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57 pages 1 hour read

The Handmaid's Tale

Fiction | Novel | Adult | Published in 1985

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Chapters 11-13Chapter Summaries & Analyses

Chapter 11 Summary: “Night”

At night, back in her room, Offred watches Nick emerge “from the spill of darkness under the willow” (201). They “look at each other,” and Offred thinks, “I have no rose to toss, he has no lute. But it’s the same kind of hunger” (201). However, she knows that it is a hunger “I can’t indulge” (201), and she draws the curtain.

Offred recalls the night before she and Luke tried to flee with their daughter. They could not leave the cat behind because it would “mew at the door” (202) and people would know that they had run away. Luke volunteers to “take care of it,” and “because he said it instead of her, I knew he meant kill” (202). She thinks that “before you kill […] you have to make an it […] So that’s how they do it” (202).

She also remembers praying at the Centre for “emptiness, so we would be worthy to be filled: with grace, with love, with self-denial, semen and babies” (204). She remembers praying, “Oh God, obliterate me. Make me fruitful” (204). Now, in her room, she prays, “My God. Who Art in the Kingdom of Heaven, which is within. I wish you would tell me Your Name […] But You will do as well as anything” (204). Her prayer wanders erratically through ideas of forgiveness, suffering, safety, and deliverance, ending “Oh God. It’s no joke. Oh God Oh God. How can I keep on living?” (205). 

Chapter 12 Summary: “Jezebel’s”

While out on one of their routine shopping trips, Ofglen tells Offred that the resistance movement has a secret password to subtly find out who is a member. The password is “Mayday” (212), and Offred recalls Ofglen testing her with it long before she knew the meaning. When they depart, Ofglen says, “I’ll see you later” (213), rather than their prescribed phrase.

Back at home, Serena mentions to Offred that the Commander may be incapable of impregnating her, despite Gileadean dogma insisting that “it’s only women who can’t, who remain stubbornly closed, damaged, defective” (215). She proposes that Offred try “[a]nother man” (215) and suggests Nick as a candidate. Offred agrees. Serena offers to try to get her a picture of “your little girl” (216) and gives Offred a cigarette.

The Commander “has taken to drinking in [Offred’s] presence,” and he sometimes “becomes silly, and cheats at Scrabble” (220). He encourages Offred to do the same, and they make up funny words while “giggling over them” (220). She remembers Ofglen informing her that the Commander is high-ranking, “at the top, and I mean the very top” (221).

Sometimes the Commander “wishes to explain things, justify himself” (221). He explains that “the main problem was with the men” because “sex was too easy […] There was nothing to work for, nothing to fight for” (221). Discussing the results of their efforts to “do better,” he clarifies, “Better never means better for everyone” (222).

He also claims that “we’ve given them more than we’ve taken away,” citing dating problems, the “meat market” (231), and absent or abusive husbands and fathers as examples of previous hardships and claiming that “[t]his way they’re protected, they can fulfil their biological destinies in peace” (231). When he asks, “What did we overlook?”, Offred claims, “Love” (231), but he counters that:“Arranged marriages have always worked out just as well, if not better” (232). 

Offred attends a “WOMEN’S PRAYVAGANZA” (225), which are held “for group weddings” (232). A group of “white-veiled girls” (233) are given to a group of Angels as a reward for their service. Referring to the Commander, Ofglen tells Offred, “We know you’re seeing him alone” (234) and that she should “find out […] [a]nything [she] can” (235).

Back in her room, Offred thinks, “I don’t have to tell anything, to myself or anyone else” and that she “could withdraw” (237) into herself. She considers the phrase “Nolite te bastardes carborundorum” and how the Handmaid who wrote it died, and thinks, “Why fight?” (237). Serena enters and shows Offred the picture of her daughter. Offred sees her “[s]o tall and changed” and thinks that time “has washed over me, washed me away” (240).

When Offred next visits the Commander, he says he has “a little surprise” (241). He gives her a skimpy garment decorated with feathers and sequins and tells her to “paint your face too” because “[t]onight I’m taking you out” (243).

Nick drives them, passing through check points as Offred hides on the floor of the car. Offred and the Commander enter what used to be a hotel and is now “full of women” dressed in everything from “olden-days lingerie, shortie nightgowns, baby-doll pyjamas” (246) to “bathing suits” and “cheerleaders’ outfits” (247).

Offred says that she thought “this sort of thing was strictly forbidden,” and the Commander says that it is “officially […] But everyone’s human, after all” (248). When she asks, “Who are these people?” he explains that they are officers, and she has to clarify: “No […] I mean the women” (249). The Commander says that “some of them are real pros,” but there is “a sociologist” and “a lawyer, that one was in business, an executive position” (249).

Offred sees Moira in “a black outfit” with bunny ears and “black net stockings and black high heels” (251). Moira spots her, and they use their “old signal” (251) to arrange to meet in the toilets. Offred explains that the Commander “smuggled me in,” and Moira says the commanders “get a kick out of it […] [because] your gang are supposed to be such chaste vessels […] Just another crummy power trip” (255).

Moira also talks about her escape, her recapture, and her life at “Jezebel’s” (262). She tells Offred to find “some way of getting in here” and explains that you get “three or four good years before your snatch wears out and they send you to the boneyard” and that “the food’s not bad and there’s drink and drugs, if you want it, and we only work nights” (261). Offred tells her, “You don’t mean it” and thinks, “I don’t want her to be like me. Give in, go along, save her skin” (261).

Moira says, “I saw your mother” (264) in a film about the Colonies and that “[s]he might as well be [dead] […] You should wish it for her” (264). Offred thinks of her mother “sweeping up deadly toxins” and hopes that “her cockiness […] will get her out of this” but knows “this isn’t true” (265).  

The Commander takes Offred up to a private room. She lies down with him on the bed but does not “want to be alone with him” (266). He says that they could “jump the gun” on the Ceremony, that he thought she “might enjoy it for a change” (266). She tells herself that “he is not a monster” and that she has to “[f]ake it […] [m]ove your flesh around, breathe audibly. It’s the least you can do” (267). 

Chapter 13 Summary: “Night”

Offred waits in her room, “having shed the spangles, scraped off the lipstick” (271). Serena comes to her at midnight and sends her out to Nick’s room above the garage. He lets her in, and with “[n]o preliminaries,” without talking, treating it like “an assignment,” Nick’s “mouth is on me, his hands […] and he’s moving, already, love, it’s been so long, I’m alive in my skin, again, arms around him” (273).

Offred reveals that “I made that up. It didn’t happen that way” (273). Instead, he offers her a drag on his cigarette and “looks at me unsmiling” (273). Clumsily, she says she does not have much time, and he offers to “just squirt it in a bottle and you could pour it in” (273). She thinks that “[p]ossibly he feels used” (273).

He jokingly says, “You come here often?” (274), and they smile. Then, “without warning” (274), Offred begins to cry. Nick “puts his arms around me, strokes my back […] for comfort” (274). He kisses her and says, “No romance […] Okay?” meaning “don’t risk yourself for me, if it should come to that” (274). 

Offred admits to having made up the sound of thunder to “cover up the sounds, which I am ashamed of making” before admitting that, actually, “[i]t didn’t happen that way either” but that she is “[n]ot sure how it happened; not exactly” (275). Afterward, she feels that she has betrayed Luke, not through “the thing itself but my own response” (275).

Chapters 11-13 Analysis

Offred ruminates on objectification, the reduction involved in “mak[ing] an it” (202) of a living creature. This appears first in the memory of how Luke was able to desensitize himself enough to kill their cat so it would not give them away. It soon applies to her own experiences and her prayers at the Red Centre, asking God to “obliterate me. Make me fruitful” (204), recalling the reduction of the Handmaids to their reproductive capacity and the loss of their autonomy and personhood. When she prays in her room, Offred does not follow these Gilead-approved prayers and instead works to reclaim religion co-opted by the regime. She directs her prayers to a God “Who Art in the Kingdom of Heaven, which is within” (204), who may be a source of strength or comfort. She even notes that, when addressing God, “You will do as well as anything” (204), echoing her previous discussion of letters and the need to be heard, so as not to feel so isolated and vulnerable. Her final “Oh God Oh God. How can I keep on living?” (205) also echoes her thoughts about the Nazi supervisor’s mistress.

Offred’s relationships with men escalate in these chapters, taking on new forms and bringing up important thematic issues, especially the control of sexuality. As the Commander and Offred become increasingly relaxed in each other’s presence, even “giggling” (220) while cheating at Scrabble, he attempts to “justify himself” (221) and the regime’s restrictions. He presents the control of sexuality and restriction of women’s freedom as efforts to “do better” (221), giving men something “to work for […] [and] fight for” (221) while giving women “more than we’ve taken away” by ensuring that “they’re protected […] [and] can fulfil their biological destinies in peace” (231). In this, we see the traditional, rigid gender roles that underpin the regime’s efforts to control sexuality. Men are the active participants of a relationship, both pursuing and “protecting” women by limiting their freedoms, while women are simply passive objects, defined by their “biological destinies” (231) and existing only as possessions of men (something that is highlighted by the “white-veiled girls” (233) given, en masse, as rewards to loyal Angels).

The hypocritical pretense of Gilead’s control of sexuality is exposed by the Commander’s suggestion that although places like Jezebel’s are officially forbidden, “everyone’s human, after all” (248). This idea of human nature focuses on and privileges men and traditional models of male sexuality, while women are largely excluded and reduced, once again, to passive objects to be used by men. This is highlighted by the way Offred has to clarify that she “mean[s] the women” when she asks, “Who are these people?” (249).This simply has not occurred to the Commander, who barely sees the women as people at all. It is also seen in the way the Commander refers to women as “they” and “them” (231), rather than “you,” while he is talking to Offred, as though, because of their relationship, she has become a person, a human, removed from the object-class of “women.”

This hypocrisy also appears when Offred says that Gilead has failed to account for love and the Commander dismisses its significance, stating that “[a]rranged marriages have always worked out just as well, if not better” (232). Ultimately, the Commander is actually seeking something like love, or at least a forced imitation of it, in his increasingly-intimate relationship with Offred. This culminates in the trip to Jezebel’s, an exercise that is partly an effort to develop their relationship and engage in a sexual encounter that, he thinks, Offred “might enjoy […] for a change” (266), and partly, as Moira observes, “[j]ust another crummy power trip” (255). These aspects are seemingly impossible to separate for the Commander; he appears entirely unaware of the power dynamics at play and their negative impacts on the “relationship” he has with Offred, deluding himself that she will actually enjoy the seedy, largely involuntary trip to the Officers’ private brothel, while she can barely bring herself to “[m]ove [her] flesh around, breathe audibly” (267) when he attempts to seduce her.

The visit to Jezebel’s forces Offred to confront several examples of failed resistance. As Offred herself is placated by “gifts” from the Commander that make life slightly more bearable, Moira appears to have accepted a life of coerced or pressured prostitution as the best of several bad choices. She sees a life where “the food’s not bad and there’s drink and drugs, if you want it, and we only work nights” (261) as so much better than the alternatives that she actually suggests that Offred join her there. Offred is shocked and appalled because Moira has always been her fantasy of rebellion, a dissident who, through her resistance, almost excuses Offred’s own compliance and complacency. If Moira also “give[s] in […] [to] save her skin” (261), then Offred’s lack of resistance becomes a greater source of guilt. Compounding this, Moira brings news of seeing Offred’s mother in a video of the Colonies, “sweeping up deadly toxins” (265), which is effectively a drawn-out death sentence. Offred knows that, as with Moira, her mother’s “cockiness” (265) will not save her from the regime’s oppression and control.

Offred’s own complacency and complicity is also present in these chapters. In particular, after Ofglen asks her to “find out […] [a]nything you can” (235) about the Commander, she chooses instead to hide from the reality, thinking, “I don’t have to tell anything, to myself or anyone else” and, thinking about the Handmaid who hanged herself, wondering, “Why fight?” (237). Offred’s relationship with Nick complicates this, however. In one respect, Offred is following Serena’s directions in sleeping with Nick. It is, after all, Serena’s idea and something that Serena rewards. However, it is also something that Offred wants. Earlier, Offred and Nick share a glance filled with the “hunger” of Shakespearean lovers that Offred knows she “can’t indulge” (201). With Serena’s instructions, she is suddenly able to pursue a sexual relationship with someone to whom she is actually attracted. This is, for her and Nick, an active flouting of Gilead’s attempts to control sexuality and, to an extent, an example of Offred reclaiming her body as a source of pleasure and sensation. The degree to which this is true is difficult to assert, as Offred is a somewhat unreliable narrator and is herself “[n]ot sure how it happened, not exactly” (275). 

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