The Handmaid Of Desire

Hilarious satire of academia set in a northern California university literature department.

Includes an excerpt from North of need / Laura A. Kaye.

An instant classic and eerily prescient cultural phenomenon, from “the patron saint of feminist dystopian fiction” (New York Times). Now an award-winning Hulu series starring Elizabeth Moss. In this multi-award-winning, bestselling novel, Margaret Atwood has created a stunning Orwellian vision of the near future. This is the story of Offred, one of the unfortunate “Handmaids” under the new social order who have only one purpose: to breed. In Gilead, where women are prohibited from holding jobs, reading, and forming friendships, Offred’s persistent memories of life in the “time before” and her will to survive are acts of rebellion. Provocative, startling, prophetic, and with Margaret Atwood’s devastating irony, wit, and acute perceptive powers in full force, The Handmaid’s Tale is at once a mordant satire and a dire warning.

Ce volume contient l’intervention de Margaret Atwood, « Genesis of The Handmaid’s Tale and Role of the Historical Notes » et la table ronde avec l’auteur, lors du colloque de Rouen du 16 novembre 1998. Sept textes inédits du colloque de Paris III du 14 novembre 1998 et du colloque de Rouen du 16 novembre 1998 mettent en relief la multiplicité des approches possibles de The Handmaid’s Tale : la vision de l’auteur, l’histoire des idées, la psychanalyse, l’étude des thèmes et des genres littéraires s’y succèdent et soulignent la richesse de ce roman multiforme.

The object of every man's fantasy just lost her wings... Kaia Verde is one of the four Faerie Handmaids of Zafira, Queen of the Fey. To redress an ancient wrong done to Zafira by a human king, the Handmaids make sport of mortal men, seducing and humiliating them. When Kaia sets out to seduce Garrett Jameson, but ends up being the one surrendering to pleasure, Zafira is furious. Kaia's punishment is simple: make Garrett fall in love with her by the summer solstice, then break his heart, or face eternity without her wings—or her soul. To make the task harder, Zafira tells Kaia she cannot use her faerie magic or charm to lure Garrett into her bed. ...and now she's losing her heart... Kaia thinks her task will be relatively easy—as a faerie, she understands lust, and can love be much different? But once she is living among the humans, Kaia discovers the race she once disparaged is far more complex and beautiful than she imagined. She learns before she can break Garrett's heart, she must find a way to heal it. And eventually, discovers that losing her wings may be a far easier price to pay than losing her heart.

This book assesses key works of twentieth-century dystopian fiction, including Katharine Burdekin’s Swastika Night, George Orwell’s Nineteen Eighty-Four, and Margaret Atwood’s The Handmaid’s Tale, to demonstrate that the major authors of this genre locate empathy and morality in eroticism. Taken together, these books delineate a subset of politically conscious speculative literature, which can be understood collectively as projected political fiction. While Thomas Horan addresses problematic aspects of this subgenre, particularly sexist and racist stereotypes, he also highlights how some of these texts locate social responsibility in queer and other non-heteronormative sexual relationships. In these novels, even when the illicit relationship itself is truncated, sexual desire fosters hope and community.

Ce recueil bilingue consacré à l'écrivain canadien Margaret Atwood, reconnue comme l'une des figures dominantes de la littérature d'expression anglaise, contient l'intervention qu'elle a prononcée à Rennes en novembre 1998 sur son roman The Handmaid's Tale (La Servante écarlate) et sur le genre auquel il appartient. Le roman, inscrit aux programmes 1999 du CAPES et de l'agrégation d'anglais, a été l'un des plus grands succès littéraires des années 80 aux États-Unis, au Canada et en Grande-Bre.