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The Testaments

The Sequel to The Handmaid's Tale

Author Margaret Atwood
Listen to a clip Look inside
Hardcover
$28.95 US
Doubleday Publishing | Nan A. Talese
On sale Sep 10, 2019 | 432 Pages | 978-0-385-54378-1
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  • English > Comparative Literature > Dystopian Literature
  • English > Comparative Literature > Major Themes: Gender
  • English > Comparative Literature: Commonwealth Nations > Canadian
  • English > Literature > Women and Literature
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  • Awards
  • Author
“Dear Readers: Everything you've ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything! The other inspiration is the world we’ve been living in.” —Margaret Atwood

In this brilliant sequel to The Handmaid’s Tale, acclaimed author Margaret Atwood answers the questions that have tantalized readers for decades.

When the van door slammed on Offred’s future at the end of The Handmaid’s Tale, readers had no way of telling what lay ahead for her—freedom, prison or death. 
 
With The Testaments, the wait is over. 
 
Margaret Atwood’s sequel picks up the story fifteen years after Offred stepped into the unknown, with the explosive testaments of three female narrators from Gilead. 

“A fast, immersive narrative that’s as propulsive as it is melodramatic.” —Michiko Kakutani, The New York Times
 
“One of the most anticipated sequels of the modern age . . . full of revealing backstories.”
—Ron Charles, The Washington Post
 
“The women of Gilead are more fascinating than ever.” —NPR
 
“A rare treat. . . . A corker of a plot, culminating in a breathless flight to freedom.” —Laura Miller, Slate.com
 
“A chilling invitation no Atwood fan can resist. . . . The Testaments reminds us of the power of truth in the face of evil.” —People
 
“There may be no novelist better suited to tapping the current era’s anxieties than Margaret Atwood.” —Entertainment Weekly
1 | The Ardua Hall Holograph

Only dead people are allowed to have statues, but I have been given one while still alive. Already I am petrified.

This statue was a small token of appreciation for my many contributions, said the citation, which was read out by Aunt Vidala. She’d been assigned the task by our superiors, and was far from appreciative. I thanked her with as much modesty as I could summon, then pulled the rope that released the cloth drape shrouding me; it billowed to the ground, and there I stood. We don’t do cheering here at Ardua Hall, but there was some discreet clapping. I inclined my head in a nod.

My statue is larger than life, as statues tend to be, and shows me as younger, slimmer, and in better shape than I’ve been for some time. I am standing straight, shoulders back, my lips curved into a firm but benevolent smile. My eyes are fixed on some cosmic point of reference understood to represent my idealism, my unflinching commitment to duty, my determination to move forward despite all obstacles. Not that anything in the sky would be visible to my statue, placed as it is in a morose cluster of trees and shrubs beside the footpath running in front of Ardua Hall. We Aunts must not be too presumptuous, even in stone.

Clutching my left hand is a girl of seven or eight, gazing up at me with trusting eyes. My right hand rests on the head of a woman crouched at my side, her hair veiled, her eyes upturned in an expression that could be read as either craven or grateful—one of our Handmaids—and behind me is one of my Pearl Girls, ready to set out on her missionary work. Hanging from a belt around my waist is my Taser. This weapon reminds me of my failings: had I been more effective, I would not have needed such an implement. The persuasion in my voice would have been enough.

As a group of statuary it’s not a great success: too crowded. I would have preferred more emphasis on myself. But at least I look sane. It could well have been otherwise, as the elderly sculptress—a true believer since deceased—had a tendency to confer bulging eyes on her subjects as a sign of their pious fervour. Her bust of Aunt Helena looks rabid, that of Aunt Vidala is hyperthyroid, and that of Aunt Elizabeth appears ready to explode.

At the unveiling the sculptress was nervous. Was her renditionof me sufficiently flattering? Did I approve of it? Would I be seen toapprove? I toyed with the idea of frowning as the sheet came off, butthought better of it: I am not without compassion. “Very lifelike,” Isaid.

That was nine years ago. Since then my statue has weathered:pigeons have decorated me, moss has sprouted in my damper crevices.Votaries have taken to leaving offerings at my feet: eggs forfertility, oranges to suggest the fullness of pregnancy, croissants toreference the moon. I ignore the breadstuffs—usuallythey havebeen rained on—butpocket the oranges. Oranges are so refreshing.

* * *

I write these words in my private sanctum within the library of Ardua Hall—one of the few libraries remaining after the enthusiastic book-burnings that have been going on across our land. The corrupt and blood-smeared fingerprints of the past must be wiped away to create a clean space for the morally pure generation that is surely about to arrive. Such is the theory.

But among these bloody fingerprints are those made by ourselves, and these can’t be wiped away so easily. Over the years I’ve buried a lot of bones; now I’m inclined to dig them up again—if only for your edification, my unknown reader. If you are reading, this manuscript at least will have survived. Though perhaps I’m fantasizing: perhaps I will never have a reader. Perhaps I’ll only be talking to the wall, in more ways than one.

That’s enough inscribing for today. My hand hurts, my back aches, and my nightly cup of hot milk awaits me. I’ll stash this screed in its hiding place, avoiding the surveillance cameras—I know where they are, having placed them myself. Despite such precautions, I’m aware of the risk I’m running: writing can be dangerous. What betrayals, and then what denunciations, might lie in store for me? There are several within Ardua Hall who would love to get their hands on these pages.

Wait, I counsel them silently: it will get worse.
Copyright © 2019 by O.W. Toad, Ltd.. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
© Luis Mora
Margaret Atwood is the author of more than fifty books of fiction, poetry and critical essays. Her novels include Cat’s Eye, The Robber Bride, Alias Grace, The Blind Assassin, and the MaddAddam trilogy. Her 1985 classic, The Handmaid’s Tale, was followed in 2019 by a sequel, The Testaments, which was a global number one bestseller and won the Booker Prize. In 2020 she published Dearly, her first collection of poetry for a decade.
 
Atwood has won numerous awards including the Arthur C. Clarke Award for Imagination in Service to Society, the Franz Kafka Prize, the Peace Prize of the German Book Trade, the PEN USA Lifetime Achievement Award and the Dayton Literary Peace Prize. In 2019 she was made a member of the Order of the Companions of Honour for services to literature. She has also worked as a cartoonist, illustrator, librettist, playwright and puppeteer. She lives in Toronto, Canada. View titles by Margaret Atwood

About

“Dear Readers: Everything you've ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything! The other inspiration is the world we’ve been living in.” —Margaret Atwood

In this brilliant sequel to The Handmaid’s Tale, acclaimed author Margaret Atwood answers the questions that have tantalized readers for decades.

When the van door slammed on Offred’s future at the end of The Handmaid’s Tale, readers had no way of telling what lay ahead for her—freedom, prison or death. 
 
With The Testaments, the wait is over. 
 
Margaret Atwood’s sequel picks up the story fifteen years after Offred stepped into the unknown, with the explosive testaments of three female narrators from Gilead. 

“A fast, immersive narrative that’s as propulsive as it is melodramatic.” —Michiko Kakutani, The New York Times
 
“One of the most anticipated sequels of the modern age . . . full of revealing backstories.”
—Ron Charles, The Washington Post
 
“The women of Gilead are more fascinating than ever.” —NPR
 
“A rare treat. . . . A corker of a plot, culminating in a breathless flight to freedom.” —Laura Miller, Slate.com
 
“A chilling invitation no Atwood fan can resist. . . . The Testaments reminds us of the power of truth in the face of evil.” —People
 
“There may be no novelist better suited to tapping the current era’s anxieties than Margaret Atwood.” —Entertainment Weekly

Excerpt

1 | The Ardua Hall Holograph

Only dead people are allowed to have statues, but I have been given one while still alive. Already I am petrified.

This statue was a small token of appreciation for my many contributions, said the citation, which was read out by Aunt Vidala. She’d been assigned the task by our superiors, and was far from appreciative. I thanked her with as much modesty as I could summon, then pulled the rope that released the cloth drape shrouding me; it billowed to the ground, and there I stood. We don’t do cheering here at Ardua Hall, but there was some discreet clapping. I inclined my head in a nod.

My statue is larger than life, as statues tend to be, and shows me as younger, slimmer, and in better shape than I’ve been for some time. I am standing straight, shoulders back, my lips curved into a firm but benevolent smile. My eyes are fixed on some cosmic point of reference understood to represent my idealism, my unflinching commitment to duty, my determination to move forward despite all obstacles. Not that anything in the sky would be visible to my statue, placed as it is in a morose cluster of trees and shrubs beside the footpath running in front of Ardua Hall. We Aunts must not be too presumptuous, even in stone.

Clutching my left hand is a girl of seven or eight, gazing up at me with trusting eyes. My right hand rests on the head of a woman crouched at my side, her hair veiled, her eyes upturned in an expression that could be read as either craven or grateful—one of our Handmaids—and behind me is one of my Pearl Girls, ready to set out on her missionary work. Hanging from a belt around my waist is my Taser. This weapon reminds me of my failings: had I been more effective, I would not have needed such an implement. The persuasion in my voice would have been enough.

As a group of statuary it’s not a great success: too crowded. I would have preferred more emphasis on myself. But at least I look sane. It could well have been otherwise, as the elderly sculptress—a true believer since deceased—had a tendency to confer bulging eyes on her subjects as a sign of their pious fervour. Her bust of Aunt Helena looks rabid, that of Aunt Vidala is hyperthyroid, and that of Aunt Elizabeth appears ready to explode.

At the unveiling the sculptress was nervous. Was her renditionof me sufficiently flattering? Did I approve of it? Would I be seen toapprove? I toyed with the idea of frowning as the sheet came off, butthought better of it: I am not without compassion. “Very lifelike,” Isaid.

That was nine years ago. Since then my statue has weathered:pigeons have decorated me, moss has sprouted in my damper crevices.Votaries have taken to leaving offerings at my feet: eggs forfertility, oranges to suggest the fullness of pregnancy, croissants toreference the moon. I ignore the breadstuffs—usuallythey havebeen rained on—butpocket the oranges. Oranges are so refreshing.

* * *

I write these words in my private sanctum within the library of Ardua Hall—one of the few libraries remaining after the enthusiastic book-burnings that have been going on across our land. The corrupt and blood-smeared fingerprints of the past must be wiped away to create a clean space for the morally pure generation that is surely about to arrive. Such is the theory.

But among these bloody fingerprints are those made by ourselves, and these can’t be wiped away so easily. Over the years I’ve buried a lot of bones; now I’m inclined to dig them up again—if only for your edification, my unknown reader. If you are reading, this manuscript at least will have survived. Though perhaps I’m fantasizing: perhaps I will never have a reader. Perhaps I’ll only be talking to the wall, in more ways than one.

That’s enough inscribing for today. My hand hurts, my back aches, and my nightly cup of hot milk awaits me. I’ll stash this screed in its hiding place, avoiding the surveillance cameras—I know where they are, having placed them myself. Despite such precautions, I’m aware of the risk I’m running: writing can be dangerous. What betrayals, and then what denunciations, might lie in store for me? There are several within Ardua Hall who would love to get their hands on these pages.

Wait, I counsel them silently: it will get worse.
Copyright © 2019 by O.W. Toad, Ltd.. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Awards

  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • WINNER | 2019
    Booker Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize
  • SHORTLIST | 2019
    Scotiabank Giller Prize

Author

© Luis Mora
Margaret Atwood is the author of more than fifty books of fiction, poetry and critical essays. Her novels include Cat’s Eye, The Robber Bride, Alias Grace, The Blind Assassin, and the MaddAddam trilogy. Her 1985 classic, The Handmaid’s Tale, was followed in 2019 by a sequel, The Testaments, which was a global number one bestseller and won the Booker Prize. In 2020 she published Dearly, her first collection of poetry for a decade.
 
Atwood has won numerous awards including the Arthur C. Clarke Award for Imagination in Service to Society, the Franz Kafka Prize, the Peace Prize of the German Book Trade, the PEN USA Lifetime Achievement Award and the Dayton Literary Peace Prize. In 2019 she was made a member of the Order of the Companions of Honour for services to literature. She has also worked as a cartoonist, illustrator, librettist, playwright and puppeteer. She lives in Toronto, Canada. View titles by Margaret Atwood

Additional formats

  • The Testaments
    The Testaments
    A Novel
    Margaret Atwood
    978-0-525-56262-7
    $18.00 US
    Paperback
    Anchor
    Sep 01, 2020
  • The Testaments
    The Testaments
    A Novel
    Margaret Atwood
    978-0-385-54379-8
    $12.99 US
    Ebook
    Anchor
    Sep 10, 2019
  • The Testaments
    The Testaments
    The Sequel to The Handmaid's Tale
    Margaret Atwood
    978-0-525-59046-0
    $25.00 US
    Audiobook Download
    Random House Audio
    Sep 10, 2019
  • The Testaments
    The Testaments
    The Sequel to The Handmaid's Tale
    Margaret Atwood
    978-0-593-14909-6
    $31.00 US
    Large Print
    Random House Large Print
    Sep 10, 2019
  • The Testaments
    The Testaments
    A Novel
    Margaret Atwood
    978-0-525-56262-7
    $18.00 US
    Paperback
    Anchor
    Sep 01, 2020
  • The Testaments
    The Testaments
    A Novel
    Margaret Atwood
    978-0-385-54379-8
    $12.99 US
    Ebook
    Anchor
    Sep 10, 2019
  • The Testaments
    The Testaments
    The Sequel to The Handmaid's Tale
    Margaret Atwood
    978-0-525-59046-0
    $25.00 US
    Audiobook Download
    Random House Audio
    Sep 10, 2019
  • The Testaments
    The Testaments
    The Sequel to The Handmaid's Tale
    Margaret Atwood
    978-0-593-14909-6
    $31.00 US
    Large Print
    Random House Large Print
    Sep 10, 2019

Other Books by this Author

  • Old Babes in the Wood
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    Stories
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  • Burning Questions
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    978-0-307-74176-9
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  • Good Bones and Simple Murders
    Good Bones and Simple Murders
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    $8.99 US
    Ebook
    Nan A. Talese
    Jun 08, 2011
  • The Year of the Flood
    The Year of the Flood
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    978-0-307-45547-5
    $16.95 US
    Paperback
    Anchor
    Jul 27, 2010
  • Moral Disorder and Other Stories
    Moral Disorder and Other Stories
    Margaret Atwood
    978-0-385-72164-6
    $15.95 US
    Paperback
    Anchor
    Feb 12, 2008
  • The Tent
    The Tent
    Margaret Atwood
    978-1-4000-9701-2
    $14.00 US
    Paperback
    Anchor
    May 08, 2007
  • The Handmaid's Tale
    The Handmaid's Tale
    Introduction by Valerie Martin
    Margaret Atwood
    978-0-307-26460-2
    $28.00 US
    Hardcover
    Everyman's Library
    Oct 17, 2006
  • Oryx and Crake
    Oryx and Crake
    Margaret Atwood
    978-0-385-72167-7
    $17.00 US
    Paperback
    Anchor
    Mar 30, 2004
  • Negotiating with the Dead
    Negotiating with the Dead
    A Writer on Writing
    Margaret Atwood
    978-1-4000-3260-0
    $15.95 US
    Paperback
    Anchor
    Sep 09, 2003
  • The Blind Assassin
    The Blind Assassin
    A Novel
    Margaret Atwood
    978-0-385-72095-3
    $18.00 US
    Paperback
    Anchor
    Aug 28, 2001
  • Dancing Girls
    Dancing Girls
    Margaret Atwood
    978-0-385-49109-9
    $16.00 US
    Paperback
    Anchor
    May 18, 1998
  • Bodily Harm
    Bodily Harm
    Margaret Atwood
    978-0-385-49107-5
    $15.95 US
    Paperback
    Anchor
    Apr 13, 1998
  • Lady Oracle
    Lady Oracle
    Margaret Atwood
    978-0-385-49108-2
    $15.95 US
    Paperback
    Anchor
    Apr 13, 1998
  • Life Before Man
    Life Before Man
    Margaret Atwood
    978-0-385-49110-5
    $15.95 US
    Paperback
    Anchor
    Apr 13, 1998
  • The Handmaid's Tale
    The Handmaid's Tale
    A Novel
    Margaret Atwood
    978-0-385-49081-8
    $17.00 US
    Paperback
    Anchor
    Mar 16, 1998
  • Surfacing
    Surfacing
    Margaret Atwood
    978-0-385-49105-1
    $17.00 US
    Paperback
    Anchor
    Mar 16, 1998
  • The Edible Woman
    The Edible Woman
    Margaret Atwood
    978-0-385-49106-8
    $16.95 US
    Paperback
    Anchor
    Mar 16, 1998
  • Wilderness Tips
    Wilderness Tips
    Margaret Atwood
    978-0-385-49111-2
    $15.95 US
    Paperback
    Anchor
    Mar 16, 1998
  • Cat's Eye
    Cat's Eye
    Margaret Atwood
    978-0-385-49102-0
    $16.95 US
    Paperback
    Anchor
    Jan 20, 1998
  • The Robber Bride
    The Robber Bride
    Margaret Atwood
    978-0-385-49103-7
    $18.00 US
    Paperback
    Anchor
    Jan 20, 1998
  • Bluebeard's Egg
    Bluebeard's Egg
    Stories
    Margaret Atwood
    978-0-385-49104-4
    $15.95 US
    Paperback
    Anchor
    Jan 20, 1998
  • Alias Grace
    Alias Grace
    A Novel
    Margaret Atwood
    978-0-385-49044-3
    $17.00 US
    Paperback
    Anchor
    Oct 13, 1997
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The Testaments, Margaret Atwood’s sequel to The Handmaid’s Tale, has been called the most anticipated novel of the year. Gilead and the world of the handmaids have inspired a successful TV adaptation, as well as protests against U.S. healthcare restrictions and the controversial confirmation of Justice Brett Kavanaugh. Awarded the 2019 Booker Prize, The Testaments has

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We are thrilled that two Penguin Random House authors, Margaret Atwood and Salman Rushdie, have been honored as finalists for the 2019 Booker Prize. The Booker Prize is the leading literary award in the English speaking world, which has brought recognition, reward and readership to outstanding fiction for over 50 years. It is awarded annually

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December 11 2018

Margaret Atwood’s Sequel to The Handmaid’s Tale to Publish in 2019

As announced last week, Margaret Atwood will write a sequel to The Handmaid’s Tale, due to publish in hardcover and as an ebook on September 10, 2019.   Her new book The Testaments* is set 15 years after Offred’s final scene in The Handmaid’s Tale and is narrated by three female characters. Atwood made a

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