As Margaret Atwood has said, all dystopian fiction is “really about now”. No wonder the genre is flourishing. This week Atwood’s bleak vision of a future America as a patriarchal theocracy returned to TV screens with the adaptation of her prize-winning 2019 novel The Testaments, the long-awaited sequel to The Handmaid’s Tale. Paul Thomas Anderson’s One Battle After Another, set in a chillingly recognisable militarised America, swept the Oscars last month.
Back in 1984 when Atwood wrote The Handmaid’s Tale, she feared that its central premise – that the US could be transformed from a liberal democracy into Gilead, a theocratic dictatorship after a coup – was too outrageous to convince readers. She need not have worried. By the time the novel was made into the award-winning TV series in 2017, it was all too believable. Arriving just after Donald Trump’s election in 2016 and the rollback of women’s rights, the show felt made for the moment. Atwood was hailed as a prophet. The red-and-white handmaid robes became a symbol of female defiance across the globe. “For a long time we were going away from Gilead and then we turned around and started going back,” Atwood said of her decision to write a follow-up more than 30 years later.
