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The political deployment of imagery from Margaret Atwood’s novel “The Handmaid’s Tale” began in Texas, in the spring of 2017, at a protest against the state’s ongoing campaign to restrict abortion rights. The TV adaptation of the book would soon begin streaming, on Hulu. The show stars Elisabeth Moss as the novel’s narrator and protagonist, Offred, a woman stripped of her job, her family, and her name in a nearfuture American theocracy called Gilead. Offred is a Handmaid, forced to live as a breeding concubine; each month, she is ceremonially raped by her Commander, a man of high status, in the interest of rebuilding a population that has dwindled owing to secular immorality, environmental toxicity, and superS.T.D.s. Like all Handmaids, she wears a scarlet dress, a long cloak, and a faceobscuring white bonnet, a uniform that Atwood based, in part, on the woman on the label of Old Dutch Cleanser, an image that had scared her as a child.
Women wore this uniform to the protest in Texas, and they have since worn it to protests in England, Ireland, Argentina, Croatia, and elsewhere. When “The Handmaid’s Tale” was published, in 1985, some reviewers found Atwood’s dystopia to be poetically rich but implausible. Three decades later, the book is most often described with reference to its timeliness. The current President has bragged about grabbing women “by the pussy,” and the VicePresident is a man who, as governor of Indiana, signed a law that required fetal remains of miscarriages and abortions, at any stage of pregnancy, to be cremated or buried. This year, half a dozen states have passed legislation banning abortion after around six weeks; Alabama passed a law that would ban abortion in nearly all circumstances, including cases involving rape or incest. (All these laws have yet to take effect.)
هذه القصة مأخوذة من طبعة September 16, 2019 من The New Yorker.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة September 16, 2019 من The New Yorker.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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ANTIHERO
“The Boys,” on Prime Video.
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HOW THE WEST WAS LONG
“Horizon: An American Saga—Chapter 1.”
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WHEEL OF FORTUNE
Taffy Brodesser-Akner weighs the cost of generational wealth.
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TWICE-TOLD TALES
The seditious writers who unravel their own stories.
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CASTING A LINE
The hard-bitten genius of Norman Maclean.
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TEARDROPS ON MY GUITAR
Four years ago, when Ivan Cornejo was a junior in high school, he had a meeting with his family to announce that he was dropping out. His parents were alarmed, of course, but his older sister, Pamela, had a more sympathetic reaction, because she also happened to be his manager, and she knew that he wasn’t bluffing when he said that he had to focus on his career.
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THE HADAL ZONE
Arwen Rasmont waits hours at Keflavík International for his flight; they call it as he leaves the men’s room. He walks past the mirrored wall and is assaulted, as usual, by his dead father’s handsome image: high-arched nose, yellow hair.
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OPENING THEORY
Ivan is standing on his own in the corner while the men from the chess club move the chairs and tables around.
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THE LAST RAVE
Remembering a summer of estrangement.
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КАНО
I’ve dated all kinds of women in my life,” the man said, “but I have to say I’ve never seen one as ugly as you.”