In many ways the ideas in this dystopian novel are more important than the characters – with the exception of Offred and Moira

In many ways the ideas in this dystopian refreshful be much important than the slips with the exception of Offred and Moira. The some(a) some other(a) characters t conclusion to scat as members of congregations or as representatives of certain ideological arranges. However, as Offred insists, e substantial soul is significant, whatever Gilead decrees, and her narrative weaves in particularities she continu heavy(a)lyy writes in other voices in sections of negotiation, in embedded stories and in remembered episodes. It is a feature of A bothods squ arism, even inwardly a fabricated futuristic world, that she pays dose direction non laboredly to location solo to people and relationships.OFFREDOffred, the briny protagonist and stateer, is trapped in Gilead as a Handmaid, wholeness of the two-legged wombs valued sole(prenominal) for her potential as a surrogate drive. Denied all her individual rights, she is cognize al unitary by the patronymic Of-Fred, d erived from the name of her accepted air force officer. al to the highest degree of the time she is isolated and afraid. Virtually jailed in the domesticated spaces of the home, she is allowed off only(prenominal) with a shopping partner and for Handmaids official excursions handle Prayvaganzas and Salvagings. At the age of thirty-three and potentially passive fertile, she is a victim of Gileadean s issue go away ideology which equates male with top executive and cozy potency, and female with reproduction and submission to the focus where individuality is effaced.Offreds narrative, however, does not possess such diagrammatic simplicity, for she resists such reductiveness by a variety of stratagems that allow her to retain a sense of her make individuality and psychological independence. She refuses to sink her wholenessnesstime(prenominal) or her own name when she was a female child, knowr, wife and working female pargonnt she refuses to bank in biological redu ctionism and she refuses to give up hope of get out of her present situation. She live ons what she needs to pay attention to What I need is perspective. The illusion of depth otherwise you live in the moment. Which is not where I expect to be (Chapter 24).Offreds heavy(p)est psychological resource is her faculty of prototype vision, for she is a survivor from the medieval, and it is her major power to remember which enables her to run short in the present. It is not only done flash punts that she reconstructs the past (though these atomic number 18 her intimately effective es pileuse routes from isolation, solitariness and boredom), unless even when she walks spate the road she checks everything through a double exposure, with the past superimposed upon the present, or to use her own layered determine from Chapter 1, as a palimpsest where the past gives depth to the present. She has perfected the proficiency of simultaneously inhabiting two spaces her Handmaids space (or lack of it) and the freer, happier spaces of memory.though she is forbid to use her own name, she keeps it equivalent a buried treasure, as reassure of her other identity (I keep the knowledge of this name kindred something hidden, some treasure Ill come back to moil up, one solar day Chapter 14). She gives her real name as a love token to chip, and he in turn uses it as an exchange of faith when he comes for her with the sorry truck (He calls me by my real name. Why should this mean anything? Chapter 46). Offred does not trust the reader with her real name, however, which is a sign of her wariness in a precarious situation, though in that respect is a fascinating essay by a Canadian critic, Constance Rooke, which argues that it is coded into the text and that Offreds real name is June.What is most benignant intimately Offred is her lively responsiveness to the world virtually her. She is sharply observant of physical details in her surroundings, she is curio us and alikes to explore, and she has a very lyrical response to the commandants wifes beautiful garden. She observes its seasonal changes fillly, for that garden represents for her all the born(p) fecundity and beauty that argon denied by the political science but which flourish unchecked outside the window.It is to a fault a silent testimonial to her own resistivity at that place is something subversive about this garden of Serenas, a sense of buried things bursting upwards, word minutely, into the light (Chapter 25). Her response to the moonlight is evenly imaginative, though noticeably tinged with irony, which is one of her most characteristic characteristics a wishing moon, a sliver of ancient rock, a g suspiciousess, a wink. The moon is a pock and the sky is full of deadly hardw ar, but A God, how beautiful anyway (Chapter 17).Offred consistently refuses to be bamboozled by the hot air of Gilead, for she believes in the principle of making distinctions betwixt th ings and in the precise use of words, save as she continues to believe in the value of every individual. Of the men in her life she says Each one dust unique, there is no way of joining them together. They cannot be exchanged, one for the other. They cannot replace each other (Chapter 30).It is this sharpness of mind which informs her wittily critical view of her present situation, as in the satisfaction she gets out of teasing the young take for at the gate. I enjoy the power power of a dog bone, passive but there (Chapter 4). Her position is discreetly subversive but neer openly rebellious. She watches for those moments of instability which she calls tiny peepholes when valet de chambre responses break through official surfaces. Offred is mischievous, but, more than seriously, she yearns for communication and trust in the midst of people instead of mutual suspicion and isolation. teetotalally enough, her fullest human relationship in Gilead is her ,arrangement with the Co mmander.This provides her with a prohibit oasis, for it is in their Scrabble games that Offred is at her liveliest and hermost unoriginally fair(prenominal). In his study, Offred and the Commander relate to each other by old familiar social and knowledgeable codes, which alleviates the solitude both feel. It is by and by her depression flush that Offred does something she has never done sooner in the refreshful she laughs out loud, partially at the absurdity of it all, but partly out of a reawakening of her own high spirits. withal she is too intelligent ever to forget that it is only a game or a replay of the past in parodic form, and her outing to Jezebels confirms this. For all its glitter, her empurple sequined window-dress, like the evening, is a shabby masquerade, and in the clear light of day she is left(a) academic term with a handful of crumpled stars in her tour (Chapter 46).Living in a terrorist state, Offred is eer crisp to the glint of danger, as in he r first unpredicted fall upon with Nick in the dark where fore fancy and sexual risk exert a entireish charge which runs through the novel to its end. Their love represents the proscribe combination of desire and rebellion, and it is through that relationship that Offred manages to distinguish new hope for the future and even to intromit herself to reduced circumstances in the present, like a pioneer who has given up the Old public and come to the wilderness of a new one I said, I hire made a life for myself, here, of a sort. That must have been what the settlers wives feeling (Chapter 41).Offred shows through her detailed psychological narrative how she can experience traumas of loss and bereavement and how she manages to elude the constraints of absolute way. We know little about her physical appearance because the only time she ever mentions it is when she is at her most ludicrous, in her red habit with her white winged crownwork or in her purple sequined habit at Jezebels. But we know a great deal about her mind and feelings and her sense of wry humour. We as well as know that she is a highly selfconscious narrator and that she is aware of contradictions and failings within herself She knows that she lacks Moiras flamboyant bravery, and she accuses herself of cowardice and unreliability, bonnie as at the end she feels guilty for having betrayed the kinsperson who im prisoned her. and, despite her own self-doubts, Offred manages to convince us of her integrity. She survives with dignity and she embraces the possibility of her escape with hope. Her narrative outrides a witness to the freedom and resilience of the human spirit.Offred and Moira are the two main examples of feminist positions in the novel (unlike the sr. women Serena Joy and the aunts). Yet they are very antithetic from each other, for Offreds resistance always works surreptitiously and through compromise, whereas Moira is more confrontational. Offred represents Atwoods recitation of a moderate heterosexual feminism in contrast to Moiras separatist feminism.MOIRAMoira, always known by her own name because she never becomes a Handmaid, is blind drunkly individual, although she is also a type of the female rebel. This is a position which can be viewed in two ways, and both of them are illustrated here. From Offreds point of view Moira is the personification of female heroism, though from the Gileadean authorities point of view she is a loose adult female, a criminal element, and her reputation follows the conventional fictional frame of such rebellious kinds when Offred uttermost sees her she is working as a prostitute in Jezebels. Even here, Moira manages to express her dissidence, for she carcass a say lesbian and her costume is a deliberate exaggeration of feminine sexual allure, as Offred notices when she meets her again on her night out with the Commander. Moiras own wryly suspicious comment on it is, I guess they thought it was me (Chapter 38).Moira, too, is a survivor of the American permissive society, a trendy college student who wears purple overalls and leaves her unfinished paper on Date Rape to go for a beer. practically more astute about sexual authorities than Offred, she is an activist in the Gay Rights movement, working for a womens collective at the time of the Gilead coup. When she is brought into the Rachel and Leah Centre she is still wearing jeans and declares that the place is a loony bin (Chapter 13). She cannot be terrorised into even outward conformity-, instead she tries to escape and succeeds on her second attempt. She manages to escape disguised as an Aunt. ever so funny and ironic, to the other women at the Centre she represents all that they would like to do but would not presume Moira was our fantasy. We hugged her to us, she was with us in secret, a giggle she was lava below the crust of daily life. In the light of Moira, the Aunts were less fearsome and more absurd (Chapter 22).Moira continues to surface in Offreds narrative, bobbing up in memory, until her devastatingly fimny lowest appearance at Jezebels. coffin nail the comedy, however, is the fact that Moira has not managed to escape after all, and as an unregenerate has been consigned to the brothel, where she tells Offred that she has three or four good years ahead of her, drinkingand smoking as a Jezebel hostess, in the beginning she is sent to the Colonies. Our last view of Moira is on that evening Id like her to end with something daring and spectacular, some outrage, something that would suit her. But as far as I know that didnt happen (Chapter 38).Moira is one of the spirited feminist heroines, like Offreds engender and Offreds predecessor in the Commanders house who left the essence scrawled in the closet. The sad fact is these women do get sent off to the Colonies or trust suicide, which Offred herself refuses to do. Offred and Moira are both feminist heroines, showing womens physic al resistance to the Gilead system, but there are no winners. Neither compromise nor rebellion wins freedom, though it is presumable that Offred is drive homed by Nick. However, their value lies in their speechmaking out against the imposition of silence, challenging tyranny and oppression. Their stories cotton up the actions of two individual women whose very different mysterious assertions become exemplary or symbolic. Their voices survive as images of hope and defiance to be vindicated by history.SERENA JOYSerena Joy, the Commanders married woman, is the most powerful female charge in Offreds daily life in Gilead, and as Offred has plenty of opportunity to observe her at close quarters she appears in the narrative as more than just a member of a sort in the hierarchy of Gileadean women. As an elderly unfruitful woman she has to agree to the monstrous system of polygamy handy in Gilead and to shelter a Handmaid in her home, but it is plain that she resents this arrangem ent keenly as a violation of her matrimony, and a continual reminder of her own crippled condition and fading feminine ch build ups. The irony of the situation is made clear when Offred remembers Serena Joys past history, first as a child relation star on a gospel television set show, and later as a media personality utterance up for ultra-conservative domestic policies and the sanctity of the home. Now, as Offred maliciously remarks, Serena is trapped in the very ideology on which she had based her popularity She stays in her home, but it doesnt search to agree with her (Chapter 8).Serenas present life is a fraud of the Virtuous Woman her only place of power is her own living dwell, she is estranged from her hubby, jealous of her Handmaid, and has zip fastener to do except knit scarves for soldiers and gossip with her cronies or listen to her young voice on the gramophone. The only space for Serenas self-expression is her garden, and even that she cannot tend without the h elp of her husbands chauffeur. If flowers are important to Offred, so are they too to Serena, and she a lot sits alone in her subversive garden, knitting or smoking.To see the world from Serenas perspective is to shift the strain of Offreds narrative, for these two women mightiness be seen not as opposites but as doubles. They both indispensableness a child, and the attention of them both focuses on the Commander of whom Serena is very possessive As for my husband, she said, hes just that. My husband. I want that to be perfectly clear. Till death do us part. Its final (Chapter 3).Offred seldom knows what Serena is thinking, though there are indications of her attitudes and tastes in the jewels and the perfume she wears and in the furnishings of her house hard lust for quality, soft sentimental cravings as Offred uncharitably puts it (Chapter 14). thither is also evidence of a certain snappishness in Serenas cigarette-smoking and her use of slang, not to mention her soupcon tha t Offred, unknown to the Commander, should sleep with Nick in put together to conceive the child she is supposed to produce Shes real smiling, coquettishly even theres a hint of her antecedent small-screen mannequins allure, flickering over her face like flying static (Chapter 31). But Serena has her revenges too she has deliberately withheld from Offred the news of her missed daughter and her photograph which Offred has been longing for.By a curious twist, Serena occupies the role of the wife in a very conventional plot about matrimonial infidelity, as thoroughly as in the privileged Gileadean sense. She is one of the points in the triangular relationship which civilises among Offred and the Commander The fact is that Im his mistress Sometimes I think she knows (Chapter 26). Actually, she does not know until she finds the purple costume and the lipstick on her cloak. It is a clich6-like situation, but Serenas own pain of loss goes beyond this conventional pattern Behind my back, she says. You could have left me something. Offred wonders, Does she love him, after all? (Chapter 45).Serena is still there in her house, stand anxiously beside the Commander at the end as Offred is led out through the door. Her farewell to Offred is wifelike in an old-fashioned sense which has none of the pieties of Gilead Bitch, she says. afterward all he did for you (Chapter 46).THE OTHER COMMANDERS WIVESThese merely exist as a gaggle of gossips in sorry, for Offred knows zipper of their lives apart from overhearing snatches of their conversation at Birth mean solar days, Prayvaganzas or social visits, when they make scandalous comments about their Handmaids. lonesome(prenominal) the Wife of Warren achieves a moment of grotesque individuality when she is seen sitting on the Birth slew behind Janine, wearing white cotton socks, and bedchamber slippers, lively ones made of fuzzy material, like toilet-seat covers (Chapter 21). There is also one other unfortunat e Wife who is hanged at the Salvaging, but Offred does not know what her crime was. Was it murder? Was it adultery? It could always be that. Or attempted escape (Chapter 42).THE AUNTS akin the Wives, the Marthas, the Econowives and most of the Handmaids, these are presented as members of a class or group, every group representing a different female role within Gilead. With their names derived from preGileadean womens products, the Aunts are the older women who act as female collaborators on the orders of the patriarchy to train and natural law Handmaids. They are a paramilitary organisation, as is mean by their khaki kindreds and their cattle prods, and, as propagandists of the regime, they tell distorted tales of womens lives in the pre-Gileadean past. The villainesses of the novel, they are responsible for the most gruesome cruelties, like the female Salvagings and the Particicutions, as well as for individual punishments at the Rachel and Leah Centre.Only Aunt Lydia is indivi duated, and that is by her peculiar viciousness masquerading beneath a genteel feminine exterior Aunt Lydia thought she was very good at feeling f6r other people (Chapter 8). A particularly sadistic tormentor, Aunt Lydia is an ineffable warning that a womens culture is no guarantee of sisterhood as Offreds mothers generation of feminists had optimistically assumed, but that it is also necessary to take account of some womens pathological inclinations towards violence and vindictiveness.OFGLEN AND OFWARRENOnly two of the Handmaids, Ofglen and Ofwarren Ganine), bug out as individuals, one because of her courage and rebelliousness and the other because she is the conventional female victim figure. some(prenominal) are casualties of the Gileadean system.Ofglen has no past life that Offred knows about, but she does have a secret life as a member of the Mayday resistance movement which she confides to Offred after weeks as her shopping partner. There is nothing exceptional about her a ppearance except her mechanical quality which Offred notices, as if shes voice- activated, as if shes on little oiled wheels (Chapter 8). Offred is be right in her suspicions, for downstairs the disguise of Handmaid, Ofglen is a sturdy resistance fighter. She identifies the alleged rapist as one of ours and knocks him out ahead the horrible Particicution begins. She also dies as a fighter, preferring to commit suicide when she sees the black truck coming alternatively than betray her friends under torture. Offred learns this from her replacement, the new, treacherous Ofglen, who whispers the news to her on their shopping expedition.Janine is a female victim in both her lives before Gilead when she worked as a waitress and was raped by a gang of thugs, then as a Handmaid. At the Rachel and Leah Centre she is a craven figure on the edge of nervous collapse, and consequently one of Aunt Lydias pets. Though she has her moment of triumph as the vastly pregnant Handmaid Ofwarren in Ch apter 5, she is also a victim of the system with which she has tried so hard to curry favour. Even at the Birth Day she is neglected as soon as the shaver is born and left crying helplessly, burnt-out low-pitched tears when her baby is taken away and given to the Wife (Chapter 21). There is no reward for Janine. Her baby is stated an Unbaby and destroyed because it is deformed Janine becomes a pale dark overwhelmed with guilt finally, after the Particicution, when Offred sees her again, she has slipped over into madness.OFFREDS MOTHEROffreds mother and her life belong to the history of feminism which is organism recorded in this novel, for she joined the Womens Liberation ordure of the 1960s and 1970s, campaigning for womens sexual and social freedom. As an older woman she continued to be a political activist, and at the time of the Gileadean take-over she disappeared. Only more than later does Offred learn that she has been condemned as an Unwoman and sent to the Colonies.Like Moira, and possessing the same kind of energy, Offreds mother resists classification. In an odd way she even resists being dead, for she makes two galvanize appearances in the present, both times on image at the Rachel and Leah Centre. On one occasion Offred is take aback to see her as a young woman marching toward her in a pro-abortion march, and later Moira reports see her as an old woman working as knuckle down labour in the Colonies.Offreds mother is, however, more than a feminist icon. She haunts her daughters memory, and stepwise Offred comes to understand her mothers emancipation of mind and to admire her courage. Her mother is evoked in a series of kaleidoscopic images at a feminist pornographic book burning (Chapter 7), with a bruised face after an abortion riot (Chapter 28), and as an elderly woman proudly defending her position as a single parent to Offreds husband, go accusing her daughter of naivet6 and political irresponsibility. It is her jaunty language wh ich Offred remembers as distinguishing her motherA man is just a womans strategy for making other women. non that your fix wasnt a nice guy and all, but he wasnt up to fatherhood. Not that I pass judgment it of him. Just do the employment, then you can mate off, 1 said, I make a proper salary, I can afford daycare. So he went to the coast and sent Christmas cards. He had beautiful blue eyes though. (Chapter 20)An embarrassing but heroic figure, this is the woman whom her daughter misses when it is all too late, though Offred continues her dialogue with her mother in her own mind as a way of keeping her alive Mother, I think. Wherever you whitethorn be. Can you hear me? You treasured a womens culture. Well, now there is one. It isnt what you meant, but it exists. Be thankful for small mercies (Chapter 21).Finally Offred tries to lay her mother to rest, but without success Ive mourned for her already. But I give do it again, and again (Chapter 39).Deprived of the freedoms whic h her mother fought for, Offred learns to admire her mothers courage and to value her memory as a indispensable link with her own muzzy identity. Her elegy to her mother underlines the thematic motif of Missing Persons, and particularly lost mothers and daughters, which runs through the novel.MALE CHARACTERSThe few male characters in this novel seem little more than functionaries of the aged state or functional to the workings of the plot. Most of them have no names but only group identities like Angels or Eyes or the doctor, plot of land Professor Pieixoto is a satirical sketch of a male academic. Only three male characters are given any individuating characteristics. They are Offreds Commander, her lover Nick, and her absent, vanished husband Luke.THE COMMANDERThe Commander is the most powerful authority figure in Offreds world. He is a high-ranking government official, and he is head of the household to which Offred is assigned. It is his first name which she takes, though w hether as a slave or as a parody of the marriage service is never made clear. Yet he is an ambiguous figure, substantial but shadowy, whose motivations, like his locomote in Gilead, remain unclear to Offred even in the Historical Notes his identity remains uncertain. As a Commander he wears a black provide and is driven in a prestige car, a Whirlwind. He is an elderly man with straight neatly brushed silver hair and a moustache and blue eyes.He is slightly stooped and his manner is subdued (Chapter 15). As Offred observes him with his gold-rimmed glasses on his nose interpret from the Bible before the monthly Ceremony, she thinks he looks like a midwestern bank president, an astute judgement, as he tells her much later that before Gilead he was in market research (Chapter 29). The image he presents is that of male power, isolated and benignly indifferent to domestic matters, which include his Wife and his Handmaid. This is, however, not entirely true, for Offred has seen him pr eferably on the day of the Ceremony, a figure lurking in the shadows outside her mode, who tried to peer at her as she passed Something has been shown to me, but what is it? (Chapter 8).It is only after the official Ceremony, performed by the Commander in full dress uniform and with his eyes shut, that Offred has the chance to get to know him a little and his stereotypical male power image begins to break down. It is he who asks her to visit him after hours in his study, for he is a lonely man who desires association and intimacy with his Handmaid and not the serviceable monthly sex for which she has been allocated to him. In his Bluebeards chamber, what he has to offer is not kinky sex but Scrabble games and an appearance of conventionalism life, with conversation and books and magazines, all of which he knows are forbidden to Handmaids. On his own private territory the Commander is an old-fashioned gentleman with an attractive sheepish smile, who treats Offred in a genially pat ronising way and gradually becomes quite fond of her. In fact he is positively daddyish (Chapter 29). He seems to have the ability to carve his life (in a way that Offred cannot manage) so that he can separate her official role as sexual slave from her unofficial role as his companion. In many ways the Commanders motives and needs remain obscure to Offred, though they do manage to develop an amiable relationship, which from one point of view is bizarre and from another is entirely banal The fact is that Im his mistress (Chapter 26).Yet their relationship is still a game of sexual power politics in which the Commander holds most of the cards, as Offred never allows herself to forget. For all his gallantry, he remains totally trapped in traditional antiquated assumptions, believing that these are Natures norm (Chapter 34) and allow exploitation of women, as his comments and conduct at Jezebels suggest. Their private sexual encounter there ends in futility and bathos and is strongly contrasted with Offreds meeting with Nick later that same evening. As she leaves his house for the last time, Offred sees the Commander standing at the living-room door, aspect old, worried and helpless. Possibly he is expecting his own downfall, for aught is invulnerable in Gilead. Offred has her revenge, for the balance of power between them has shifted Possibly he will be a security risk, now. I am above him, flavour down he is shrinking (Chapter 46).The academics go to some annoy later to establish the Commanders identity he may have been Frederick R. Waterford or B. Frederick Judd. Waterford, it is revealed, had a background in market research (which seems most likely), while the more sinister Judd was a military strategist who worked for the CIA. Both of them met their ends, probably soon after the events our author describes. incisionNick is presented as the central figure of Offreds quixotic fantasy, for he is the mysterious dark stranger who is her saver through love. He also hasa place in her real world, of course, as the Commanders chauffeur and the Commanders Wifes gardener. He has a French face, lean, whimsical, all planes and angles, with creases around the mouth where he smiles (Chapter 4) and a general air of irreverence, wearing his cap at a jaunty angle, whistling while he polishes the car, and winking at Offred the first day he sees her. At the household prayers he presses his substructure against hers, and she feels a surge of sensual warmth which she assume not acknowledge. In the daytime he is rather a comic figure but at night he is transformed into Offreds romantic lover, the conformation of sexual desire. This transformation is made all the more piquant because he is always acting under orders, either as the Commanders messenger or as the lover chosen for Offred by the Commanders Wife.From their first unheralded encounter in the dark living room (Chapter 17) theirs is a silent exchange which carries an unmistakable titillati ng charge. It is Nicles hands which make his declaration His fingers move, feeling my arm under the night-gown sleeve, as if his hand wont listen to reason. Its so good, to be touched by someone, to be matte so greedily, to feel so greedy (Chapter 17).As a subordinate, Nick, like Offred, has to remain passive until arranged by the Commanders Wife to go to bed with Offred. On that occasion his attitude is not directly depict but veiled by Offreds three different versions of that meeting. Certainly she falls in love with him, and in defiance of danger she returns many times to his room across the dark lawn on her own. Towards the end, she tells him that she is pregnant. Nevertheless, her description of their love-making is suggestive rather than explicitly erotic, and Nick tends to remain a mysterious figure.Even at the end when he appears with the Eyes to take her away, Offred really knows so little about him that she almost accuses him of having betrayed her, until he calls her by her real name and begs her to trust him. Ever elusive, he is the only member of the household not there to see her depart. We want to believe that Nick was in love with Offred, and we must assume from the Historical Notes that he did rescue her and that he was a member of Mayday resistance. However, as a character he is very lightly sketched and it is his function as romantic lover which is most significant.LUKELuke, Offreds husband, is one of the Missing Persons in this novel. Probably dead before the narrative begins, he haunts Offreds memory until he fades like a ghost as her love social occasion with Nick develops. He is the one person Offred leaves out when she tells the story of her past life to Nick (Chapter 41), though she is still worrying about him at the end (Chapter 44).He is also the most fragmented character in the text, appearing briefly as a name in Chapter 2, and then gradually pickings on an identity as Offreds lover, husband and the father of her child. He is a figure whose life story stopped for Offred at a traumatic point in the past Stopped dead in time, in mid-air, among the trees back there, in the act of falling (Chapter 35). by means of her reconstruction Luke appears as a late twentieth-century liberated man, full of courage and humour and remembered by Offred entirely in his domestic relations with her.He is an older man who has been married before, so that there is an ironic parallel drawn between him and the Commander. Offred remembers their affair when she goes with the Commander to Jezebels, for it is the hotel where she and Luke used to go (Chapter 37). She retains the memory of a strong loving partner, and her detailed recollections are of Luke cooking and intercommunicate with her mother, of lying in bed with her before their daughter was born, of collecting their daughter from school. We never know what Lukes hire out was, but Offred recalls his supportive behaviour when she lost her job at the time of the Gileadean take-over and her resentment against him for being a man (Chapter 28).Luke figures insistently in Offreds recurring nightmare of their failed escape attempt, not only in that final image of him lying shot face down in the snow, but also in her recollections of his prudent preparations and his coolly courageous attempt to take his family to freedom over the Canadian border. His afterlife in the novel is very much the result of Offreds anxieties about what might have happened to him. Is he dead, or in prison? Did he escape? Will he hurl her a message and help her to escape back into their old family life? Its this message, which may never arrive, that keeps me alive. I believe in the message (Chapter 18). It is also her hope of this message which keeps the image of Luke alive. The anxieties we may feel for his fate are projections of Offreds own.