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NEW YORK TIMES BEST SELLER • WINNER OF THE BOOKER PRIZE •The Testaments is a modern masterpiece, a powerful novel that can be read on its own or as a companion to Margaret Atwood’s classic, The Handmaid’s Tale. 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.
NEW YORK TIMES BEST SELLER • WINNER OF THE BOOKER PRIZE •The Testaments is a modern masterpiece, a powerful novel that can be read on its own or as a companion to Margaret Atwood’s classic, The Handmaid’s Tale. 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.
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
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...
Au sujet de l’auteur-
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.
Critiques-
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.
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Bear witness to the secretive lives of Gilead's women 15 years after THE HANDMAID'S TALE's conclusion. Narrator Ann Dowd, known for her role on the television adaptation, is formidable as Aunt Lydia. Hearing her resonant narration of diary entries allows listeners to feel the horror of early Gilead, be disturbed by the aunt's complicity, and discover her secrets. Bryce Dallas Howard's sweet narration of the Transcript of Witness Testimony 369A provides a window onto the extreme restrictions of girlhood in Gilead. Mae Whitman's snarky rendition of Witness 369B's testimony reflects a privileged youth in Canada, where she unwittingly triggers dramatic changes. Listening adds an entirely new dimension to a riveting tale. Atwood narrates section headings and her note, and Tantoo Cardinal and Derek Jacobi nail the scholarly conclusion. E.E.C. Winner of AudioFile Earphones Award © AudioFile 2019, Portland, Maine
