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The tulips are not tulips of blood, the red smiles are not flowers, neither thing makes a comment on the other. The tulip is not a reason for disbelief in the hanged man, or vice versa. Each thing is valid and really there. It is through a field of such valid objects that I must pick my way, every day and in every way. I put a lot of effort into making such distinctions. I need to make them. I need to be very clear, in my own mind. Although we might accept Offred’s assertion that “each thing is valid and really there,” I think we must question her claim that “there is no connection” between the red of the blood and the red of Serena’s tulips.

It can also mean the leader of a meeting. It can also mean a mode of execution. It is the first syllable in charity. It is the French word for flesh. ” Once more, as Offred allows her mind to play with the signifier chair, she spins out a series of signifieds, connected only in sound. But the fact of this connection forces us to consider other connections: do these signs comment upon each other in some way? Does their juxtaposition force new meanings, new readings? Again, Offred says no. But her denial is suspect, especially in light of two subsequent narrative facts.

She might say the same about the importance of maintaining Luke’s desire in the scene above; it may provide her with a way out. And, as a matter of fact, an extremely significant moment in her relationship with Luke involves their use of passports. As the narrator tells the story of their attempt to cross the border into Canada, she suggests that Luke undertakes this journey out of love for her and their child, but the actual text of her account turns this suggestion on its head. She explains that the three of them drive the car to the border, where they hand their false passports to a border guard who takes the forms inside the immigration building: Then Luke got back into the car, too fast, and turned the key and reversed.

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