The Garden & Doubles

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Imagery - The Garden

Offred often describes Serena Joy's garden, and in particular, the tulips that grow there.

Recurring motif

"The tulips are red, a darker crimson towards the stem, as if they have been cut and are beginning to heal there".
- The tulips are a recurring motif. They symbolise the female reproductive organs. Atwood uses yonic imagery (relating to the female genitalia) to represent Offred's frustrations at her diminished role in society. She feels like she is nothing more than a vehicle for pregnancy.

Tulips along the border

"The tulips along the border are redder than ever, opening, no longer wine cups but chalices; thrusting themselves up, to what end?"

"Like teeth"

"The tulips have had their moment and are now done, shedding their petals one by one, like teeth"
- This quotation references the Freudian theory Vagina Dentata, which is a male phobia that a woman's vagina could castrate a man's penis while he is penetrating her.
- The references to "teeth" and "tulips" in this quotation reflect Offred's transgressive attitude towards her role in Gilead. She wishes she had the power to emasculate the patriarchal powers that control her.

"Red of the smile"

"The red of the smile is the same as the red of the tulips in Serena Joy's garden, towards the base of the flowers where they are beginning to heal. The red is the same but there is no connection. The tulips are not tulips of blood..."

Here, Offred is reminded of her situation by the "smiles" she imagines on the sacks covering the heads of those who are executed on the wall.

"Red of the smile" (cont.)

Offred likens her fertility and "reduced circumstances" to the executed bodies of those who sinned against Gilead.
She knows that she too could be on the Wall or in the Colonies if she doesn't fulfil her purpose or is caught breaking the rules.

Imagery - Doubles

The gothic image of the Doppelganger (a double) is used in the novel. Offred relates herself to Ofglen as they go shopping.

"Doubled, I walk the street"

This image symbolises the depersonalisation of the Handmaids.
Gilead makes sure they are never alone and always have someone to keep watch of them "Under his eye".

Cinema and Library

Atwood uses the idea of double vision as Offred frequently reminds the reader of what used to be in place before the creation of Gilead, like a cinema instead of the Lilies of the Garden shop, or a Library which stood behind the Wall.

Gynasium and palimpsest

In the opening chapter, Offred recalls what the gymnasium was used for before the Army took over.
The idea of a palimpsest is mentioned in Chapter 1 ("a palimpsest of unheard sound").
This symbolises that, even though the present has overwritten the past, Offred still remembers the truth.
Atwood's message may be that you cannot hide or ignore the past as it always has a way of returning - in the case of the novel, through Offred's memories.

1Author Background

1.1Margaret Atwood

1.1.1Margaret Atwood

2Chapter Summaries

2.1Chapter 1: Night I

2.1.1Chapter 1

2.2Chapters 2-6: Shopping II

2.2.1Chapter 2

2.2.2Chapter 3

2.2.3Chapter 4

2.2.4Chapter 5

2.2.5Chapter 6

2.3Chapter 7: Night II

2.3.1Chapter 7

2.4Chapters 8-12: Waiting Room IV

2.4.1Chapter 8

2.4.2Chapter 9

2.4.3Chapter 10

2.4.4Chapter 11

2.4.5Chapter 12

2.5Chapter 13: Nap V

2.5.1Chapter 13

2.6Chapters 14-17: Household VI

2.6.1Chapter 14

2.6.2Chapter 15

2.6.3Chapter 16

2.6.4Chapter 17

2.7Chapter 18: Night VII

2.7.1Chapter 18

2.8Chapters 19-23: Birth Day VIII

2.8.1Chapter 19

2.8.2Chapter 20

2.8.3Chapter 21

2.8.4Chapter 22

2.8.5Chapter 23

2.9Chapter 24: Night IX

2.9.1Chapter 24

2.10Chapters 25-29: Soul Scrolls X

2.10.1Chapter 25

2.10.2Chapter 26

2.10.3Chapter 27

2.10.4Chapter 28

2.10.5Chapter 29

2.11Chapter 30: Night XI

2.11.1Chapter 30

2.12Chapters 31-39: Jezebel's XII

2.12.1Chapter 31

2.12.2Chapter 32

2.12.3Chapter 33

2.12.4Chapter 34

2.12.5Chapter 35

2.12.6Chapter 36

2.12.7Chapter 37

2.12.8Chapter 38

2.12.9Chapter 39

2.13Chapter 40: Night XIII

2.13.1Chapter 40

2.14Chapters 41-45: Salvaging XIV

2.14.1Chapter 41

2.14.2Chapter 42

2.14.3Chapter 43

2.14.4Chapter 44

2.14.5Chapter 45

2.15Chapter 46: Night XV

2.15.1Chapter 46

2.16Historical Notes

2.16.1Historical Notes

3Dedications & Epigraph

3.1Dedications & Epigraph

3.1.1Dedications

3.1.2Epigraph

4Context

4.1Setting

4.1.1Setting

4.2Literary Context & Genre

4.2.1The Canterbury Tales & The Scarlet Letter

4.2.2Links to Dystopian Fiction

4.3Political Context

4.3.1Berlin & Iran

4.3.2The New Right in America

4.4Historical Context

4.4.1Puritan New England

4.5Parallels: Read World & Gilead

4.5.1The Underground Femaleroad

4.5.2Children of Ham & Soul Scrolls

4.5.3Offred's Tattoo, Salvaging & Illegal Abortions

4.5.4Unwomen, Colonies & Giving Away Offred's Daughter

4.6Religious Context

4.6.1Religious Context

5Narrative Structure & Literary Techniques

5.1Narrative Structure

5.1.1Narrative Structure

5.2Literary Techniques

5.2.1Literary Techniques

5.2.2Colour Symbolism

6Themes & Imagery

6.1Themes

6.1.1Survival & Language

6.1.2The Female Body

6.2Imagery

6.2.1The Garden & Doubles

7Characters

7.1Female Characters

7.1.1Offred & Moira

7.1.2Offred's Mother, Ofglen & Ofwarren

7.1.3Serena Joy & Aunt Lydia

7.2Male Characters

7.2.1The Commander

7.2.2Nick & Luke

8Readings

8.1Readings of The Handmaid's Tale

8.1.1Eco-Criticism

8.1.2Complacency

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