The Testaments (The Handmaid's Tale #2) - Margaret Atwood Page 0,135

decades—would suddenly have gained so greatly in popularity? Those of us who have laboured in the dim and obscure corners of academe for so long are not used to the bewildering glare of the limelight. (Laughter.)

You will all remember the excitement of a few years ago, when a footlocker containing the collection of tapes attributed to the Gilead Handmaid known as “Offred” was discovered. That find was made right here in Passamaquoddy, behind a false wall. Our investigations and our tentative conclusions were presented at our last symposium, and have already given rise to an impressive number of peer-reviewed papers.

To those who have questioned this material and its dating, I can now say with assurance that half a dozen independent studies have verified our first assumptions, though I must qualify that somewhat. The Digital Black Hole of the twenty-first century that caused so much information to vanish due to the rapid decay rate of stored data—coupled with the sabotage of a large number of server farms and libraries by agents from Gilead bent on destroying any records that might conflict with their own, as well as the populist revolts against repressive digital surveillance in many countries—means that it has not been possible to date many Gileadean materials precisely. A margin of error of between ten and thirty years must be assumed. Within that range, however, we are as confident as any historian can usually be. (Laughter.)

Since the discovery of those momentous tapes, there have been two other spectacular finds, which, if authentic, will add substantially to our understanding of this long-gone period in our collective history.

First, the manuscript known as The Ardua Hall Holograph. This series of handwritten pages was discovered inside a nineteenth-century edition of Cardinal Newman’s Apologia Pro Vita Sua. The book was purchased at a general auction by J. Grimsby Dodge, lately of Cambridge, Massachusetts. His nephew inherited the collection and sold it to a dealer in antiques who recognized its potential; thus it was brought to our attention.

Here is a slide of the first page. The handwriting is legible to those trained in archaic cursive; the pages have been trimmed to fit within the excavation in the Cardinal Newman text. The carbon dating of the paper does not exclude the Late Gilead period, and the ink used in the first pages is a standard drawing ink of the period, black in colour, though after a certain number of pages blue is employed. Writing was forbidden for women and girls, with the exception of the Aunts, but drawing was taught at schools to the daughters of elite families; so a supply of such inks was available.

The Ardua Hall Holograph claims to have been composed by a certain “Aunt Lydia,” who features somewhat unflatteringly in the series of tapes discovered in the footlocker. Internal evidence suggests that she may also have been the “Aunt Lydia” identified by archaeologists as the main subject of a large and clumsily executed statue discovered in an abandoned chicken battery farm seventy years after the fall of Gilead. The nose of the central figure had been broken off, and one of the other figures was headless, suggesting vandalism. Here is a slide of it; I apologize for the lighting. I took this picture myself, and I am not the world’s best photographer. Budgetary constraints precluded my hiring a professional. (Laughter.)

The “Lydia” personage is referenced in several debriefings of deep-cover Mayday agents as having been both ruthless and cunning. We have been unable to find her in the scant amount of televised material surviving from the period, though a framed photograph with “Aunt Lydia” handwritten on the back was unearthed from the rubble of a girls’ school bombed during the collapse of Gilead.

Much points to the same “Aunt Lydia” as our holograph author. But as always we must be cautious. Suppose the manuscript is a forgery; not a clumsy attempt made in our own times to defraud—the paper and ink would quickly expose such a deception—but a forgery from within Gilead itself; indeed, from within Ardua Hall.

What if our manuscript were devised as a trap, meant to frame its object, like the Casket Letters used to bring about the death of Mary, Queen of Scots? Could it be that one of “Aunt Lydia’s” suspected enemies, as detailed in the holograph itself—Aunt Elizabeth, for instance, or Aunt Vidala—resentful of Lydia’s power, craving her position, and familiar with both her handwriting and her verbal style, set out to compose this incriminating document, hoping to