually discarded when no longer valuable. This shows the violence that Gilead lives by, relating to how society can value women by their youth and beauty, like how fashion industries value beauty and youthfulness the most when looking for their models. I find that Offred’s connection to a tulip reflects her current mental state as someone’s identity so controlled by societal rules. Her constant mix of sexuality, religion, and violence in her descriptions show the twisted perception she has on gender roles and natural beauty, living under Gilead’s ideology.

The character Serena Joy shows how the shift in societal standards affects the actions of a person directly. She was previously a singer and with some fame to her name she changed when the societal standards of Gilead came. “By the time she was worthy of a profile: Time or Newsweek it was, it must have been. She wasn’t singing anymore by then, she was making speeches. She was good at it. Her speeches were about the sanctity of the home, about how women should stay home. Serena Joy didn’t do it herself, she made speeches instead, but presented this failure of hers as a sacrifice she was making for the good of all” (45). Since the societal change to Gilead’s ideology, Serena Joy was affected by this and had to then make speeches about gender roles women should follow and how religion should play a bigger role in people’s lives. It also shows the societal hierarchy, by trying to push for women to be silenced and controlled with her influence, she too was later confined to her home under Gilead’s control. Margaret Atwood shows the influence that societal standards have on people and how people trying to fit into these roles affects themselves personally.

Atwood’s description of the bodies in The Handmaid’s Tale utilizes metaphors and detailed imagery to enhance the lifeless nature, as well as providing a commentary on the impact of violence on an individual. Offred has been traumatized by the normalization of violence in Gilead, and it shows through the way she describes the bodies.
In chapter 6 of The Handmaid’s Tale, the reader is given their first detailed description of the bodies that are lined up on the wall; “It makes the men look like dolls on which their faces have not yet been painted; like scarecrows, which in a way is what they are, since they are meant to scare.” (32) The metaphor ‘like dolls on which their faces have not yet been painted’ particularly stuck out to me because it speaks to the mysteriousness of these dead bodies, how they are perceived by the public as messages of hate and violence. Their lives have already been taken, and furthermore their identities as well. Our facial features are what give us our unique liveliness; just like a doll with no paint, we are lifeless without them. When picturing a scarecrow I think of the coarse hay, creating a rough, and inhumanely straight posture. Offred, having witnessed violence in such a way, is now attributing their posture to something unalive as she takes in the gruesome display. These bodies that were hanging weren’t just left for dead, but pinned up as trophies to scare the public. Offred goes on to give us more descriptive narration, enhancing the reader’s perturbed emotional state, allowing us to view the bodies the same way as she, “The heads are the heads of snowmen, with the coal eyes and the carrot noses fallen out. The heads are melting.” (32) The word “melting” inflicts a vivid image for me; one of limp white fabric surrounding the faint outline of a lifeless head. Its distorted, missing crucial recognizable features - such as the coal eyes and carrot nose - similarly to the dead, having been executed and then stripped of their identity. Something I found interesting about this comparison to a snowman was the trivialness of it, comparing a dead body to a core childhood memory. It allowed me to put myself into Offred’s shoes, transporting me back to a time when metaphors clouded my head, protecting me from what my eyes were ingesting. When I was 10 years old, I can vividly remember being exposed to death - the harsh, gory realities of it. I was scrolling on my shattered iphone 6. A bright green bar ran through the middle of it, distorting my view slightly. Though it didn’t stop me from stumbling across a comment section full of scarred teens. They were gossiping about the initial shock, comments flooded my screen warning me not to look, but it only enticed me more. Similarly to Offred I was unable to look away. I copied one of the top comments containing a link, pasting it into my private browser - I was young, yet had enough sense to cover my tracks. The screen transitioned from dark to light, flashing a dancing girl in a school uniform. She looked young, too young. I later found out she was the same girl in what I was about to watch. The video then cut to a low quality clip of 4 boys surrounding a girl. I couldn’t make out her face, only a blob of tan colored flesh was discernable. They were holding her, two had her arms, another by her neck. Before I knew it blood-red pixels flooded the screen. I didn’t know what was happening - but almost on cue, the resolution cleared. I vividly remember the way her head hung low, having been severed by a small knife, wielded by the vile boys. It reminded me of the way my kindergarten teacher used to do yoga with us. I exhaled softly, mimicking the voice of my teacher in the back of my head, my eyes were still glued to the cracked screen. It was the most horrific act of violence I had ever seen, yet my brain transported me to a moment of serene. After the breath was over, though, I threw my phone across the room and curled up in a ball, clutching my knees to my chest - I couldn’t sleep for weeks after without dreaming about the young girl. I think I was particularly drawn to this section because of how descriptive it was. Offred is visibly impacted, merely by the way she attributes childish metaphors such as the melting snowman, comforting - yet twisted. I too have become desensitized to violence, witnessing it on social media from a young age, and I believe it has shaped the way I am able to write and think. It has caused me to scour my brain for the right things to describe exactly what I am seeing, almost as a way of coping.

In Margaret Atwood’s critically acclaimed novel The Handmaid’s Tale, we see the idea of sanity and what mentality truly is brought up. It made me wonder what Atwood was trying to convey about one’s sanity and how differing situations impact it. As I read back, I felt as if Atwood was trying to tell us that oftentimes reality is the very reason that we lose our minds. I felt the same as Atwood when I was confronted with this. As oftentimes one’s circumstances are the very reason that they lose touch with reality, and not necessarily what is going on with their heads. At the same time, it made me wonder about how your past comes back to haunt you and ruin your current sanity. I felt that this was the perfect way to describe what was happening to Offred throughout the story, and specifically on page 109. I was able to notice this idea immediately when Atwood wrote about the idea of living in a “paranoid delusion.” On page 109, Atwood writes, “After these dreams I do awake, and I know I’m really awake because there is the wreath, on the ceiling, and my curtains hanging like they drowned white hair. I feel drugged. I consider this: maybe they’re drugging me. Maybe the life I think I’m living is a paranoid delusion.” This made me think of how Atwood continuously discussed the ideas of Offred’s dreams and how they make her feel. We see this throughout the entirety of the text, when she’s dreaming about her past with Nick or her friends. Every time she gets one of these dreams, it continues to add to her trauma. She mentions multiple times how her dreams make her distracted from reality, which is often a sign of being mentally ill or losing oneself. I believe that by Atwood adding these details, she keeps showing us readers that Offred is slowly losing her mind due to her current situation and her being unable to do anything about it. As Angel brought up in our discussion with the phrase “Don’t let the bastards grind you down,” was ingrained into Offred’s mind, as if she was trying her hardest to resist her mind being torn down by her current state. Which honestly makes sense to me due to how hard Offred was trying to resist. We can tell she was trying to resist because Atwood discusses how Offred is paranoid, and oftentimes paranoia is a sign that one is trying to gain awareness or control of their situation. It also made me think of Batman, how the villain was always afraid that Batman was watching from the shadows. Offred is constantly afraid that the dreams will get worse and keep haunting her, and also afraid that she will be destroyed by her current situation and lose all her sanity. In fact, in the very next paragraph, Offred talks about her own sanity. Atwood writes, “Not a hope. I know where I am, and who, and what day it is. These are the tests, and I am sane. 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.” This was what solidified my belief that Offred was slowly losing her sanity. I feel like she is trying her hardest to just save a little bit for the future when she may need it, or in case she tries to escape. She knows that she is slowly losing it and is only trying to keep the bare minimum. She says, “So I will have enough, when the time comes.” Which tells us that she just wants enough, not anything more and not anything less than what she needs. It really shows how desperate Offred is to maintain a part of herself and not let Gilead fully take her over. I think that it really shows the desperation and willpower of someone who is trying their best just to survive. I feel like Offred’s main reason for her strength is just to try to survive and live another day. I also believe that she has some ounce of hope that she will one day be able to escape, which is why she is trying to maintain her sanity. I feel as if Atwood is trying to convey the true depth of one’s mind and how humans have a tendency to try to save at least a shred of themselves, even when they are slowly losing it all. For me, the thing about this section that stood out the most was the line “Sanity is a valuable possession.” It made me wonder how valuable sanity truly could be in a world where you must abide by a strict set of rules and do not truly have any rights of your own. I believe that Atwood is trying to show us that no matter what, you must always maintain at least a shred of dignity, at least a shred of yourself. No matter what situation you have to go through. So in the end, it truly makes me wonder, what is peace of mind? How can we achieve it? Will our minds ever know peace?

When does choice become completely yours? Can you say you’re uninfluenced from any contributing outside factors? Are you completely in control of your actions by the time you’re fourteen? As I’ve traversed through seventeen years of living and now in high school, reading The Handmaid’s Tale, I’ve started to realize that this belief I’ve held is untrue. When I think back to the past, my memories and things that I’ve done, it feels as if they were an out of body experience. In the story The Handmaid’s Tale, Offred often talks about how in the past, before Gilead, she was able to use her body like an "instrument" and that her body was “nevertheless lithe, single, solid, one with me.” (Page 73) 

Specifically, she used her body to perform actions that she thought of doing rather than letting someone tell or force her to do. She thinks of her body as “one with herself,” where every action is equal in the reaction in her mind. Now, being forced to live in the Republic of Gilead, she talks about her body as if she is just a puppet in the hands of a puppeteer. She is forced to use her body, influenced by the control of others such as the Aunts, Commander, and society of Gilead to reproduce children, and follow orders such as household chores. “I’m a cloud, congealed around a central object, the shape of a pear, which is hard and more real than I am.” (Page 73-74) As she thinks of her present life and her actions, she identifies that she is nothing but someone who is meant to serve a purpose for the “central object” who she believes is “hard and more real” than she gives, giving us insight that she feels her own body is less tangible, “congealed,” than the person she’s using it for. As I read this part in the book, I realized that in my first years of high school, thinking back to school projects, work that I’ve done, and the things I participated in; I did them without purpose or in particular my brain’s consent on the action. I played sports because I figured it was something I needed to do to stay active and something that everyone else was doing in school. The school projects and papers I turned in were more of an interpretation and repetition of my classmates’ ideas. I wore clothes that now I would find uncomfortable and ugly simply because I wanted to fit in and everyone else was doing it. I, like Offred, was a cloud congealed around the lives of the SLA community and using my body to conform to the life of what society thought I should be living rather than have control on what I wanted to do and why. This senior year, I’ve been named the captain of the co-ed cross country team. Through this position, I’ve found what it means to be passionate about something and in turn, using my body, one with my own self, to put that passion towards leading. Specifically, I choose to go to every practice including asynchronous practice, because I choose and want to get better and stay consistent rather than going just to go. I’ve learned to appreciate the art of connection and networking with people through cross country as I’m always ready and excited to chat with my manager, teammates, and coaches I meet on the plateau. I reflect and thoroughly explore the texts I’m reading in class, taking notes and searching for thematic topics and deeper meanings versus the surface level reading that I was doing in freshman and sophomore year. Instead of reiterating the thoughts and discussions of my classmates, I bring forth new and original ideas that I’ve found myself onto papers, essays, and projects that I’m actually passionate about and enjoy speaking on. I’ve started contributing my spare time to the community as I’ve realized through the fun of participating in clubs, sports, and chatting, that I have a passion for wanting to help out those who need help. I use my body, one within my own, to help out my local animal shelter; assisting with enrichment for cats, petting them, feeding them, and playing with them. Now I know and use my body as my own and something I can utilize to go towards things I have recently found a deep purpose for. Whether that is to continue my career in the sport I love, reading literature materials and taking notes on how, just like the Handmaid’s Tale, these texts can have an influence on my life and thoughts, and contribute to my community.

In the novel, The Handmaid’s Tale, by Margaret Atwood, I was intrigued by the stark difference between the past and present societal laws and gender roles as Offred reflects on her memories while shopping on page 24. She recalls, “Women were not protected then” (24). I found myself agreeing with this statement. Offred’s past is similar to our present. The more I thought about it, the more I realized that there can be so much more the government can do to protect its citizens. In a class discussion on gender roles, Ada wrote, “I was sixteen, and I was trapped between him and the wall.” Even as children, women are subjected to sexual harassment, and they are forced to endure it because society has normalized such behavior silently. In today’s world, society suffers from the bystander effect because it doesn’t harm others if they don’t stand up.

Instead, the responsibility is pushed onto the victim. As Offred mentioned, “I remember the rules, rules that were never spelled out but that every woman knew” (24). Then she goes on to list rules that women must follow to keep themselves safe, some of which sound like basic rights, such as “Don’t go into a laundromat, by yourself, at night” (24). This moment made me pause and think about the podcasts of men talking about rape and blaming it on the victim for being in the wrong place at the wrong time. However, it really shouldn’t be that way; people shouldn’t have to worry about the time of day or location, unless it’s about to rain.

The rule, “keep the locks on and keep going” (24), resonated with me. I remember one day, late on the MFL, this guy in a shaggy black shirt came in on 15th street. He was high and had a knife. Throughout the entire ride, he banged on the back of the chair with the knife. Most of the time, these behaviors are out of our control, and we just have to stay away and keep moving in the opposite direction. Similarly, Aunt Lydia mentioned that in the past, people had the “freedom to” (24). In America, people are given the freedom of expression, which is great. However, there have to be limits on freedom of expression set by the government and acknowledged by the people, which don’t exist. This leads to the normalization of certain negative behaviors and arguments that certain acts of harassment are actually a form of freedom of expression. In today’s society, people are given the freedom to harm others and not be penalized for it.

On the other hand, Gilead has “freedom from” (24), which I feel ambivalent about. On the one hand, there are government regulations that prevent and punish sexual harassment. In the text, Offred states, “Now we walk along the same street, in red pairs, and no man shouts obscenities at us” (24). This system protects women from situations that we see today. They can go outside without the fear that a man will shout at them or harass them. However, this new system works by controlling and oppressing people through fear. This can be seen with the dead bodies hanging from the wall. Offred describes the bodies, “The two others have purple placards hung around their necks: Gender Treachery” (43). By hanging the bodies in public, the government is warning the citizens that they would end up dead if they tried gender treachery or even interacting with the opposite gender. To further discourage the interaction of men and women, the government assigns them gender roles. The women reproduce, cook, buy groceries, and if you were the commander’s wife, you would manage all the female servants. The men worked as guardians, angels, and the commander, who is a man, is in charge of them.

Instead of allowing their citizens to choose their partners, civil roles are assigned to males and females, such as the handmaid and the commander. The role of the handmaid is to have the commander’s and his wife’s baby, nothing more. However, even in a society oppressed of romance and love, there are still “flowering of secret lusts” (136) that happen in the shadows. In a society that is void of love, people start to crave it, as shown by these two examples. The first is when Offred realizes, “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” (103). I find this statement true; everyone needs a sense of love and belonging. It’s a major part of Maslow’s hierarchy of needs. In Offred’s case, love and intimacy are taken away from the process of reproduction. There is no emotional bond between her and the commander, and everything is taken as a job. To everyone around her, she is just a “national resource” (65). We can better see this in the second example, after the Commander receives a kiss from Offred. He says, “As if you meant it” (140). He also craved intimacy and love, which he couldn’t achieve in a society that prevents people from forming relationships. He tries in secret with Offred; however, she isn’t allowed to show intimacy, as it’s illegal.

The final line, when Aunt Lydia says, “Don’t underrate it” (24), puzzled me. How can someone support a society that strips away all human needs and rights in exchange for freedom from sexual harassment? In certain ways, Gilead is better than the past. Women are protected in public. However, they are protected as objects for reproduction, not as people. There is a trade-off between safety and freedom that is shown in this section of the text, which, Atwood warns us that if not balanced properly, can lead to societies like Gilead or a worse version of our society.