Atwood’s Presentation of Moira in The Handmaid's Tale

Margaret Atwood’s novel, “The Handmaid’s Tale” is set historically and geographically in the American 1980s, with its “liberal anxieties” concerning women’s and civil rights. It is a representation of the individualistic and pluralistic feminism of the late 60s and 80s. Encompassing a span of “feminine and new feminist positions”, the voices serve as a commentary on the late 1960’s women’s liberation movement. Atwood writes this novel with a political purpose; the plot is heavily littered with themes of feminism and touches on politics and religion. Moira is a prime example of Atwood expressing her ideas about separatist feminism. Moira is a spirited feminist heroine. Atwood crafts Moira as a “rebel who manages to escape the power of the Aunts and later reappears working at Jezebel’s”. “The Handmaid’s Tale” is a women’s fictive autobiography, a contemporary fable, in which Moira acts as Atwood’s constructed model, as she becomes a symbol for the neglect of women’s rights, and a message “against the consequences of particular kinds of political and social behavior”. All women are the survivors of the time before, but there are no winners in Gilead: no matter gender, race, or political standing. Moira’s presentation in the story is integral as Offred, the main character, is greatly influenced by her in a variety of diverse aspects; she serves as a critical element to the progression of the plot, as well as convey numerous messages Atwood wished to express.

Atwood presents Moira as a coping mechanism for Offred to survive in Gilead. The entire presentation of “The Handmaid’s Tale” is via tape recordings that Offred produces; this adds an element of uncertainty as to whether or not these events occurred and how they did. Offred “can’t remember” her conversation with Moira “exactly, because she had no way of writing these events down.” From this instance, the reader knows that Offred and Moira’s interactions aren’t to showcase; rather, they’re for their true friendship. Their friendship is idealistic; Moira was “my oldest friend” (Atwood, 173).

The audience is also left to possibly conclude that Moira is but a figment of imagination, a coping mechanism for Offred, as her existence is questionable. Because Offred only interacts with Moira once in the actual novel under circumstances of great intoxication, there is no actual evidence of Moira existing in anything more than Offred’s memories. Moira acts like Offred’s alter ego, but without Offred, Moira has no story. Seeing that Moira is integral to Offred’s existence, it is evident that Moira is Offred’s coping mechanism.

Moira is utilized to question ideas of morality in various situations. When she is found at Jezebel’s by Offred, Offred and the audience, alike, question her morality. She accepts her role in Jezebels as she thinks “What’s the point?” (Atwood, 243) Moira drinks and smokes cigarettes, much like pre-Gileadean times. But the fact that she can still publicly do so, not only exposes the hypocrisy of Gilead but is a commentary on Moira’s individual choices. Her fighting spirit well known to Offred, is now broken, showing that even the wildest spirits are a victim to tyrannical rule.

The supposedly bunny costume “doesn’t quite fit Moira” in Offred’s opinion. It is a “deliberate travesty of feminine sexual allure”, which is sharply contrasted with the values that Moira seems to hold. Moira doesn’t conform to wearing the costume of the handmaid, yet she has worn the “bunny girl” costume to become a prostitute. This contrast between her values is evident via her attire, showing the way that Gilead has completely broken her.

Moira’s voice in Offred’s mind serves as a reminder of what moral values and decisions are important to them, even in a society like Gilead. Even before Gilead, Moira disagrees with Offred’s relationship with Luke, as she believed “women should be loyal to one another”. This serves as a mirror between pre-Gileadean times and Gilead, as this is one of the values that carried over: the handmaid’s take care of each other in the Red Center. This not only reflects Moira’s feminist qualities but also contrasts Offred and Moira fundamentally as characters, because Offred lacks those qualities. Moira proves to be a guiding voice in Offred’s head, as she reminds Offred that “you can help how you behave.” (Atwood, 192) It is evident that Moira serves as a voice in Offred’s head, shaping Offred’s definition of morality. Moira reminds Offred that her existence there isn’t enjoyable, rather a chore to survive. Moira is the voice that reminds Offred that she must not fall prey to conforming with the standards set by Gilead.

Moira is depicted as an independent character to represent a free spirit. She has a sense of independence, which is contrasted with Offred. Offred says that she’s “not Moira.” Moira is like a role model for Offred, as she constantly compares her, and her actions, to Moira. For Moira, survival is less important, than fighting for freedom and her rights. Seeing that Offred chose to conform to the standards of a handmaid, a characteristical contrast is drawn between the two characters.

She is a lesbian, opposing the strict religious views of Gilead. She is a “loose woman” (Atwood, 133) as she rejects the traditional male and female relationship, which Gilead highly values, whos sexuality is challenged in Gilead, yet is widely accepted in Jezebels. Once again, this highlights the hypocrisy of the regime and shows how even the most biblical societies have unpleasant aspects. Her sexuality also is her statement “against religious fundamentalism and the orthodox attitudes to the roles of women in society”.

Atwood uses Moira as a symbol of resistance in a regressive society like Gilead. Through basic defiance of the rules in the Red Center, it can be seen that Moira doesn’t conform to standards set by those above her. They whispered to “exchange names” (Atwood, 4) at the Red Center to communicate with each other and instill a sense of communal friendship; this directly opposes Gilead, as it stands for the loss of individuality and bonds. In this way, by communicating with each other, Moira makes one of her first appearances in the plot as a rebellious individual who resists the regime enforced by Gilead.

Moira is embodied within Offred as she has various thoughts throughout her journey. Offred’s thoughts encompass Moira’s rebellious and free spirit, as the thought of murder crosses her mind (Clark) and is tempted by“the blood” that would come “out of him, hot as soup, sexual, over her hands”. (Atwood, 140) This serves as Moira’s voice inside of Offred’s head giving her rebellious impulses. But once again, she lacks the independent thinking and free spirit of Moira and is held back from committing such an action. Moira serves as the guiding voice in Offred’s head, instructing her as to how to actually survive. Moira’s voice opposes Aunt Lydia’s, which acts like an angelic figure.

Moira is the political mouthpiece of the novel. Atwood introduces her to present her own political ideas about the right-wing religious fundamentalism present in Gilead, as well as basic ideas about feminism. She is able to deliver strong messages about the implications of sexism in society and the consequences of inadequate social and political behavior. Moira “emphasizes the thematic symbolism in the novel”.

Offred is not a feminist, and Moira was the opposite. Moira embodies a feministic spirit, defying the norms set by sexist borders. She believes in the return to family values. She wanted a women’s only culture, like Offred’s mother, believing that such a society would solve many of the problems in society.

She has a certain level of disdain for pantyhose and similar female clothing. According to Moira, “Pantyhose gives you crotch rot.” With her purple overalls, Atwood makes a statement about the social expectations of women in the late 80s. Moira is presented to show how clothing could further encourage sexist roles.

Atwood intentionally introduces Moira as a beacon of hope in Offred’s existence. Moira’s attempt at escaping the Red Center serves as hope for a chance at a better life for Offred and other handmaids alike. She dresses in an Aunt’s clothing to escape twice. Her determination to find better living and rights in society is truely assessed by her second escape attempt, after her first failure. Even after acknowledging the implications of attempted escape, she does, because her survival is less important than her rights, freedom, and quality of life.

Offred imagines Moira, and her traits, on a daily basis and integrates her values in her life; Moira acts as a constant sense of hope in the persecution of Gilead. She imagines people “with the face of Moira” (Atwood, 91) as a sense of reassurance. Imagining a familiar face, like Moira’s, gave Offred the will and ability to move forward in the oppressive regime. The author introduces Moira as an archetype of a reliable friend, to show the audience that everyone requires a coping mechanism to survive; Offred’s is Moira.

Even at the birthing ceremony, Offred attempts at finding Moira as when conformity and the sick elements of Gilead overcome the Handmaids, Offred still has hope of finding her friend. She provides descriptions of her, “Dark hair, freckles” (Atwood, 124) as a shot in the dark to find her. Her investigation is terminated by the happenings of the birthing ceremony, which leads the author to believe that Gilead attempts to crush the hope an individual has- even if it is finding an old friend.

Moira’s presence in Jezebels serves as Offred’s breaking point and in turn a pivotal point in the plot. Atwood introduces Moira as a prostitute to show that Moira’s rebellious spirit has been broken to the extent where she has settled for prostitution rather than certain death at the colonies. Though Offred does not wish for Moira “to be like her” (Atwood, 249), it can be seen that Moira has become unwilling like Offred- perhaps even more- conforming to the standards set before her.

Offred and Moira’s conversation serves to sharply contrast Moira’s sense of past determination with her present situation. Moira’s story scares Offred, as what she hears “in her voice is indifference, a lack of volition.” Though previously Moira valued freedom more than survival, her values have been flipped; Moira would rather live to tell the tale of the heroes. This leads the reader to question themselves on whether they would die for a cause they believe in or live to tell the story.

As Offred reflects on her meeting Moira and realizes that Moira has lost hope to thrive in the society any longer; this serves as a major pivotal point in the plot as Moira was Offred’s coping mechanism and sense of hope. Although remembering Moira served as a happy memory for Offred, that role has been reversed; Offred would rather not think about Moira’s future, as it only brought her discomfort. Even the most free-spirited individuals can be crushed under a totalitarian regime, as seen in Moira.

Her relationships with women, whether it be in terms of sexuality or friendship, are unlike those enforced by Gilead, therefore reinforcing the symbol of resistance. Most importantly, Moira’s story does not exist without Offred. As the novel is told in an autobiographical tone, Moira’s sole purpose is for Offred. Moira’s relationship with Offred is that of idealistic friendship and inspiration. Moira tells Offred a secret story, a privilege only available to the oldest, and dearest, of friends; this shows how their friendship survived the ultimate separation and massacre of Gilead. This explains why Offred often remembers Moira in her escape into her psyche at night; Moira brings her a sense of happiness. Offred does not wish for Moira “to be like her.” Instead, Offred admires Moira’s free-spirited qualities and wishes to be like her; there are numerous qualities which “she lacks”. (Atwood, 249) Offred and Moira’s relationship is idealistic and serves to be the reason that Offred survives for the time she does. It can also be seen that as soon as Offred sees Moira’s lost hope, she herself loses.

Moira also has a relationship with Offred’s mother. She knows her mother and likes her because they shared many similar political beliefs; they both shared a desire to return to traditional values in society for women and wanted a women’s only culture (Atwood, 172). Because not much is known about Offred’s mother, the audience is left to wonder whether Offred thinks of her mother and Moira as the same person. Because daughters often look up to their mothers, and Offred looks up to Moira in several instances, Moira fulfills the role in Offred’s life. Additionally, the doubled motif is present as Moira is paired with Oflgen and Janine, other Handmaids.

Offred compares the last handmaid to have stayed in her position to Moira. When she “imagines the woman”, she thinks of Moira. Both of them have a rebellious spirit who are willing to die for the cause they believe in. This is yet another example of how Offred finds Moira, her coping mechanism, in her surroundings. The fact that the past handmaid is dead, serves as an indication of the implications of rebellion in Gilead, and the possibilities of Moira’s being at the time.

Moira can be seen as a hero throughout the novel She is confrontational, contrasted with Offred, juxtaposed against Offred who represents Gilead’s version of “moderate heterosexual feminism”. A strong-willed character, she is strong as she speaks out for what she believes in, representing female heroism. Her personality and characterization lead those around her, including Offred and handmaids at the Red Center, to “admire her”, as “Moira was their fantasy”. Because of Moira, the Aunts seemed “less fearsome and more absurd” (Atwood, 133) to the other Handmaids. Moira is also seen as courageous, as she plans and executes two escape plans. She sorts out all of Janine’s hysteria, because “that stuff is catching”. Moira always seems to be striving to make survival better for others and attempting at attaining freedom, deeming her a hero in the novel.

The story that Offred tells is a combination of pre-Gileadean times and the present, including the Red Center and Jezebels. It is a story of silenced women. Even though she “can’t remember exactly” (Atwood, 243), she selects specific memories to share with the audience. This shows that the repeated memories of Moira are of great importance to Offred; not only was she a fundamental mechanism for survival in Gilead, but also a sense of familiarity and friendship. Even though Moira is a more dynamic character than Offred in pre-Gileadean times, it is Offred who enables Moira to have a story in Gilead via her memories.

Moira is also a resourceful individual. She is independent and individualistic, qualities that Gilead opposes. Not only does this establish Moira as a free-willed individual, but also shows a sharp contrast to all the other women in the novel, who choose to conform to submissively being a Handmaid. Moira, on the other hand, refuses to conform, as she is a rebel in disguise.

Above all, Moira’s sense of humor is established to show how Gilead plays on religious ideas and edits hymns, to expose the charade that is playing in the name of religion. Even without her literal presence, Offred continues to return to Moira’s humor.

It is evident that Moira’s presentation in the story is integral as Offred is influenced by her to a great extent in many ways. Not only does she aid in the progression of the story, but she is a key element in voicing many of Atwood’s concerns. Her character’s essence is consists of speaking against the impositions of “silence, challenging tyranny and oppression”; even though the audience is unsure of her physical survival, her voice is able to survive the test of time with depictions of hope and defiance. But it is seen that Moira and Offred’s mothers both are sent to the colonies, which is literal suicide; Offred perseveres and rejects the concept of mortal submission, which in terms makes it evident that there are no winners in Gilead. Though Moira and Offred are essentially distinctive in their beliefs and “private assertations”, their intertwined story calls attention to their “exemplary” actions.

Bibliography

1. Atwood, Margaret. The Handmaid's Tale. Houghton Mifflin Harcourt, 2017.
2. Clark, Janaquin. “Background Guide and Notes” IB English Literature 1, The Village School. Course Handout
3. Clark, Janaquin. “Moira Essay Plan” IB English Literature 1, The Village School. Course Handout