It's true, the first scream, whimper even, and I'll turn to jelly, I'll confess to any crime, I'll end up hanging from a hook on the Wall. But the frown isn't personal: it's the red dress she disapproves of, and what it stands for. I want to go to bed, make love, right now. I think the word relish. I could eat a horse. What they used to call May Day.
The Handmaid’s Tale Critical Essay | Critical Theory | Fiction & Literature
She held her own hands out to us, the ancient gesture that was both an offering and an invitation, to come forward, into an embrace, an acceptance. In your hands, she said, looking down at her own hands as if they had given her the idea. But there was nothing in them. They were empty. Possibly, we reasoned, this house may have been a "safe house" on the Underground Femaleroad during our period, and our author may have been kept hidden in, for instance, the attic or cellar there for some weeks or months, during which she would have had the opportunity to make the recordings.
The need for what I may call birth services was already recognize in the pre-Gilead period, where it was being inadequately met by "artificial insemination," "fertility clinics," and the use of "surrogate mothers," who were hired for the purpose. Down there in the lawn, someone emerges from the spill of darkness under the willow, steps across the light, his long shadow attached sharply to his heels. Once we had to watch a woman being slowly cut into pieces, her fingers and breasts snipped off with garden shears, her stomach slit open and her intestines pulled out.
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Night falls. Or has fallen. Why is it that night falls, instead of rising, like the dawn? Even though some of them are no more than fourteen — Start them soon is the policy, there's not a moment to be lost — still they'll remember.
Nature demands variety, for men. It stands to reason, it's part of the procreational strategy. It's Nature's plan. Women know that instinctively. In order to retain its pragmatic status of convincing testimony, the text deploys strategies that aim to deflect readerly attention from obvious barriers to belief, and it is these strategies I propose to examine in what follows. This is a reconstruction. All of it is a reconstruction. Any account of traumatic experience, whether it be written or spoken, fictional or non-fictional, attests to the impossibility of accurate and comprehensive witness.
The trauma is thus an event that has no beginning, no ending, no before, no during, and no after.
But then what happens, but then what happens? I know I lost time. There must have been needles, pills, something like that.
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- ‘What's in a Name?’: Readers as both Pawns and Partners, or Margaret Atwood’s Strategy of Control;
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You have had a shock, they said. I would come up through a roaring and confusion, like surf boiling. I can remember feeling quite calm. I can remember screaming… My red skirt is hitched up to my waist, though no higher.
Below it, the Commander is fucking. What he is fucking is the lower part of my body. Copulating too would be inaccurate, because it would imply two people and only one is involved. Nor would rape cover it… First-person narration intensifies the force of the utterance by encouraging readerly identification with a suffering speaker.
As a relation to events, testimony seems to be composed of bits and pieces of a memory that has been overwhelmed by occurrences that have not settled into understanding or remembrance, acts that cannot be constructed as knowledge nor assimilated into full cognition, events in excess of our frames of reference.
The strategic portrayal of Offred as survivor does much to increase the impact of her testimony. A lone survivor who bears witness cannot fail to command the attention and respect of her interlocutor. The Book of Job begins with a series of catastrophes, but for each there is a survivor. The mere fact of her survival confers an unusual degree of moral authority to her story, whatever its objective truth value.
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It is the admission of her own inadequacy and lack of political will that, perhaps more than any other single tactic, make Offred a supremely convincing witness. The fact is that I no longer want to leave, escape, cross the border to freedom. I want to be here, with Nick, where I can get at him. I want to keep on living, in any form. I resign my body freely, to the uses of others.
They can do what they like with me. I am abject. I ought to feel hatred for this man. What I feel is more complicated than that. The accuracy of her insight into the psychology of patriarchal totalitarianism more than compensates for the implausibilities and inconsistencies we may perceive in her imaginary world. Felman in S. Felman and D.
CRITICAL ANALYSIS OF THE HANDMAID’S TALE FROM A FEMINIST PERSPECTIVE
Laub, M. Atwood, Second Words, op. Laub, Testimony …, op. Pavel, Fictional Worlds , Cambridge, Mass. Rose, The Haunting of Sylvia Plath …, op. You can suggest to your library or institution to subscribe to the program OpenEdition Freemium for books. Feel free to give our address: contact openedition. We will be glad to provide it with information about OpenEdition and its subscription offers.
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