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Moira has been a close friend of Offred's since college. In the novel, their relationship represents a female friendship that the Republic of Gilead tries to block. A lesbian, she has resisted the homophobia of Gilead society. Moira is taken to be a Handmaid soon after Offred. She escapes by stealing an Aunt's pass and clothes, but Offred later finds her working as a prostitute in a party-run brothel. She was caught and chose the brothel rather than to be sent to the Colonies. Moira exemplifies defiance against Gilead by rejecting every value that is forced onto the citizens.
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[…] what we have before us [the majority of The Handmaid's Tale ] is not the item in its original form. Strictly speaking, it was not a manuscript at all when first discovered and bore no title. The superscription "The Handmaid's Tale" was appended to it by Professor Wade, partly in homage to the great Geoffrey Chaucer […]. (Historical Notes.12)
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Among the men of Gilead other than the Commanders, the Eyes are secret police watching over the general populace for signs of rebellion, Hunters track down people attempting to flee the country, Guardians are responsible for civilian policing and Economen are responsible for menial labor. Men, regardless of status or position, often wear black.
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READ MORE: The Handmaid’s Tale season 3: Does Lawrence know what June did?
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The sexes are strictly divided. Gilead's society values white women's reproductive commodities over those of other ethnicities. Women are categorized "hierarchically according to class status and reproductive capacity" as well as " metonymically colour-coded according to their function and their labour" (Kauffman 232). The Commander expresses his personal opinion that women are considered inferior to men, as the men are in a position where they have power to control society.
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As a Handmaid, however, she thinks of her body as a cloud, surrounding
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Speaking of prisons, Offred is tired of hers. Moira wouldn't stand for this shit, she thinks. She knows the way out — it's been staring her in the face all along. When she knocks on the Commander's door, he's surprised, but pleased.
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• ^ Atwood 1998, p. 94.
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Many publishers also do original journalism and commentary, thanks to the work of large, costly full-time staffs of editors, graphic designers, and technical experts. “But not every publisher ticks all the boxes on this list, puts in the same effort or hires costly professional staff,” wrote Van Noorden in the Nature article. “For example, most of PLoS ONE’s editors are working scientists, and the journal does not perform functions such as copy-editing.” Publishing powerhouses like Proceedings of the National Academy of Sciences have estimated its internal cost per-article to be around $3,700. Nature, meanwhile, says that each article sets it back around $30,000 to $40,000 — an unreasonable amount to expect scientists to pay if they were to go Open Access.
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• Gage, John (June 2, 2019). " 'This is happening': Producer and actress with 'The Handmaid's Tale' think the show is turning into real life". Washington Examiner . Retrieved June 9, 2019.
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Atwood herself has spoken in interviews about waking up in the middle of the night with the horrifying thought: “what if this book is not a warning, but a forecast?” It might seem grim, and by gum the show is grim, but there’s also a streak of optimism the resilience in The Handmaid’s Tale that you can cling to beneath your bonnet. Despite being thrown into an unthinkable shit pile, the women still find ways to fight against the very worst of odds. Yes, it might feel like we are living in the prequel series, but not all is lost.
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Women are segregated by clothing, as are men. With rare exception, men wear military or paramilitary uniforms. All classes of men and women are defined by the colours they wear, drawing on colour symbolism and psychology. All lower-status individuals are regulated by this dress code. All "non-persons" are banished to the "Colonies". Sterile, unmarried women are considered to be non-persons. Both men and women sent there wear grey dresses.
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• Atwood, M. (20 January 2012). "Haunted by the Handmaid's Tale". The Guardian.
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It became … a hotchpotch. The whole thing fell between several shoots. I worked with Karel Reisz on it for about a year. There are big public scenes in the story and Karel wanted to do them with thousands of people. The film company wouldn't sanction that so he withdrew. At which point, Volker Schlöndorff came into it as director. He wanted to work with me on the script, but I said I was absolutely exhausted. I more or less said, 'Do what you like. There's the script. Why not go back to the original author if you want to fiddle about?' He did go to the original author. And then the actors came into it. I left my name on the film because there was enough there to warrant it—just about. But it's not mine'. [5] [4]
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• ^ Armbruster, Jane (Fall 1990). "Memory and Politics – A Reflection on "The Handmaid's Tale "". Social Justice. 3 (41): 146–152. JSTOR 29766564.
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• ^ Atwood 1998, p. 94.
The book has two separate mini endings, with the first happening when one of the Eye's black vans pulls up outside Offred's home to take her away. On her way out the door, Nick is able to sneak a word in and addresses her by her real name (although it's never confirmed in the book, the show reveals it's June in episode one). This has led many readers to believe he's a good guy, especially since it's also vaguely hinted that Offred is pregnant with his baby. She's hauled into the van with a group of men, and it's unclear if they're arresting her for grievous treason or Nick pulled through and got them to smuggle her across the border to Canada. "Whether this is my end or a new beginning I have no way of knowing," Offred says. "I have given myself over into the hands of strangers, because it can't be helped." See what we mean about the whole cynicism thing?
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• Atwood, Margaret (1985). The Handmaid's Tale. Toronto: McClelland & Stewart. ISBN 0-7710-0813-9. CS1 maint: ref=harv ( link) Atwood, Margaret (1986). The Handmaid's Tale. New York: Anchor Books. CS1 maint: ref=harv ( link) Atwood, Margaret (1998). The Handmaid's Tale. New York: Anchor Books (div. of Random House). ISBN 978-0-385-49081-8. CS1 maint: ref=harv ( link) Parenthetical page references are to the 1998 ed. Digitized 2 June 2008 by Google Books (311 pp.) (2005), La Servante écarlate [ The Handmaid's Tale] (in French), Rué, Sylviane transl, Paris: J'ai Lu, ISBN 978-2-290-34710-2.
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I don’t say that lightly. Elisabeth Moss’s performance remains unparalleled — her final eff-off saunter down the hallway at Mad Men’s Sterling Cooper Draper Pryce was a mere glimpse into the sort of arch badassery and wry, bold-faced gazing she would bring to The Handmaid’s Tale. For three seasons, June has endured beatings and cattle proddings, forced separation from her daughter, ritualized rape, more than one escape attempt, and the snarly, one-note acting skills of Joseph Fiennes. Moss made every second of it real and personal. In less capable hands (and eyes), this adaptation might have ended exactly where Atwood’s novel does.
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• ^ Vineyard, Jennifer (June 18, 2017). " The Handmaid's Tale Showrunner Bruce Miller on the Season 1 Finale". The New York Times . Retrieved July 6, 2017.
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Himmelstein and colleagues revealed that Sci-Hub offers 56,246,220 articles. This equates to 68.9% of all journal articles from active and inactive journals. Coverage by article type was surprising: Sci-Hub covered 77.8% of journal articles, 79.7% of proceedings, and 14.2% of books. Peer-reviewed scientific articles are available on the site for researchers, or anyone, to download and use. Coverage by year varies, with most years since 1850 having an annual coverage between 60-80%. However, Sci-Hub’s coverage for the year 2010 and beyond dwindled, in part because users had to submit a request for articles to be downloaded onto Sci-Hub’s servers.
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