Margaret Atwood on What ‘The Handmaid’s Tale’ Means in the Age of Trump

In the spring of 1984 I began to write a novel that was not initially called “The Handmaid’s Tale.” I wrote in longhand, mostly on yellow legal notepads, then transcribed my almost illegible scrawlings using a huge German-keyboard manual typewriter I’d rented.

The keyboard was German because I was living in West Berlin, which was still encircled by the Berlin Wall: The Soviet empire was still strongly in place, and was not to crumble for another five years. Every Sunday the East German Air Force made sonic booms to remind us of how close they were. During my visits to several countries behind the Iron Curtain — Czechoslovakia, East Germany — I experienced the wariness, the feeling of being spied on, the silences, the changes of subject, the oblique ways in which people might convey information, and these had an influence on what I was writing. So did the repurposed buildings. “This used to belong to . . . but then they disappeared.” I heard such stories many times.

Having been born in 1939 and come to consciousness during World War II, I knew that established orders could vanish overnight. Change could also be as fast as lightning. “It can’t happen here” could not be depended on: Anything could happen anywhere, given the circumstances.

By 1984, I’d been avoiding my novel for a year or two. It seemed to me a risky venture. I’d read extensively in science fiction, speculative fiction, utopias and dystopias ever since my high school years in the 1950s, but I’d never written such a book. Was I up to it? The form was strewn with pitfalls, among them a tendency to sermonize, a veering into allegory and a lack of plausibility. If I was to create an imaginary garden I wanted the toads in it to be real. One of my rules was that I would not put any events into the book that had not already happened in what James Joyce called the “nightmare” of history, nor any technology not already available. No imaginary gizmos, no imaginary laws, no imaginary atrocities. God is in the details, they say. So is the Devil.

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