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The first chapter presents a very oppressive and negative view of the surroundings in which the narrator lives. A prison-like image of the scene is created through use of descriptive imagery to describe the 'Aunts' and 'Angels'. Whilst it is not clear as to the purpose of the imprisonment of these women, we are given a few clues within the first few paragraphs. This makes it a very effective opening to the novel, as it feeds the readers imagination and makes them want to read more. It also gives a good insight into the themes and genre etc. which follow in the book, enabling the reader to make predictions about the time and situation in which the narrator lives.
The chapter begins with factual and imaginative descriptions of the setting. The use of past tense, 'formerly played there', creates a reminiscent and almost dreamy tone, helping the reader to picture the hall before the book's 'present' day. Although the narrator seems to describe a modern, i.e. today's society, American high school hall, we immediately assume the book must be set somewhere in the future because of the use of past tense in reference to modern images. The detailed descriptive language of such modern images helps to create this effect. Examples of such images include that of a recent-day high school prom or dance, 'dances would have been held there'. These are also portrayed to be modern day by the descriptions used, 'garlands made of tissue paper' reminds of a float, perhaps used for a prom king or queen in an American high school. Also reference to dress and style helps us to determine time of setting, 'mini skirts', 'one earring' and 'spiky green streaked hair'. All these images would not have been typical in time other than that near to present day. Another hint that the setting is America is the use of the word 'pants' as reference to trousers. The first paragraph presents a fairly positive image of the hall as it was. Atwood uses positive descriptive images throughout it to create this effect. Especially by ending the paragraph with the image of a disco ball or 'revolving ball of mirrors, powdering the dancers with a snow of light'.
It is then a slight shock to the reader to find the sudden and quite extreme change in tone in the second paragraph. However this stresses the idea of the narrators desire to return to the past, where everything appears to be much more positive. Immediately more negative images are created by the idea of apparent 'loneliness' which now has an almost unexplainable presence 'without shape or name' in the hall. An almost ghostly impression is given by this picture, emphasizing the negative change in tone by generating a cold and somewhat deadly image. There is also a reference to 'old sex' in the first sentence of this paragraph. There is an evident sexual influence here accentuated by the idea of 'yearning' and 'lifting flesh' in the television room. These connotations can predict the recurring theme of sex as the sole role of women in society presented throughout the book.
A return to present tense in the third paragraph brings the reader back to the narrator's reality in some ways. Particularly through use of the rhetorical question; 'how did we learn it, that talent for insatiability?'. It is in these first few lines that the idea of yearning for something id repeated, not only does this reinforce the concept but also makes the reader think about why the narrator may yearn for the future. It opens the mind's eye and therefore desire to read on as to the reason for the narrator's yearning for the future.
In this paragraph there are also several descriptions about the present surroundings and atmosphere in the hall, which are far more negative than the beginning of the chapter. The beds are described as 'army cots' not only does this throw in the concept of war and death, (through use of the word army), but also a child-like image of bedtime by referring to beds as 'cots'. This is later reinforced by the illustration of flannelette sheets as it says 'like children's' The beds being 'set out in rows' shows order and conformity, once again compliant with the notion of an army barracks, prison or even concentration camp. This is emphasized by the 'army-issue blankets' which still said 'U.S', which also gives another clue as to the location of the setting. Lack of communication between the people in the beds creates a sense of segregation from familiarity and comfort, presenting yet another negative image of the 'present day' hall to the reader. All these descriptive images help to impress upon the reader the negative concept of an oppressive surrounding which closely resembles a prison.
We are next presented with 'Aunt Sarah and Aunt Elizabeth'. Generally an aunt is recognised as a second mother and a deceptive caring image is formed of them. This image is juxtaposed by the fact that they carry 'electric cattle prods slung on thongs from their leather belts'. Atwood uses the juxtaposition of the images to create a shocking and thought provoking effect from the reader. As the motherly image of an aunt is immediately thrown off by the violent and divisional icon of the aunts exaggerated form of control over the people in the beds.
There is a slight change in tone used in the penultimate paragraph, where the 'Angels' are discussed. The use of the word 'angel' as depiction for the guards brings the first hint of a religious implication into the book. Not only does this portray them as 'god-like' but their description causes them to be seen as something pleasant, and reminds the reader of a saviour figure within a world which seems so unhopeful. Atwood then chooses to give the angels guns, another juxtaposition of imagery, as these servants of god are carrying weapons which can kill. The angels are also given a higher status than the aunts by carrying the guns, 'even they could not be trusted with guns' in reference to the aunts. This adds to the notion of a hierarchy within the narrator's hellish society, in what resembles an oppressive prison 'chain-link fence topped with barbed wire'.
The final paragraph returns to the idea of the people in the beds being treated as children, reinforcing the concept that they are lower down in the order of authority than both the aunts and angels. This is also portrayed by return to a school-like picture of rebellion 'when the aunts weren't looking', through the use of forbidden physical contact. This also stresses the importance of contact and physical interaction between the 'prisoners', as not only a form of resistance to the situation but also as a protective blanket or comfort. The chapter ends with a list of the names of the women in the bed. The fact that they are listed suggests there are many of them, leaving the reader with a horrifyingly disturbing image of the situation that the narrator lives in. Another temptation for the reader to discover why and how these women were put in this future situation.
Overall the chapter is a very effective opening to the novel, as it gives the reader clues as to the genre, themes and atmosphere held within the book. Not only this but it also makes the reader want to read on and discover more about the reasons for the women being held captive in such a place.
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