The Handmaid's Tale

The Handmaid's Tale is a futuristic dystopian novel by Canadian author Margaret Atwood published in 1985. It is set in a near-future New England in a patriarchal, totalitarian theonomic state known as the Republic of Gilead, which has overthrown the United States government. Offred is the central character and narrator and one of the "Handmaids": women who are forcibly assigned to produce children for the "Commanders", who are the ruling class in Gilead.
The novel explores themes of powerless women in a patriarchal society, loss of female agency and individuality, suppression of reproductive rights, and the various means by which women resist and try to gain individuality and independence. The title echoes the component parts of Geoffrey Chaucer's The Canterbury Tales, which is a series of connected stories (such as "The Merchant's Tale" and "The Parson's Tale"). It also alludes to the tradition of fairy tales where the central character tells her story.
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. In 2022, The Handmaid's Tale was included on the "Big Jubilee Read" list of 70 books by Commonwealth authors, selected to celebrate the Platinum Jubilee of Elizabeth II. The book has been adapted into a 1990 film, a 2000 opera, a 2017 television series, and other media. A sequel novel, The Testaments, was published in 2019.
After staging an attack killing the president of the United States and most of Congress, a radical political group called the "Sons of Jacob" uses theonomic ideology to launch a revolution. The Constitution is suspended, newspapers are censored, and the United States of America is reformed into a military dictatorship known as the Republic of Gilead. The new regime quickly consolidates its power, overtaking all other religious groups, including Christian denominations.
The regime reorganizes society using a peculiar interpretation of some Old Testament ideas, and a new militarized, hierarchical model of social and religious fanaticism among its newly created social classes. One of the most significant changes is the limitation of women's rights. Women become the lowest-ranking class and are not allowed to own money or property, or to read and write. Most significantly, women are deprived of control over their own reproductive functions. Though the regime controls most of the country, various rebel groups remain active.
The story is told in first-person narration by a woman named Offred, a criminal guilty of trying to escape to Canada with a forged passport alongside her husband and five-year-old daughter; she is also considered an adulterer for being married to a divorced man. Her marriage was forcibly dissolved, and her daughter was taken from her. Instead of being sentenced under the Republic of Gilead's draconian criminal justice system, Offred accepted training to become a "Handmaid" at the Rachel and Leah Centre, an alternative only available to fertile women: environmental pollution and radiation have drastically affected fertility, and she is one of the few remaining women who can conceive. She has been assigned to produce children for the "Commanders", the ruling class of men, and is made a Handmaid, a role based on the biblical story of Rachel and her handmaid Bilhah.
Women are classed socially and follow a strict dress code, ranked highest to lowest: the Commanders' Wives in sky blue, their unmarried daughters in white, the Handmaids in red with highly visible large white bonnets, the Aunts (who train and indoctrinate the Handmaids) in brown, the Marthas (cooks and maids, possibly unmarried sterile women past child-bearing years) in green, Econowives (the wives of lower-ranking men who handle everything in the domestic sphere) in blue, red and green stripes, and widows in black.
Offred details her life starting with her third assignment as a Handmaid to a Commander. Interspersing narratives of her present-day experiences are flashbacks of her life before and during the beginning of the revolution, including her failed escape, indoctrination by the Aunts, and her friend Moira's escape from the indoctrination facility. At her new home, she is treated poorly by the Commander's wife, Serena Joy, a former Christian media personality who supported women's domesticity and subordinate role well before Gilead was established.
To Offred's surprise, the Commander asks to see her outside of the "Ceremony", ritualized rape conducted during the Handmaids' likely fertile period each month, with the wives present, intended to result in conception. His request to see her in the library is illegal in Gilead, but they meet nevertheless. They mostly play Scrabble and Offred is allowed to ask favors of him, such as information or material items. He asks Offred to kiss him as if she meant it and tells her about his strained relationship with his wife. Finally, he gives her lingerie and takes her to a covert, government-run brothel using Jezebels, women forced into sanctioned sex slavery. Offred unexpectedly encounters an emotionally-broken Moira there, who tells her that those found breaking the law are sent to the "Colonies" to clean up toxic waste or are allowed to work as Jezebels as punishment.
In the days between her visits to the Commander, Offred also learns her shopping partner, a woman called Ofglen, is with the Mayday resistance, an underground network working to overthrow Gilead's government. Not knowing of Offred's criminal acts with her husband, Serena begins to suspect that he is infertile, so she arranges for Offred to have sex with Nick, the Commander's personal servant, who had attempted to talk to her before and shown interest. Serena offers Offred information about her daughter in exchange. She later brings her a photograph of Offred's daughter which leaves Offred feeling dejected believing she has been erased from her daughter's life.
After their initial sexual encounter, Offred and Nick begin to meet on their own initiative as well; she discovers that she enjoys these intimate moments despite memories of her husband, and shares potentially dangerous information about her past with him. Offred later tells Nick that she thinks she is pregnant.
Offred hears from a new walking partner that Ofglen has disappeared (reported as a suicide). She contemplates suicide when Serena finds evidence of the illegal relationship with the Commander. Shortly afterward, men arrive at the house wearing uniforms of the secret police, known as the Eyes of God or simply "Eyes", to take her away. As she is led to a waiting van, Nick tells her to trust him and go with the men. Offred is unsure if Nick or the men are Eyes or secretly members of Mayday, or if they are here to capture her or aid in her escape; she ultimately enters the van. Her future is left uncertain while Serena and the Commander are left bereft in their house, each thinking about the repercussions of Offred's capture on their lives.
The novel concludes with a metafictional epilogue, described as a partial transcript of an international historical association conference taking place in the year 2195. The male keynote speaker explains that Offred's narrative was originally recorded on a set of audio cassettes, a technology roughly 200 years out of date at that time, and later transcribed by historians. The speaker appears to be very dismissive of the misogyny of Gilead and interprets the story's title as a sexist joke. He also comments on the difficulty of authenticating the account, due to how few records have survived from the early years of Gilead's existence, and speculates on the eventual fates of Offred and her acquaintances.
Fitting with her statements 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 United States in the 1980s. Her motivation for writing the novel was her belief that in the 1980s, the religious right was discussing what they would do with/to women if they took power, including the Moral Majority, the Christian Coalition, and the Ronald Reagan administration. Atwood questions what would happen if these trends, and especially "casually held attitudes about women" were taken to their logical end.
Atwood argues that all of the scenarios offered in The Handmaid's Tale have actually occurred in real life—in an interview she gave regarding her later novel 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." Atwood was known to carry around newspaper clippings to her various interviews to support her fiction's basis in reality. Atwood has explained that The Handmaid's Tale is a response to those who say 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.
Atwood was also inspired by the Islamic revolution in Iran in 1978–79 that saw a theocracy established that drastically reduced the rights of women and imposed a strict dress code on Iranian women, very much like that of Gilead. In The Handmaid's Tale, a reference is made to the Islamic Republic of Iran in the form of the history book Iran and Gilead: Two Late Twentieth Century Monotheocracies mentioned in the endnotes describing the historians' convention in 2195. Atwood's picture of a society ruled by men who professed high moral principles, but are in fact self-interested and selfish was inspired by observing Canadian politicians in action, especially in her hometown of Toronto, who frequently profess in a very sanctimonious manner to be acting from the highest principles of morality while in reality the opposite is the case.
During the Second World War, Canadian women took on jobs in the place of men serving in the military that they were expected to yield to men once the war was over. After 1945, not all women wanted to return to their traditional roles as housewives and mothers, leading to a male backlash. Atwood was born in 1939, and while growing up in the 1950s she saw first-hand the complaints against women who continued to work after 1945 and of women who unhappily gave up their jobs, which she incorporated into her novel. The way in which the narrator is forced into becoming an unhappy housewife after she loses her job, in common with all the other women of Gilead, was inspired by Atwood's memories of the 1950s.
Atwood's inspiration for the Republic of Gilead came from her study of early American Puritans while at Harvard, which she attended on a Woodrow Wilson Fellowship. 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 theonomy where religious dissent would not be tolerated.
Atwood has 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. Due to the totalitarian nature of Gileadean 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. 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.
Atwood, in regards to those leading Gilead, further stated:
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." Atwood 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 an example of a religious theocracy forcing women out of the public sphere and into their homes, as in Gilead.
The "state-sanctioned murder of dissidents" was inspired by the Philippines under President Ferdinand Marcos, and the last General Secretary of the Romanian Communist Party Nicolae Ceaușescu's obsession with increasing the birth rate (Decree 770) led to the strict policing of pregnant women and the outlawing of birth control and abortion. However, Atwood clearly explains that many of these actions were not just present in other cultures and countries, "but within Western society, and within the 'Christian' tradition itself".
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. Atwood connects their concerns with infertility to real-life problems our world faces, such as radiation, chemical pollution, and sexually transmitted 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.
Offred is the protagonist and narrator who takes the readers through life in Gilead. She was labelled 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). Readers are able to see Offred's resistance to the Republic of Gilead on the inside through her thoughts.
Sometimes Offred has thoughts most readers would disagree with, such as the Ceremony not being rape because she agreed to be a Handmaid, despite the implication that she had no real choice (the alternative may have been execution, or hard labour cleaning nuclear waste). This may be a belief she has adapted to lessen her mental strain, or may be due to brainwashing during her Handmaid training.
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. In Volker Schlöndorff's 1990 film adaptation Offred was given the real name Kate, 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". From this and other references, some readers have inferred that her birth name could be "June". Academic Madonne 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.
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". The revelation of Offred's real name serves only to humanize her in the presence of the other Handmaids.
The Commander says that he was a scientist and was previously involved in something similar to market research before Gilead's inception. 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.
He shows his softer side to Offred during their covert meetings and confesses to being "misunderstood" by his wife. Offred learns that the Commander carried on a similar relationship with his previous Handmaid, who later killed herself when his wife found out.
In the epilogue, Professor Pieixoto 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 is a former televangelist and the Commander's Wife in the fundamentalist theonomy. Her real name is Pam and she is fond of gardening and knitting. The state took away her power and public recognition, and she tries to hide her past as a television figure. Offred identifies Serena Joy 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 Ceremony", a 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 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 secret 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. However, she breaks protocol by telling her what happened to the previous Ofglen.
Nick is the Commander's chauffeur, who lives above the garage. Right from the start, Nick comes across as a daring character as he smokes and tries to engage with Offred, both forbidden activities. 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 has been a close friend of Offred's since college. In the novel, their relationship represents a female friendship that the Republic of Gilead tries to block. A lesbian, she has resisted the homophobia of Gileadean society. Moira is taken to be a Handmaid soon after Offred. She finds the life of a Handmaid unbearably oppressive and risks engaging with the guards just to defy the system. 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. Moira exemplifies defiance against Gilead by rejecting every value that is forced onto the citizens.
Luke was Offred's husband before the formation of Gilead. He was married when he first started a relationship with Offred and 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. She wavers between believing him dead or imprisoned.
Pieixoto is the "co-discoverer [with Professor Knotly Wade] of Offred's tapes". In his presentation at an academic conference set in 2195, he talks about "the 'Problems of Authentication in Reference to The Handmaid's Tale'". Pieixoto is the person who is retelling Offred's story, and so makes the narration even more unreliable than it was originally.
Aunt Lydia appears in flashbacks where her instructions frequently haunt Offred. Aunt Lydia works at the 'Red Center' where women receive instructions for a life as a Handmaid. Throughout the narrative, Aunt Lydia's pithy pronouncements on the code of conduct for the Handmaids shed light on the philosophy of subjugation of women practised in Gilead. Aunt Lydia appears to be a true believer of Gilead's religious philosophy and seems to take her job as a genuine calling.
In the sequel The Testaments, however, Aunt Lydia is revealed to have been aiding anti-Gilead resistance networks. Her actions in releasing internal information to selected contacts instigates an internal purge that demolishes Gilead's ability to function and restores the United States. She also writes an autobiography of her life, which she hides in a copy of Cardinal John Henry Newman's Apologia Pro Vita Sua in the restricted section of the Ardua Hall library.
A Martha (female domestic servants are called Marthas) who works at the Commander's house because she is infertile. She hopes that Offred will get pregnant as she desires to help raise a child. She is friendly towards Offred and even covers up for her when she finds her lying on the floor one morning—a suspicious occurrence by Gilead's standards, worthy of being reported.
Rita is a Martha at the Commander's house. Her job is cooking and housekeeping and she is one of the members of the "household". At the start of the novel, Rita has a contempt for Offred and though she is responsible for keeping Offred well fed, she believes a Handmaid should prefer going to the Colonies over working as a sexual slave.
The novel is set in an indeterminate dystopian future, speculated to be around the year 2005, with a fundamentalist theonomy ruling the territory of what had been the United States but is now the Republic of Gilead. The fertility rates in Gilead have diminished due to environmental toxicity and fertile women are a valuable commodity owned and enslaved by the powerful elite. 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; Atwood studied at Radcliffe College, located in this area. As a researcher, Atwood spent a lot of time in the Widener Library at Harvard which in the novel serves as a setting for the headquarters of the Gilead Secret Service.
Bruce Miller, the creator and 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". The author explains that Gilead tries to embody the "utopian idealism" present in 20th-century regimes, as well as earlier New England Puritanism. Both Atwood and Miller stated that the people running Gilead are "not genuinely Christian".
The group running Gilead, according to Atwood, is "not really interested in religion; they're interested in power". In her prayers to God, Offred reflects on Gilead and 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." 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."
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. Christian denominations, including Quakers, Baptists, Jehovah's Witnesses, and Roman Catholics, are specifically named as enemies of the Sons of Jacob. 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 regime 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."
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 practising Judaism and executed.
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.
"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:
The Handmaid's Tale received critical acclaim, helping to cement Atwood's status as a prominent writer of the 20th century. Not only was the book deemed well-written and compelling, but Atwood's work was notable for sparking intense debates both in and out of academia. Atwood maintains that the Republic of Gilead is only an extrapolation of trends already seen in the United States at the time of her writing, a view supported by other scholars studying The Handmaid's Tale. Many have placed The Handmaid's Tale in the same category of dystopian fiction as Nineteen Eighty-Four and Brave New World, a categorization that Atwood has accepted and reiterated in many articles and interviews.
Even today, many reviewers hold that Atwood's novel remains as foreboding and powerful as ever, largely because of its basis in historical fact. 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 1986 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".
The Handmaid's Tale is a feminist dystopian novel, combining the characteristics of dystopian fiction: "a genre that projects an imaginary society that differs from the author's own, first, by being significantly worse in important respects and second by being worse because it attempts to reify some utopian ideal", with the feminist utopian ideal which: "sees men or masculine systems as the major cause of social and political problems (e.g. war), and presents women as not only at least the equals of men but also as the sole arbiters of their reproductive functions".
The Encyclopedia of Science Fiction notes that dystopian images are almost invariably images of future society, "pointing fearfully at the way the world is supposedly going in order to provide urgent propaganda for a change in direction". Atwood's stated intent was indeed to dramatize potential consequences of current trends.
In 1985, reviewers hailed the book as a "feminist 1984", citing similarities between the totalitarian regimes under which both protagonists live, and "the distinctively modern sense of nightmare come true, the initial paralyzed powerlessness of the victim unable to act". Scholarly studies have expanded on the place of The Handmaid's Tale in the dystopian and feminist traditions.
The classification of utopian and dystopian fiction as a sub-genre of the collective term, speculative fiction, alongside science fiction, fantasy, and horror is a relatively recent convention. Dystopian novels have long been discussed as a type of science fiction; however, with publication of The Handmaid's Tale, Atwood distinguished the terms science fiction and speculative fiction quite intentionally. In interviews and essays, she has discussed why, observing:
Atwood acknowledges that others may use the terms interchangeably, but she notes her interest in this type of work is to explore themes in ways that "realistic fiction" cannot do.
Among a few science fiction aficionados, however, Atwood's comments were considered petty and contemptuous. (The term speculative fiction was indeed employed that way by certain New Wave writers in the 1960s and early 1970s to express their dissatisfaction with traditional or establishment science fiction.) 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."
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 American Advanced Placement English Literature and Composition exam each year. 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.
The American Library Association lists The Handmaid's Tale as number 37 on the "100 Most Frequently Challenged Books of 1990–2000". In 2019, The Handmaid's Tale is still listed as the seventh-most challenged book because of profanity, vulgarity, and sexual overtones. Atwood participated in discussing The Handmaid's Tale as the subject of an ALA discussion series titled "One Book, One Conference".
In May 2022, Atwood announced that, in a joint project undertaken with Penguin Random House, an "unburnable" copy of the book would be produced and auctioned off, the project intended to "stand as a powerful symbol against censorship". On 7 June 2022, the unique, "unburnable" copy was sold through Sotheby's in New York for $130,000.
The book has been banned in school libraries in Florida, Missouri, Oregon, Pennsylvania, South Carolina, Texas, Utah, Virginia, Wisconsin, and Wyoming.
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; demonstrating the importance of reading to our freedom, both intellectual and political; and acknowledging the "most insidious and violent manifestations of power in Western history" in a compelling manner.
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.
Much of the discussion about The Handmaid's Tale has centred 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. 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".
Econowives are women expected to carry out child-bearing, domestic duties, and traditional companionship; they are married to men that don't belong to the elite. When asked about whether her book was feminist, Atwood stated that the presence of women and what happens to them are important to the structure and theme of the book. This aisle of feminism, by default, would make a lot of books feminist. However, she is adamant in her stance that her book did not represent the brand of feminism that victimizes or strips women of moral choice.
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".
Some scholars have offered a feminist interpretation, connecting Atwood's use of religious fundamentalism in the pages of The Handmaid's Tale to a condemnation of its presence in current American society. Atwood goes on to describe her book as not a critique of religion, but a critique of the use of religion as a "front for tyranny". 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 turns toward the possibility of "the matriarchal network ... and a new form of misogyny: women's hatred of women".
Scholars have analyzed and made connections to patriarchal oppression in The Handmaid's Tale and oppression of women today. Aisha Matthews tackles the effects of institutional structures that oppress woman and womanhood and connects those to the themes present in The Handmaid's Tale. She first asserts that structures and social frameworks, such as the patriarchy and societal role of traditional Christian values, are inherently detrimental to the liberation of womanhood. She then makes the connection to the relationship between Offred, Serena Joy, and the Commander, explaining that through this "perversion of traditional marriage, the Biblical story of Rachel, Jacob, and Bilhah is taken too literally". Their relationship and other similar relationships in The Handmaid's Tale mirror the effects of patriarchal standards of womanliness.
In the world of The Handmaid's Tale, the sexes are strictly divided. Gilead's society values white women's reproductive commodities over those of other ethnicities. Women are categorized "hierarchically according to class status and reproductive capacity" as well as "metonymically colour-coded according to their function and their labour". The Commander expresses his personal opinion that women are considered inferior to men, as the men are in a position where they have power to control society.
Women are segregated by clothing, as are men. With rare exceptions, men wear military or paramilitary uniforms. All classes of men and women are defined by the colours they wear, 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.
The women, particularly the Handmaids, are stripped of their individual identities as they lack formal names, taking on their assigned Commander's first name in most cases.
Sterile women, the unmarried, some widows, feminists, lesbians, nuns, and politically dissident women: all women who are incapable of social integration within the Republic's strict gender divisions. Gilead exiles Unwomen to "the Colonies", areas both of agricultural production and deadly pollution. Joining them are Handmaids who fail to bear a child after three two-year assignments.
Jezebels are women who are forced to become prostitutes and entertainers. They are available only to the Commanders and to their guests. Offred portrays Jezebels as attractive and educated; they may be unsuitable as Handmaids due to temperament. They have been sterilized, a surgery that is forbidden to other women. They operate in unofficial but state-sanctioned brothels, unknown to most women.
Jezebels, whose title comes from Jezebel in the Bible, dress in the remnants of sexualized costumes from "the time before", such as cheerleaders' costumes, school uniforms, and Playboy Bunny costumes. Jezebels can wear make-up, drink alcohol and socialize with men, but are tightly controlled by the Aunts. When they pass their sexual prime or their looks fade, they are discarded without any precision as to whether they are killed or sent to the Colonies.
Many elements of Gilead recall details from Plato's Republic. Gilead's social hierarchy of commanders, guardians, Marthas and handmaids, for example, has similarities to Plato's social hierarchy of philosopher-guardians, auxiliary-guardians and producers. Both societies are also home to a state-based eugenics program, and see gymnasiums used as educational spaces in which women are socialized into new gender roles. The powers that be in Gilead legitimize their rule through the extensive use of propaganda, much as Plato's rulers ensure co-operation on the part of the public by propagating a noble lie.
According to philosopher Andy Lamey, rather than straightforward allusions, the similarities to Plato are combined with features that differ, at times dramatically, from Plato's original. As Lamey writes, "the result is that Atwood's dystopia deliberately calls to mind a distorted version of Platonism, one that differs in ways large and small from the original." In the case of gymnasiums, for example, in Plato they see women socialized into roles that make them the equal of men, while in Gilead they are where handmaids are first taught their duties.
Vernon Provençal has suggested that the novel is a satire of Platonism. Lamey, however, argues that this interpretation cannot explain why the book contains distorted references to philosophies beyond Platonism. Two such references are evident in mottos that handmaids are forced to repeat during their training. "Pen is envy" is a corrupt rendering of Freud's notion of penis envy, while "From each according to her ability; to each according to his needs" is a garbled version of Marx's slogan "from each according to his ability, to each according to his needs." Lamey argues that such allusions, rather than satirizing the philosophies in question, see Gilead employ a practice frequently used by actual dictatorships, that of seeking to bolster their prestige and legitimacy by twisting ideas already in circulation to suit their own ends.
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 North Dakota, which are suggestive of the apartheid-era homelands (Bantustans) set up by South Africa or forced death marches. 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, specifically Gilead's explicit anti-literacy laws, which was borrowed from real life anti-literacy campaigns in the United States, alongside the removal of surnames among handmaids, an ode to how enslaved Africans were not given last names until Emancipation.
It is implied that a total genocide has been committed against Native Americans living in territories under the rule of Gilead. Jews were given a choice between converting to the state religion or being "repatriated" to Israel. Converts who were subsequently discovered with any symbolic representations or artifacts of Judaism were executed, and the repatriation scheme was privatized, with the result that many Jews died en route to Israel.
In November 2018, Atwood announced the sequel, titled The Testaments, which was published in September 2019. The novel is set fifteen years after Offred's final scene, with the testaments of three female narrators from Gilead.