In class on Wednesday we discussed Angela’s birth and the labor scene described in Chapter 21. We got to see what a handmaid’s birth is like, and what it consists of. On page 123, the reader is told for the first time what the process of giving birth is like. It involves repetitive chants, a handful of handmaids, and spiked grape juice. It says the handmaids have been prepared for this, “We are all good at this, we’ve had lessons” says Offred who helped Janine while she dealt with her contractions.
After Janine has given birth, the wives help the household’s wife down from the Birthing Stool and take her to lie in bed. Then, the baby is taken from the handmaid and given to the Commander’s Wife. Offred speaks about the process after giving birth and how the handmaid will now never have to be sent to the Colonie, or be labeled as an “Unwoman.” She says it’s the handmaid’s “reward.” This entire section of Chapter 21 resonated with me because I honestly can’t imagine the pain of birthing a child, and it’s not something that’s on my bucket list. Pregnancy isn’t always the safest thing, and there could be a lot of issues. The handmaids were very passionate during the chants and seemed to be working hard to try and help Janine out. “It begins to catch me, it’s hard work…Already I can feel slight pains, in my belly” Offred says, and “By now I’m wrung out, exhausted. My breasts are painful.” The handmaids described being tired, sweaty, and in pain afterward, so I can imagine it was not a pleasant experience. It made me think of all the women who have gone through pregnancy and the ones who have had complications and have either lost their lives or have lost their babies. I think complications during pregnancy are a really big issue and people often undermine it. While reading I became curious about what happens with the babies with complications. My curiosity got the best of me and I ended up accidentally spoiling it for myself. I wanted to find out more about what happened to the babies afterward. That led to me finding out about something called an “Unbaby.” I won’t be going into detail about it because I don’t want to spoil it for the readers. But I did end up spoiling it for myself because the author hasn’t mentioned what happens with the babies born, and I wanted to know. I feel like the section I chose to write about was intriguing and it shed light on the impact of pregnancy and made me think of women’s postpartum care. Despite this, there was also something comforting in this chapter, all the women that gather around Janine to support her. The amount of handmaids involved in this process and what they do, Offred says, “The two women help her off the bed, support her on either side while she paces…One of the girls kneels and rubs her back. We are all good at this we’ve had lessons.” and “We are jubilant, it’s a victory for all of us. We’ve done it.” I think these quotes show how supportive and happy the handmaids were to be there for Janine and help her through her pregnancy. There’s comfort in knowing you have help and that it’s coming from women, and people who know what they’re doing. Nevertheless, this chapter and section stuck out to me and left me asking questions.

For this Lit Log, I created a visual representation of Chapter 6 from The Handmaid’s Tale. More specifically, I drew the scene regarding the wall of Gilead. The main details here are the two handmaids, Offred and Ofglen, along with the wall and its six hanging bodies.

A goal of mine with this drawing was differentiating the two handmaids without trailing too far from what happens in the actual scene. One key moment I took inspiration from was Ofglen’s tremor, along with Offred suggesting that she was crying:

“I feel a tremor in the woman beside me. Is she crying? In what way could it make her look good? I can’t afford to know. [p.33]”

Due to how Ofglen is described here, I gave her dress a more frantic pattern. This is opposed to the smoother and more vibrant dress worn by Offred, who reveals that she feels a mix of blankness and relief to the hanging bodies. Relief in particular, because she knows that none of these men are Luke.

Since the handmaids’ headgear are often referred to as “wings,” I also decided to give them literal wings behind their heads. Ofglen’s wings are sharp and alert, while Offred’s wings are more relaxed.

In case the differences with the dresses and wings were too insignificant, I also drew the handmaids’ faces next to them. Ofglen is almost squinting, soft tears running down her face, and Offred has a blank stare.

The wall is said by Offred to be at least one-hundred years old. Because of this, I tried to make it look as antique as possible with the different paint splashes, vibrant warm colors, and the messy brick textures in some areas. I wasn’t sure where the gates would fit in this image, but I did draw flood-lights along the wall instead. There are also seven hooks on the wall instead of six, because it’s noted in the story that not all of the hooks are occupied.

Regarding the hanging bodies, the primary quote I took note of was this one:

“A child’s idea of a smile. This smile of blood is what fixes the attention, finally. These are not snowmen after all. [p.32]”

Offred’s description about the bodies being like snowmen inspired multiple things for this drawing. To start, the title of this piece and the writing on the wall behind the men. I also decided to give the bodies a cold bluish-gray color, considering that they’re lifeless. They are compared to snowmen even earlier in the scene when Offred notices the outlines of the faces through the bagged heads, and suggests that they’re like snowmen without the coal eyes or carrot noses. I drew shadows in place of the eyes because of this.

Back to the main quote from before, one of the bags had blood seeping through it in the shape of a smile, “like the mouths painted with thick brushes by kindergarten children. [p.32]” This detail stood out enough for me to put the smiling body in the center, even though that would mean the other five bodies would have to be off-centered. I also made the smile glow a bit, since it’s being seen from far away.

In short, what’s portrayed in the scene are the two handmaids with opposing emotions, the eerie wall in front of them, the lifeless doctors and scientists, and the bleeding smile on one of the bags. I made sure to re-read the chapter before drawing this representation so I could include as many details and perceptions as I could. I believe this chapter in general is significant to emphasize the cruelty of Gilead, and the individuality of the two handmaids. Since it’s pretty early in the story, Chapter 6 of The Handmaid’s Tale serves as part of a well-done exposition.

Margaret Atwood’s The Handmaid’s Tale is a profound exploration of power, gender, and identity set in a dystopian future that strips women of their rights and autonomy. Section eleven where Offred reflects on some of her past life resonates with me, specifically her memories of her mother and the concept of femininity. This chapter captures the tension between the nostalgia and harsh realities of her current living conditions, entailing both intellectual and emotional responses that reflect the contemporary issues surrounding women’s rights and identities. In a moment of sadness, Offred recalls the sight of her mother’s activism and the feminist movements of her past. In chapter eleven, she describes her mother as a “feminist, a term that was once seen to evoke pride and empowerment but has since felt distant and almost foreign in the oppressive place of Gilead. Having a fate served to you by an upper power limits your choice and freedom as expressed throughout the story so far. I recognized that Offred and other handmaids have been convinced that they have less power than they do being controlled by some kind of republican government ruled by some belief system of god with the willingness to do things unquestioned but with full attention and specification with harsh consequences that follow if you were to break the rules. In chapter twenty Offred speaks on the times when she recalled her mother expressing her femininity and she says, “…not young and earnest and pretty the way she was in the movie, but wiry, spunky, the kind of old woman who won’t let anyone butt in front of her at a supermarket line.” I found this particularly intriguing as it allowed me to try to picture what Offred’s life must’ve been like when she was with her mother and connect all these flashback memories that she has of her mother together. Initially, I felt a sense of discomfort as it approached the social expectations of beauty but more so the reality of aging which provoked a thought on death and what it means to confront death when it knocks at your door. It also provoked a thought on life and what it means to live your life or have life being lived for you through someone else. Offred’s confrontation of her memories with her mother is both stimulating and emotionally charged, “I admired my mother in some ways although things between us were never easy. She expected too much from me, I felt. She expected me to vindicate her life for her, and the choices she’d made. I didn’t want to live my life on her terms.” As Offred reflects on her mother, I find myself stuck between a mix of admiration and a sense of discomfort. Her mother represents a fierce, unapologetic feminism that Offred reveres and feels completely distanced from. The recollection of her mother’s activism, marching with signs, and fighting for women’s rights brings out a sense of loss in Offred. I felt both nostalgia and sadness coming from this quote recognizing how far she is from that world. It’s a world where women have a voice, choice, and agency. This causes tension between the two as they grapple with ways to be included in each other’s lives being as though they live in two completely different worlds of feminism. The close and far proximity between the past and present times is striking, revealing a sense of loss for Offred and all women who have fought for autonomy and power. I found myself often struggling with the emotional weight that this chapter carries. Offred’s specified reactions are often laced with a bittersweet nostalgia that highlights the contrast between the freedom that her mother fought for and the enslavement she now endures. This moment is particularly intriguing to me because it forces me to confront my understanding of feminism and the ways it has evolved. Her reflections prompt me to consider what it means to be a woman in a society that seeks to define and limit femininity. Offred’s ambivalence towards her mother’s beliefs mirrors my uncertainties about the path of feminism. The comparison of Offred’s mother’s radicalism with Offred’s subdued existence raises questions about identity and self-worth. Offred struggles with feelings of not being enough, questioning her feminism in a world that has rendered her powerless. I found this internal conflict to be relatable to some ideas of masculinity, highlighting the struggle one may face when confronted with the legacies of those who fought for change. How do we honor their struggles while navigating our limitations?

Knowing Fear within thy inner soul

The section that resonated with me was when Offred lost luke. However, the moment that truly struck with me within my mind was when Offred felt such fear after supposedly losing Luke that she felt not so much loneliness but afraid as if she had lost not just her child but also a part of herself, her very being as if there was nothing left in her world to truly matter to her.

After noticing this It seemed to me that Offerd had lost so much of herself that she felt fear not only that but she felt fear and darkness so much within that moment that she now knew fear itself as if she were looking directly at it as fear too was looking back through the darkest deeps of the world.

“I want to reach up, taste his skin, he makes me hungry. His fingers move, feeling my arm under the nightgown sleeve, as if his hand won’t listen to reason. It’s so good, to be touched by someone, to be felt so greedily, to feel so greedy. Luke, you’d know, you’d understand. It’s you here, in another body. I think of the hanged men, hooked on the Wall. I can hardly stand up. I have to get away, back to the stairs, before I dissolve entirely. His hand’s on my shoulder now, held still, heavy, pressing down on me like warm lead. Is this what I would die for? I’m a coward, I hate the thought of pain.”

Now as to why Offred was feeling this was because she had lost luke the man who she had a romantic interest with, only to then see him in a different body some time after losing him therefore causing her to feel such sadness, shame as well fear because it was as if she feeling thy sting of death within her body.