AP Essay 2002B Prompt_Margaret Atwood

2002, Form B. Often in literature, a character's success in achieving goals depends on keeping a secret and divulging it only at the right moment, if at all. Choose a novel or play of literary merit that requires a character to keep a secret. In a well-organized essay, briefly explain the necessity for secrecy and how the character's choice to reveal or keep the secret affects the plot and contributes to the meaning of the work as a whole.

An In-depth Look at Secrecy and Silence in Margaret Atwood’s The Handmaid’s Tale

            Throughout Margaret Atwood’s novel The Handmaid’s Tale, the main character, Offred is forced to keep silent because of the oppression of women in her society. Due to her obligation to remain quiet and the danger that surrounds speaking up, when Offred is given a secret to keep, the betrayal of her silence would truly be the difference between life and death. Therefore, until absolutely necessary, conformity was the answer. Margaret Atwood uses her novel, The Handmaid’s Tale, to demonstrate that silence can hold many secrets and that even those who are oppressed will at some point attempt to gain freedom—even if it means betraying a secret.          In the Republic of Gilead, a woman has one of two places. She can be a Wife; where she would be given a Commander for a husband and run a household in the background. This position, however, is reserved only for those who had been established before the ambiguous takeover. Or, the more likely option for the younger women, who are not sent to the colonies because of rebellion or sin, is a birthing girl. In this case, similar to that of Offred, these girls are given to a Commander and his wife and are forced to participate in a ceremony of impregnation each month for the purpose of increasing the population of children in the Republic (Atwood 25). These women have no voice in their situation and must be respectful towards their Commander as well as silent under authority. Offred states “I used to think of my body as…an implement for the accomplishment of my will . . . Now the flesh arranges itself differently”, now she is oppressed by the men of society, and has control over nothing—not even her body (Atwood 13). Internally though, they never give up the fight to win back who they were before this oppression. Silence is merely a way to bide their time until the opportune moment when breaking the silence will gain them their freedom.

            Offred, in The Handmaid’s Tale, goes through two homes and maintains her silence the entire time. She offers no resistance to orders and dutifully performs the ceremony with the Commander and his wife, but on the inside, she longs for real life. Internally she remembers “lying next to him, soaking in the sun, humming a soulful tune to herself” (Atwood 105). She longs for her past—or at least the fulfillment it gave her. One day, the Commander offers her something new. He offers her a change to her days filled with monotony. He offers her something which is illegal. And here in lies the secret. Should Offred tell of this double life, she and her entire household should surely be put to death. But her silence began to slowly eat away at her, and if played right, maybe this secret could be her salvation.

            This internal debate allows for Atwood to insert her views on the role of women in society and demonstrate that oppression can never last forever. This is confirmed by the end of the book—although an ambiguous ending—it is apparent that Offred’s secret has come out, and the timing could not have been better. The resistance has come for her. “They escorted her from the Commander’s home to the black van”, which belonged to the resistence (Atwood 378). And it appears that her life of oppression may just turn into one of resistance. In Margaret Atwood’s The Handmaid’s Tale, Offred demonstrates that silence can hold many secrets and that even the oppressed will attempt to gain freedom—even if it means betraying a secret. Offred broke her silence. Offred told her secret. Offred risked death in doing so. But now she has broken through conformity into a world of possibility.

AP Essay 2009B Prompt_Margaret Atwood

2009, Form B. Many works of literature deal with political or social issues. Choose a novel or play that focuses on a political or social issue. Then write an essay in which you analyze how the author uses literary elements to explore this issue and explain how the issue contributes to the meaning of the work as a whole. Do not merely summarize the plot.

A Discussion of Social Issues in Margaret Atwood’s Oryx and Crake

            Throughout Margaret Atwood’s novel Oryx and Crake, a discussion of several of today’s vices is examined and their negative impact on the world is implied by the end of the book. Through Snowman’s memories, developed through flashbacks and imagery, Atwood develops the argument that both experimentation with genetics and cross-species, as well as more common vices such as pornography, have extreme consequences and are driving the human race towards disaster. This argument is developed in a reverse-chronological manner and demonstrates the result of an excess of each of these things. These social issues play a key role in Atwood’s book and are the reason for Snowman’s present life.

            The reverse chronology of the novel allows Atwood to effectively convey the consequences of the actions which are explored later in the novel. Not even the main character “know[s] which is worse, a past he can't regain or a present that will destroy him if he looks at it too clearly” as he looks back on the mistakes of the past and the resultant present (Atwood 23). The book starts with a description of the land surrounding Snowman. The next page begins with the introduction of a genetically-altered human. Only these humans are safe from the tremendously intense ultraviolet rays from the sun, they are safe from the toxic waters of the ocean, and they are safe from the other genetically-engineered species that would rip an ordinary human being apart. While each of these genetic changes allows for this new human cross-species to survive in the new world, it is because of genetic experimentation that the need for gene-altering arose. The impact of these experiments had wide-spread consequences which could be seen in several aspects of life, such as media. The magnitude of such interference with nature was highly anticipated by video gamers. In fact, in Snowman’s past, there was a game called “EXTINCTATHON, Monitored by MaddAddam” where “Adam named the living animals, MaddAddam names the dead ones” and teenagers spent the day living out the negative effects of genetic engineering (Atwood 281). The difference being that their experience was a game and the actual companies were dealing with real life. Had national corporations not spent years designing new viruses for warfare, new predators for the environment and new types of livestock, all in a grand money-making scheme, the need for a stronger and harm-resistant branch of humans would not have been a necessity.

            In the end, it is extreme scientific experimentation which turns the world to ash—literally. As Crake created a virus which would disintegrate all those exposed to it, his success brought about the end of human existence as it was known. His goal was to “break the link in time between one generation and the next” so that it was “game over forever” for ordinary humans—eradicating the vices of humanity (Atwood 364). While the presence of vices was eliminated, so was mankind—all due to irresponsible creations in order to make more money. The same issues are discussed in the media and amongst councils today. How far is too far in the world of experimentation? This book serves as Margaret Atwood’s commentary on this issue.

            The book also acts as her criticism on another issue: pornography. In the beginning of Oryx and Crake, society is filled with different sexual innuendos and a pornography overload. In a society not so different from the current one, adults and teenagers alike were engaged in reckless sexual behavior—following the trend as it currently leads. Child pornography was not frowned upon, but rather looked forward to. Prostitution was openly accepted and even occasionally encouraged. But each flashback that Atwood incorporated into her novel about the irresponsible sexuality of men in this society was strategically followed by an expression of Snowman’s misery following the end of the world. He admits that “sex is like a drink, it's bad to start brooding about it too early in the day”, therefore comparing sex to alcohol and expressing his misery when thinking about sex (Atwood 12). Snowman also remembers that his excessive indulgence in sexual behavior resulted in his feelings that “sex was no longer what it had once been, though he was still as addicted to it as ever”, again portraying the negative consequences of excess sexuality (Atwood 297). Her negative view of such a vice was made clear—and in today’s discussion is extremely relevant.

            As the irresponsibility of society today has far-reaching consequences—consequences that cannot yet be seen—so too did the society in Atwood’s novel. Through Snowman’s memories, Atwood develops the argument that both experimentation with genetics and cross-species, as well as more common vices such as pornography, have extreme consequences and are driving the human race towards disaster. Her novel serves as a warning to corporations and societies today.

AP Essay 2010 Prompt_Margaret Atwood

2010. Palestinian American literary theorist and cultural critic Edward Said has written that “Exile is strangely compelling to think about but terrible to experience. It is the unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted.” Yet Said has also said that exile can become “a potent, even enriching” experience. Select a novel, play, or epic in which a character experiences such a rift and becomes cut off from “home,” whether that home is the character’s birthplace, family, homeland, or other special place. Then write an essay in which you analyze how the character’s experience with exile is both alienating and enriching, and how this experience illuminates the meaning of the work as a whole. Do not merely summarize the plot.

The Exile of Snowman

            Margaret Atwood writes of a future in which the world’s general population was wiped out by a plague. She writes of a world in which the survival of any humans is unknown—with the exception of one man: Snowman. Throughout Oryx and Crake, Margaret Atwood uses repetition, dashes and metaphors to demonstrate the devastating effects of isolation as well as the dangers of the world. The repetition serves to create a sense of overwhelming isolation; a sense of inescapable isolation. The dashes allow for glimpses into the previous condition of the world and work as commentary on Snowman’s part in order to emphasize his isolation, but also to introduce some of the dangers the world holds. The metaphors are incorporated to explain that each entity possesses good and evil, but because of the presence of evil, each aspect of life should be approached with caution—as the world is dangerous.

Upon the introduction of the main character, in the beginning of the novel, Atwood uses the repetition of the word “alone” several times in close proximity to one another—as he says, “Now I’m alone…all, all alone”  in order to convey an overwhelming sense of loneliness for Snowman (Atwood 10). This leads to the conclusion that some disaster has occurred which, consequently, wiped out the rest of the human population. The repetition is used to allow the idea to really sink in that Snowman is truly alone as a human. This isolation becomes a main theme throughout the rest of the novel in what is necessary to survive—mentally and physically—in such isolation.

      The dashes which Atwood uses, such as “hear a human voice—a fully human voice” are designed to qualify the preceding statement, but also serve as introductions for insights into the world before the aftermath (Atwood 10). The implication here is that there are some who are not completely human—again signifying the idea of experimentation, which is a current cultural debate. Invented words and species such as “pigoon” and “wolvog” also work to further the discussion about genetic experiments (Atwood 10). The dashes can also represent Snowman’s internal thoughts, though they still include information about his past.

      By incorporating Snowman’s screaming by the sea, Atwood furthers the idea of isolation and the toll it can take on the bearer. As he has no one else to talk to, he must talk to the land. As life is so full of misery and “dismay” he must express his frustration by shouting (Atwood 10). Only by using foul language is he able to make his situation seem any better—which speaks to the emotional toll isolation takes on an individual.

      The metaphors about the “beautiful demons” and the mermaids also show the emotions of Snowman when he is remembering his past (Atwood 11). The memories, at first, seem pleasant and beautiful, but then they bring back the misery of loss and end up swallowing him in sadness. The incorporation of this metaphor, combined with oxymoron, also introduces the idea that each entity can possess good and evil traits; that those people, creatures, or even activities, which may at first illicit pleasure or a sense of good, may prove to be harmful and should be avoided. This is a lesson Snowman is forced to learn in order to survive—and it is one needed by every individual.

            Although Snowman’s ordeals are often life-threatening and consistently lonely, he never gives up hope. In the end, all his struggles still cannot snuff out his hope—which speaks a lot to the nature of humans and their ability to survive hardships. Even after countless attacks by genetically-engineered predators, several injuries, and witnessing the disintegration of humans right in front of him, Snowman keeps his faith alive. Even at the smallest blip on an ancient radio, he believes there might be others out there in the world. Even at the smallest hint of life, he finds the will to carry on.

This passage demonstrates Atwood’s ability to turn simple words and structures into more meaningful and profound ideas about the complexity of humanity. The two ideas of isolation and worldly dangers work together to further Atwood’s discussion of humanity, as in order to escape some of the dangers, isolation is necessary, but isolation, itself, has both good and bad sides. The effects of these discussions are compounded with continued hope in order to demonstrate the true complexity of mankind. Through her use of repetition, dashes, and metaphors, Atwood explores the convolution of man and how the dangers of the world and isolation from the rest of humanity can have a devastating effect, though it can also mean the difference between failure and survival and can also illuminate individual strength.

Margaret Atwood Research Paper

Feminine Rebellion Against Oppression in the Works of Margaret Atwood

            Through the span of history and across the reach of literature, the relationship between those who are oppressed and those who are responsible for their domination has teetered on a delicate balance. Whenever a dominant entity exerts excessive force to maintain or increase their power, regardless of the risk posed to themselves, those who are oppressed have a propensity toward rebellion and tend to exemplify an endless resistance. Traditionally, both literature and history communicate the tale of a hero overcoming all odds to repel injustice and overthrow oppressive regimes. Author Margaret Atwood, however, takes a contradictory approach in order to both demonstrate the capability of women in the face of oppression and to overthrow the dominant literary styles. In The Handmaid’s Tale and Oryx and Crake, Margaret Atwood rebels against traditional writing conventions by using non-linear structure, ambiguous endings, and fragmented language to parallel the rebellion of her characters. Her construction of the characters’ journeys contributes to the feminist argument against oppression. Atwood uses fragmented language to build a basis for her character’s resistance as well as to resist the traditional linear style of literature. Her use of ambiguous endings is a rebellion in the postmodern sense in itself and mimics the opposition of her characters. The fragmented language implemented throughout her novels embodies the rebellion of Atwood against traditional literature as well as portrays the characters’ disenchantment with the state of their societies. Each of these written components builds to the feminist themes of Atwood’s literature as her male character’s attempts at rebellion prove to be less effective than her female character’s, therefore making Atwood an advocate for women against oppression. 

            In an effort to rebuke the dominant literary conventions and archetypes, Atwood depicts her novels through non-conventional methods. While traditionally, literature has taken on a linear form—always promoting a single and continuous timeline—Atwood strategically takes a different approach. An act of rebellion itself, Atwood’s construction of her novels through the use of flashbacks mixed with present tense occurrences creates a multi-dimensional piece of literature which defies common convention. “The book alternates between flashbacks to this past, and the present” in order to fully develop the perspective of her characters, and therefore the basis of their resistance (Cooke 3). Her inclusion of past and present times, however, not only helps to build a foundation for the rebellion of her characters, but functions in itself as a rebellion against the typical linear formation of literature. As writing is historically a male-dominated trade, Atwood’s refusal to “revert to the ‘traditional’ values of a male-dominated system” by creating non-linear texts, proves her feminist views and parallels the defiance of her female characters (Johnson 69). In fact, Atwood’s bold contradiction of conventional writing styles goes as far as to challenge the archetypal hero’s journey. Instead of allowing men to continue their domination of romances and odysseys, Atwood constructs the journey of a heroine or even the failure of a man. In The Handmaid’s Tale, the main character, Offred, understands that the previous world “dealt in transformations” and held “an endless series of possibilities”, and it is these memories which inspire her drive toward renewed freedom (Atwood 157). Offred finds herself again through her rebellion as “self-fulfillment means incarnation within the archetype”; the archetype here having been built for a woman (Stevens 3). It is once she has found this self that she also finds “a basis for action within the world” (Stevens 6). This stands in stark contrast to the failure exhibited by her male character, Snowman, in Oryx and Crake. Here, Atwood utilizes a mixture of the past and present to demonstrate Snowman’s miserable failure as a man. While he remembers being told to “pull [himself] together. [He’s] the man around here”, he currently acknowledges that the “irony is lost on the trees” as he had failed to step up against corruption in the previous society (Atwood 162). Snowman merely accepted the previous repressive culture instead of speaking out against it. While Snowman represents a man who failed to make a difference, Atwood’s female characters, and Atwood herself, represent the women who are willing to take risks to fight oppression. Even in the face of potential repercussions from a male-dominated writing community, Atwood acknowledges that the “solution is not to accept and adapt…to repressive culturally-defined conventions, but to re-write them” (Sanchez-Grant 82). Atwood capitalizes on this belief as she literally re-writes the archetypal journey for women. By first building the credibility of her characters through their memories, shown by her non-linear structure, Atwood not only strengthens their claim to rebellion, but also strengthens her own credibility as a writer going against the grain.

            The fragmented language that Atwood incorporates throughout her texts works against all the writing done before the Modernism movement as well as signifies her characters’ disillusionment with their societies. As Atwood is a “feminist theorist of the postmodern” who is “concerned explicitly with dismantling” oppressive systems, her use of fragmented language represents the literal breakdown her characters’ faith in society (Caminero-Santangelo 1). Atwood embraces the use of fragmented language as a rebellion against literary forms which remained dominant until the Modernist era. As the goal of Modernist literature was to question authority and function as “a rebellion against the distinct forms and rules of traditional literature” through the use of fragmented language, the goal of Atwood’s texts is to rebel against the literary traditions created by men in order to demonstrate the value of women in literature (Colorado College). Atwood is able to successfully rebel against traditional uses of language by “recognizing the repressive cultural constructs”, which generally work to oppress alternative ideas, and then “finding the strength to dispel them” (Sanchez-Grant 83). Much in the same way, her character in The Handmaid’s Tale is able to rebel once she recognizes her restraints as a woman, and still decides to disregard the rules because the risk is worth it. Offred realizes “that if it’s a story [she’s] telling, then [she] has control over the ending”, which is a much better alternative to the life that her society has created for her (Atwood 39). It is through Offred’s narration of her journey that the fragmented language is able to be further incorporated as a symbol of Offred’s disenchantment with societal expectations. Offred’s memories of her life before the takeover of dystopian rulers prompt her bitter statement that she “want[s] everything back, the way it was” and fuel her rebellion against the society which has proven to be unsatisfactory (Atwood 122). In contrast to Offred’s rebellion, upon realizing her amount of control, stands Snowman’s reluctant compliance even after admitting that “he felt culpable” (Atwood 91). In this fragmented part of Snowman’s memory, he admits to his disillusionment with the behaviors of society as well as his involvement in them, but he continues to internalize his dissatisfaction—once again speaking to the value of femininity in the face of oppression.

In continuing with her message of the value of women and the general rebellion against conformity to a dominant system, the fragmented language present in Atwood’s literature becomes evermore profound. Atwood’s texts represent those “in which the function and value of language” cannot be underestimated (Cooke 1). Because Atwood chooses to use fragmented thoughts, her own rebellion against conventional literature is made clear. In fact, Atwood’s words are designed to “dismantle culturally-encoded concepts” by demonstrating the breakdown of faith in those concepts, hence her use of fragmentation (Sanchez-Grant 77). In her writings, even the form of narration is fragmented. Instead of conforming to tradition, Atwood portrays her texts from different points of view. While the main characters mix their past and present thoughts as part of a narration of their own story, Atwood also incorporates a third person narrator for even greater fragmentation. This works for Atwood in two ways: primarily, the fragmentation of Atwood’s texts are emphasized through a mélange of viewpoints, but also, such fragmentation builds the idea of disillusionment with society—or certain writing conventions—and heightens the credibility of her characters’ embitterment and, therefore, the reason for their rebellion. In fact, the fragmentation is so prominently foregrounded that even as the story is being told, the narrators are revising their thoughts. Offred admits that she “will have to revise that,” immediately following her original statement (Atwood 104). Similarly, in his process of telling his story, Snowman revises his statement, as he stipulates that “maybe she was tired of him. Or maybe she was sick” (Atwood 31). Either way, society was repressing his mother, and Snowman could see it, but his fragmented thoughts make it clear that he never acted against this repression. Clearly, Atwood’s writings exemplify a “postmodern feminist space for resistance”; her weapon of choice: fragmentation (Caminero-Santangelo 9).

The last act of rebellion in each of Atwood’s dystopian tales is exactly that: the end. It is through Atwood’s construction of the endings that the success of a heroine and the failure of a man become evident, yet maintain a sense of uncertainty. It is also through her endings that her resistance against conventional literary techniques is once again emphasized. Atwood understands that “the potential for resistance in such a presentation lies in the recognition” that it is “always open to challenge”, but continues to build on the rebellious inspiration from Modernism, to resist literary tradition through her ambiguous endings (Caminero-Santangelo 9). In Oryx and Crake, Atwood leaves the story with only: “zero hour, Snowman thinks. Time to go” (Atwood 374). The use of the phrase “zero hour” in itself expresses the concept of starting over, the concept of a new beginning, but also the lack of clarity as to what that new beginning entails. In doing so, Atwood defies the traditional style of literature. While maintaining its ambiguity, however, the ending also portrays Snowman’s continuing indecisiveness and his failure to rebel against what he knows is corrupt as he asks the empty air, “what do you want me to do?” and he answers himself with, “it’s hard to know” (Atwood 374). Clearly, Snowman’s rebellion is still internal and his course of future action unclear. On the other hand, the conclusion of The Handmaid’s Tale resonates with hope even through its ambiguity. Although Offred is faced with fear and uncertainty, she still shows her strength and her willingness to take risks in the name of resistance as she “step[s] up, into the darkness within” (Atwood 295). Even in the face of the unknown, Offred continues to resist the darkness of oppression as she hopes she is actually stepping into “the light” (Atwood 295). The uncertainty contained within each novel speaks to the untraditional construction of the work, but each remains clear enough to contrast the rebellions of each character. When faced with uncertainty, Snowman is feeble and fails to act, whereas Offred maintains her never-ending resistance to oppression. In this way, the endings work to further Atwood’s feminist argument against oppression. Her evidence: the resolve of women in the face of uncertainty; paralleled with the failure of men when faced by the same. Atwood designs her texts “to be understood as a direct extrapolation from, and thus critique of, contemporary society” and the inequality faced by women in said male-dominated society (Cooke 1). Her use of ambiguous endings as an untraditional writing tool only works to further her viewpoint. While ambiguous endings are characteristic of literature following the Modernist era, they also defy the traditional sense of a clean-cut and unmistakable ending. The use of ambiguous endings is a signature for Atwood and clearly outlines her resistance to conform. 

            To promote resistance to the oppression of women, Atwood creates a dystopian society, in The Handmaid’s Tale, known as the Republic of Gilead. Her novel “represents a particularly feminist sensibility in its conceptualizing of resistance to a dominant order” and it is through this feminist approach to resistance that Atwood is able to demonstrate the capability of women (Caminero-Santangelo 1). Atwood satirizes the oppressive conditions in which women live by establishing strict regulations regarding the rights of women within Gilead. In her dystopian society, women are valued only for their bodies. Their worth as an entire gender has been reduced from mother, daughter, and contributing citizen, in a previous time, to “the sum of child-bearing parts” (Sanchez-Grant 78). The rules of society prohibit women from being “allowed to read and write” and essentially “negate the rights of women” completely (Johnson 68, 74).  Gilead promotes an “oppressive ideology of contract and property” in which women are essentially possessed by men (Caminero-Santangelo 6). Even in the beginning of the takeover by the new governing system, Offred remembers that she and her lover were no longer equal, but “instead, [she is] his” (Atwood 182). And there began the oppressive society in which Offred was forced to start a new life. By creating such an “openly oppressive culture”, Atwood hopes such an unjust society will be “refuted by both her protagonist and her readers” (Sanchez-Grant 83). It is under such oppressive conditions that the main character’s subtle forms of resistance are able to be seen. It is because of such seemingly “helpless suffering” that internal opposition “changes into an urgent desire for liberaton” as evidenced by Offred’s actions which grow more and more risky and urgent as her journey progresses (Stevens 4). It is in spite of such repressive circumstances that the heroine fights back. And it is against such oppression that Offred rebels.

            The same devices Atwood rebels against conventional literature with are those that create Offred’s rebellion against the Republic of Gilead. Throughout the novel, Offred develops her past through a series of flashbacks which gives her rebellion weight. Offred builds her resistance on the foundation of her life before the Republic. She remembers that being able to dress the way she wanted, that “that was freedom” (Atwood 28) instead of having to wear red from head to toe with the exception of “white wings” over their faces to keep “from being seen” (Atwood 8). But it is through these memories, through this non-linear organization, that Offred is able to portray the extreme repression of women’s rights in the new governmental system. In fact, it is because of her memories that she still has “multiple contexts from which to produce…resistance”; it is because of her memories that her claims against oppression are given validity (Caminero-Santangelo 4). The use of fragmented thoughts in the novel act as “a sheer demonstration that [Offred] can still draw on multiple discourses” (Caminero-Santangelo 4) and is not confined solely to the status of child-bearer as a result of the “predicament of woment in the sexist society” of Gilead (Stevens 3), but rather that her thoughts are still her own. Throughout Offred’s journey as a handmaid—one who is forced to endure monthly impregnation ceremonies in an effort to repopulate the nation—she shows subtle internal signs of rebellion which eventually grow to be active resistance against the society which has chosen to oppress women. Offred capitalizes on even the smallest opportunity to resist feminist oppression. As a handmaid, Offred’s face is to remain hidden from all males; however, whenever she gets the chance, she tries to make the smallest amount of eye contact with others as it is “a small defiance of rule” which she thinks of as rewards (Atwood 21). Not only does this demonstrate that Offred is dissatisfied with the customs, created by a male-dominated society, to oppress women, but also that she will rebel against Gilead, regardless of the risk she poses to herself. Atwood depicts Offred’s journey through the strategic use of unconventional methods to create a rebellious piece of literature as well as develop Offred’s rebellion against the Republic. And it is Offred’s constant resistance and final leap of faith against oppression which demonstrates the value of the feminist argument against oppression.

            Atwood’s rebellion against traditional literature is consistent between both her novels The Handmaid’s Tale and Oryx and Crake and parallels that of her characters across all elements except for that of Snowman’s success. While Atwood’s defiance of conventional literature is quite effective, Snowman’s resistance against the oppression within his society is inconsistent, internalized, and therefore, rendered ineffective. Atwood “tell[s] the story, in flashback” in order to provide a basis for Snowman’s current situation and to demonstrate the failure of his journey (Cooke 2). Snowman’s entire life was “an archaic waste” of time and he did nothing to change that (Atwood 195). Although Snowman recognized a need for focus and resistance to the sloth of society, when he told himself to “get a handle on it…such positive slogans…would be less than useless” and his resistance would instantly falter (Atwood 260). At one point in the novel, Snowman admits that “it’s wrong, the whole organization is wrong, it’s a moral cesspool” in regards to a corrupt company that would soon bring about the destruction of humanity (Atwood 56). But what does Snowman do about it? Absolutely nothing. The most resistance he shows include his internal thoughts. So while he knows that the corporations which dominate every aspect of business and entertainment and socialization within society are corrupt, he fails to act. They create harmful “power plays”, which Snowman occasionally even takes part in (Cooke 6). He has his concerns, but he internalizes them rather than speaking out. Even when “he’d felt that what they’d been doing was wrong…he could barely get a word out” and was therefore unable to fight the oppression brought on by the omnificent corporations (Atwood 91). So while Snowman did resist internally and understand the immorality of the oppression within society, his weak rebellions would ultimately fail. Only after humanity is all but extinct does any of Snowman’s resistance comes to the surface, but at that point, “what it preserves no longer exists” (Cooke 8). By that time, Snowman is forced to accept the only available form of resistance to the complete destruction of humanity that is left—keeping the memory of the previous world alive. His memories, seen through flashbacks, are portrayed to the Crakers (version two of humans) in his feeble attempt to grasp any true power over his situation. The situation that, should he have resisted earlier, could have been prevented altogether. It is Snowman’s failed rebellion that emphasizes the value of women, which is developed by Atwood’s own rebellion.

            In each of Atwood’s novels, a heroine offers resistance and provides potential for change in the status quo while Snowman is unable to prevent catastrophe because of his conformation to the dominant powers of society. Snowman did nothing against this overreaching of power and the consequences were disastrous. But with Offred, there is hope in the end—she succeeds because rebels and is a woman, while some of Snowman’s rebellions did absolutely nothing. These rebellions, failed or successful, are effective only because of Atwood’s strategic design of her texts. Only by using non-linear structure, fragmented language, and ambiguous endings is Atwood able to parallel her own rebellion with that of her characters. And only through her genius literary strategies within her heroine’s journey is she able to contribute to the feminist argument against oppression.