NEW YORK TIMES BESTSELLER • WINNER OF THE BOOKER PRIZE • A modern masterpiece that "reminds us of the power of truth in the face of evil” (People)—and can be read on its...
NEW YORK TIMES BESTSELLER • WINNER OF THE BOOKER PRIZE • A modern masterpiece that "reminds us of the power of truth in the face of evil” (People)—and can be read on its...
Due to publisher restrictions, your digital library cannot purchase additional copies of this title. We apologize if there is a long holds list. You may want to see if other editions of this title are available from your digital library instead.
Due to publisher restrictions, your digital library cannot purchase additional copies of this title. We apologize if there is a long holds list. You may want to see if other editions of this title are available from your digital library instead.
Description-
NEW YORK TIMES BESTSELLER • WINNER OF THE BOOKER PRIZE • A modern masterpiece that "reminds us of the power of truth in the face of evil” (People)—and can be read on its own or as a sequel to Margaret Atwood’s classic, The Handmaid’s Tale.
“Atwood’s powers are on full display” (Los Angeles Times) in this deeply compelling Booker Prize-winning novel, now updated with additional content that explores the historical sources, ideas, and material that inspired Atwood.
More than fifteen years after the events of The Handmaid's Tale, the theocratic regime of the Republic of Gilead maintains its grip on power, but there are signs it is beginning to rot from within. At this crucial moment, the lives of three radically different women converge, with potentially explosive results.
Two have grown up as part of the first generation to come of age in the new order. The testimonies of these two young women are joined by a third: Aunt Lydia. Her complex past and uncertain future unfold in surprising and pivotal ways.
With The Testaments, Margaret Atwood opens up the innermost workings of Gilead, as each woman is forced to come to terms with who she is, and how far she will go for what she believes.
Only dead people are allowed to have statues, but I have been given one while still alive. Already I am petrified.
This statue was a small token of appreciation for my many contributions, said the citation, which was read out by Aunt Vidala. She’d been assigned the task by our superiors, and was far from appreciative. I thanked her with as much modesty as I could summon, then pulled the rope that released the cloth drape shrouding me; it billowed to the ground, and there I stood. We don’t do cheering here at Ardua Hall, but there was some discreet clapping. I inclined my head in a nod.
My statue is larger than life, as statues tend to be, and shows me as younger, slimmer, and in better shape than I’ve been for some time. I am standing straight, shoulders back, my lips curved into a firm but benevolent smile. My eyes are fixed on some cosmic point of reference understood to represent my idealism, my unflinching commitment to duty, my determination to move forward despite all obstacles. Not that anything in the sky would be visible to my statue, placed as it is in a morose cluster of trees and shrubs beside the footpath running in front of Ardua Hall. We Aunts must not be too presumptuous, even in stone.
Clutching my left hand is a girl of seven or eight, gazing up at me with trusting eyes. My right hand rests on the head of a woman crouched at my side, her hair veiled, her eyes upturned in an expression that could be read as either craven or grateful—one of our Handmaids—and behind me is one of my Pearl Girls, ready to set out on her missionary work. Hanging from a belt around my waist is my Taser. This weapon reminds me of my failings: had I been more effective, I would not have needed such an implement. The persuasion in my voice would have been enough.
As a group of statuary it’s not a great success: too crowded. I would have preferred more emphasis on myself. But at least I look sane. It could well have been otherwise, as the elderly sculptress—a true believer since deceased—had a tendency to confer bulging eyes on her subjects as a sign of their pious fervour. Her bust of Aunt Helena looks rabid, that of Aunt Vidala is hyperthyroid, and that of Aunt Elizabeth appears ready to explode.
At the unveiling the sculptress was nervous. Was her renditionof me sufficiently flattering? Did I approve of it? Would I be seen toapprove? I toyed with the idea of frowning as the sheet came off, butthought better of it: I am not without compassion. “Very lifelike,” Isaid.
That was nine years ago. Since then my statue has weathered:pigeons have decorated me, moss has sprouted in my damper crevices.Votaries have taken to leaving offerings at my feet: eggs forfertility, oranges to suggest the fullness of pregnancy, croissants toreference the moon. I ignore the breadstuffs—usuallythey havebeen rained on—butpocket the oranges. Oranges are so refreshing.
* * *
I write these words in my private sanctum within the library of Ardua Hall—one of the few libraries remaining after the enthusiastic book-burnings that have been going on across our land. The corrupt and blood-smeared fingerprints of the past must be wiped away to create a clean space for the morally pure generation that is surely about to arrive. Such is the theory.
But among these bloody fingerprints are those made by ourselves, and these can’t be wiped away so easily. Over the years I’ve buried a lot of bones; now I’m inclined to dig them up again—if only for your edification, my unknown reader. If you are reading, this...
About the Author-
Margaret Atwood, whose work has been published in more than forty-five countries, is the author of more than fifty books of fiction, poetry, critical essays, and graphic novels. In addition to The Handmaid’s Tale, now an award-winning TV series, her novels include Cat’s Eye, short-listed for the 1989 Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; The Blind Assassin, winner of the 2000 Booker Prize; Oryx and Crake, short-listed for the 2003 Man Booker Prize; The Year of the Flood, MaddAddam; and Hag-Seed. She is the recipient of numerous awards, including the Peace Prize of the German Book Trade, the Franz Kafka Prize, the PEN Center USA Lifetime Achievement Award, and the Los Angeles Times Innovator’s Award. In 2019, she was made a member of the Order of the Companions of Honour for services to literature.
Reviews-
Starred review from September 16, 2019 Atwood's confident, magnetic sequel to The Handmaid's Tale details the beginning of the end for Gilead, the authoritarian religion-touting dystopia where fertile single women (handmaids) live in sexual servitude. The novel opens in New England 15 years after the first novel ends. Aunt Lydia has become a renowned educator, an ally of Gilead's spy chief, and an archivist for Gilead's secrets. Ensconced in her library, Aunt Lydia recalls how she went from prisoner to collaborator during Gilead's early days. Now she is old and dying and ready for revenge. Her plan involves two teenagers. Gilead native Agnes Jemima is almost 13 when she learns her real mother was a runaway handmaid. Rather than marry, Agnes Jemima becomes an aunt-in-training. Sixteen-year-old Daisy in Toronto discovers she is the daughter of a runaway handmaid after the people she thought were her parents die in an explosion. Aunt Lydia brings the girls together under her tutelage, then sends them off to try to escape with Gilead's secrets. Since publication, The Handmaid's Tale has appeared as a movie, graphic novel, and popular miniseries. Atwood does not dwell on the franchise or current politics. Instead, she explores favorite themes of sisterhood, options for the disempowered, and freedom's irresistible draw. Atwood's eminently rewarding sequel revels in the energy of youth, the shrewdness of old age, and the vulnerabilities of repressive regimes.
September 15, 2019 Atwood goes back to Gilead. The Handmaid's Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America's current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it's not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents--first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There's Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid's Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It's hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid's Tale and enjoy it as an artful feminist thriller. Suspenseful, full of incident, and not obviously necessary.
COPYRIGHT(2019) Kirkus Reviews, ALL RIGHTS RESERVED.
Starred review from October 1, 2019 The Handmaid's Tale (1985) is a prisoner's memoir written in shock, despair, and longing by a woman who has been hijacked from her life and enslaved in a tyrannical theocracy on a poisoned planet where human fertility is imperiled. Margaret Atwood's concussive and prescient novel remains electrifying and appallingly relevant in the Trump era, both on the page and in its Emmy-winning television adaptation. In her avidly awaited sequel, Atwood returns to Gilead, 15 years after the Handmaid called Offred recorded her indelible experiences. Readers will again enter a dystopia of eerie orderliness as women under ruthless surveillance, their social status indicated by cumbersome, color-coded uniforms, are forced into dehumanizing rituals of sex and punishment. One key character returns, the formidable Aunt Lydia. But in this very different novel, three women tell their stories, the lens widens so that Gilead is seen from the outside, and the focus is not only on men oppressing women, but also on women wielding power. The result is a shrewdly suspenseful tale of survival and resistance. And Atwood's wit is phosphorescent.In Gilead, a university's libraries have been claimed by the elite for their headquarters, and deep in her inner sanctum among the Forbidden World Literature collection Aunt Lydia risks all to write her testament. We learn that she emerged from an abusive childhood to become a family judge until she and all other professional women were rounded up and taken to a stadium-turned-concentration-camp in some of the novel's most harrowing scenes. Aunt Lydia's tenacity and Machiavellianism ultimately serve her well as the self-described alpha hen among the Aunts charged with intimidating and indoctrinating young women. Because the men don't want to be bothered with the petty details of the female sphere, as she sardonically explains, Aunt Lydia becomes a force unto herself.Two young women provide the other testaments. Agnes, the daughter of a prominent Commander in Gilead, is about to be forced by her conniving stepmother into an arranged marriage at age 13. Daisy, 16, has grown up in Canada, where she has participated in demonstrations against Gilead. Why and how these three converge propels the high-velocity plot and its dramatic and daring missions and quests. And what a great gust of fresh air a teenager's sarcastic irreverence is. Throughout Atwood's extraordinarily creative, brilliantly grounded, mordantly funny, and eviscerating oeuvre women are portrayed as complex, diabolical, fiery, and competitive. Warriors for good and ill. Finding that subversive female energy flowing molten beneath the surface of chilling Gilead is positively therapeutic.For all the wrenching violence and heart-pounding action in The Testaments, which is written in the mode of Atwood's astutely speculative MaddAddam trilogy?Oryx and Crake (2003), The Year of the Flood (2009), Maddaddam (2013)?it is the droll and righteous commentary that sets this novel alight. Both Gilead novels face head-on the horrors of tyranny and find some glimmer of hope in the redemptive act of bearing witness, a courageous expression of dissent and declaration of freedom in all its hectic and essential splendor.(Reprinted with permission of Booklist, copyright 2019, American Library Association.)
April 1, 2019
Whatever happened to Offred after the close of Atwood's iconic The Handmaid's Tale? In this talk-of-the-town sequel, we find out. Taking place 15 years later, the narrative is shaped by the testaments of three female narrators from Gilead.
Copyright 2019 Library Journal, LLC Used with permission.
Ron Charles, The Washington Post
"One of the most anticipated sequels of the modern age . . . full of revealing backstories."
Title Information+
Publisher
Knopf Doubleday Publishing Group
Kindle Book
Release date:
OverDrive Read
Release date:
EPUB eBook
Release date:
Digital Rights Information+
Copyright Protection (DRM) required by the Publisher may be applied to this title to limit or prohibit printing or copying. File sharing or redistribution is prohibited. Your rights to access this material expire at the end of the lending period. Please see Important Notice about Copyrighted Materials for terms applicable to this content.
Please update to the latest version of the OverDrive app to stream videos.
Bahrain, Egypt, Hong Kong, Iraq, Israel, Jordan, Kuwait, Lebanon, Libya, Mauritania, Morocco, Oman, Palestine, Qatar, Saudi Arabia, the Sudan, the Syrian Arab Republic, Tunisia, Turkey, the United Arab Emirates, and Yemen
You've reached your library's checkout limit for digital titles.
To make room for more checkouts, you may be able to return titles from your Checkouts page.
Excessive Checkout Limit Reached.
There have been too many titles checked out and returned by your account within a short period of time.
Try again in several days. If you are still not able to check out titles after 7 days, please contact Support.
You have already checked out this title. To access it, return to your Checkouts page.
This title is not available for your card type. If you think this is an error contact support.
A portion of your purchase goes to support your digital library.
Sorry, no retailers are currently available for this title. Please check back later.
| Sign In
The first time you select “Send to NOOK,” you will be taken to a Barnes & Noble page to sign into (or create) your NOOK account. You should only have to sign into your NOOK account once to link it to your library account. After this one-time step, periodicals will be automatically sent to your NOOK account when you select "Send to NOOK."
You can read periodicals on any NOOK tablet or in the free NOOK reading app for iOS, Android or Windows 8.
Renewing this title won't extend your lending period. Instead, it will let you borrow the title again immediately after your first lending period expires.
You can't renew this title because there are holds on it. However, you can join the holds list and be notified when it becomes available for you to borrow again.
