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The Handmaid’s Tale Themes & Symbols

Margaret Atwood

A Handmaid's secret diary from inside a country that owns her womb.

What the book is about

Themes

The body as state property

Gilead's core crime is ownership. Handmaids are 'two-legged wombs,' 'national resources,' marched through a monthly Ceremony where the Commander reads 'Give me children, or else I die' while three fully clothed people perform conception as state ritual. Fertility collapse has made women's bodies the regime's most guarded asset, and every institution—the Red Center, the Birth Day, Jezebel's—exists to manage their wombs. The book's point: when a state claims to own reproduction, it must first claim to own the person.

Characters:The Commander

Language as control and contraband

Women may not read, so the Commander's Scrabble board is contraband and 'larynx' spelled aloud is an act of rebellion. Shops replace letters with painted signs; executions are labeled 'Angelic Overlords' and 'Gender Traitor.' The Latin scratched in the closet—'Don't let the bastards grind you down'—becomes Offred's private liturgy. Her whole narrative is an attempt to keep language alive when the state has confiscated it. The book's point: whoever controls words controls what can be thought.

Characters:OffredThe Commander

Freedom to versus freedom from

Aunt Lydia's slogan is the regime's masterstroke: 'In the days of anarchy, it was freedom to. Now you are being given freedom from. Don't underrate it.' Gilead sells safety—no street harassment, no abortion, no choice—as if choice were the disease. Offred's memories of before, when she wore what she liked and loved whom she loved, expose the trade as theft. The book's point: protection promised at the price of autonomy always turns out to be subjugation with better PR.

Characters:OffredAunt Lydia

Memory and storytelling as survival

Offred insists, 'I would like to believe this is a story I'm telling. I need to believe it. I must believe it.' Narration is her only territory—no mirror in her room, no name of her own, but the tape recorder of her mind keeps running. The epilogue literalizes this: her story survives as thirty cassettes in a footlocker in Bangor, Maine, transcribed two centuries later by scholars who can barely authenticate it. The book's point: telling your story is the last freedom, and it can outlast the regime that took everything else.

Characters:Offred

Complicity and small betrayals

Serena Joy is the book's bitterest irony: a woman who preached women's domesticity, then found herself confined to gardening and knitting when her ideology won. The Commander breaks his own rules for Scrabble and lingerie while the machinery he may have built grinds on. Offred herself cooperates, month after month, telling herself she chose. The book's point: tyrannies are built and maintained by ordinary people negotiating their own comfort, and the ideology always eats its own believers.

Characters:OffredThe CommanderSerena Joy

Spoilers

The ending explained

The ending refuses to resolve. Offred steps into the van—arrest or rescue, darkness or light—and her narration stops mid-breath. Atwood then yanks the camera back two centuries: her tale survives only as thirty cassettes in a footlocker in Bangor, Maine, transcribed by academics who joke about the 'Underground Femaleroad' and cannot verify a word. Two readings compete. One: Nick was Mayday, the van was the Underground Femaleroad, and Offred made it out—Pieixoto himself leans this way, noting Nick may have helped her escape. The other: the scholars' flippancy is the true horror, showing that even liberation curdles into conference banter, and Offred's fate is unknowable because the regime destroyed the record. The ending lands because it makes the reader do what Offred did—choose to believe. Her survival is unproven; her testimony is the only proof anything happened at all.

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The Handmaid’s Tale characters

Every character, where they appear and how they are connected.

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