Author Marget Atwood has done a wonderful job in her novels, “The Handmaid’s Tale” and “The Testaments”. The recent mass loved and most-watched entertainment platform: ‘Netflix’ has also showcased this novel in its ‘Netflix originals’ series. This shows the popularity of the novel among the readers as the show was a hit by Netflix.
The Testaments is the sequel to The Handmaid’s Tale. Here in The Testaments, author Marget tells the story with three storylines The first deals with the musings and machinations of Aunt Lydia, the most powerful of the four Founders of Gilead’s Aunt institution; the second with Agnes, the daughter of a powerful Commander in Gilead; and the third with seemingly ordinary Daisy, who lives in Toronto and is being raised by two very nice and seemingly ordinary people.
In the first book ‘The Handmaid’s Tale’, the author offers, with amazing prescience, to “false news”: in The Testaments, the news has turned “fake”. The word “slut” is more frequently employed, but otherwise, there is no need to change what was, in 1985, so properly realised.
The Handmaid’s Tale is held together by the sexual tensions between the characters. It is, among other things, a claustrophobic book about adultery, or one in which adultery has been turned to ritualised rape. The characters in The Testaments do not yearn and mourn as Offred did. They have, at the beginning of the book, been scattered by happenstance. This open, plot-driven novel brings them together in a way that owes less to Pinter’s Betrayal, and more to a Shakespearean comedy of children lost and found.
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