I’ll start broad then I’ll trim the fat. This story by Atwood seems to be a more expansive exposé into themes of the short stories we have passed through this semester. In a way this piece of fiction is culminative by not only by serving as the last reading we’ll do, but also by thoroughly exploring previous themes that left me, at least, wanting more.
Atwood’s use of irony has surgical precision. (I finally have a tangible definition of irony now thanks to Proffesor Dietrich.) Atwood uses her humor to emphasize certain moments in her story. At these poignant moments in her story there usually is a presence of a more veiled criticism or a deeper philosophical or societal commentary that lays in the substratum of the implied and is visible only after a little bit of analytical digging.
Atwood’s use of flashbacks grows more rapid and unpredictable as the storyline ages. I interpret Offred’s choice to relive memories as a momentary dissonance from the circumstances that mark her present. Offred uses these memories as an escape. She uses them as a defense mechanism from discord. She uses them to momentarily taste personal choice and freedom again. The growing rate at which Offred takes an exodus from the present to trek to the past signifies a growing deterioration in Offred’s mental durability. Offred started the story with a formulaic approach to controlling thought spectrum and subsequently her emotional responses. These memories at first mostly took the form as a motivator, to stay steadfast and keep on course. But as Offred walks down the path of time, these memories take on a new form directly proportional to her weakening state. I once had a psych professor call this “shit stained glasses.” When you’re down everything looks glum. These memories seem to become teasing and intentionally self-deprecating. Atwood shows Offred’s yearning or desire for a reclamation of a multidimensional purpose. A return of her identity, of her hope, of her love.