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Books : Literature & Fiction : World Literature : Canadian : Women Writers : Authors, A-Z : Atwood, Margaret
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(Book Jacket Status: Jacketed)
A gripping vision of our society radically overturned by a theocratic revolution, Margaret Atwood’s The Handmaid's Tale has become one of the most powerful and most widely read novels of our time.
Offred is a Handmaid in the Republic of Gilead, serving in the household of the enigmatic Commander and his bitter wife. She may go out once a day to markets whose signs are now pictures because women are not allowed to read. She must pray that the Commander makes her pregnant, for in a time of declining birthrates her value lies in her fertility, and failure means exile to the dangerously polluted Colonies. Offred can remember a time when she lived with her husband and daughter and had a job, before she lost even her own name. Now she navigates the intimate secrets of those who control her every move, risking her life in breaking the rules.
Like Aldous Huxley’s Brave New World and George Orwell’s Nineteen Eighty-Four, The Handmaid's Tale has endured not only as a literary landmark but as a warning of a possible future that is still chillingly relevant.
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Margaret Atwood’s latest brilliant collection of short stories follows the life of a single character, seen as a girl growing up the 1930s, a young woman in the 50s and 60s, and, in the present day, half of a couple, no longer young, reflecting on the new state of the world. Each story focuses on the ways relationships transform a character’s life: a woman’s complex love for a married man, the grief upon the death of parents and the joy with the birth of children, the realization of what growing old with someone you love really means. By turns funny, lyrical, incisive, earthy, shocking, and deeply personal, Moral Disorder displays Atwood’s celebrated storytelling gifts and unmistakable style to their best advantage.
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Margaret Atwood returns with a shrewd, funny, and insightful retelling of the myth of Odysseus from the point of view of Penelope. Describing her own remarkable vision, the author writes in the foreword, “I’ve chosen to give the telling of the story to Penelope and to the twelve hanged maids. The maids form a chanting and singing Chorus, which focuses on two questions that must pose themselves after any close reading of the Odyssey: What led to the hanging of the maids, and what was Penelope really up to? The story as told in the Odyssey doesn’t hold water: there are too many inconsistencies. I’ve always been haunted by the hanged maids and, in The Penelopiad, so is Penelope herself.” One of the high points of literary fiction in 2005, this critically acclaimed story found a vast audience and is finally available in paperback.
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Cat's Eye is the story of Elaine Risley, a controversial painter who returns to Toronto, the city of her youth, for a retrospective of her art. Engulfed by vivid images of the past, she reminisces about a trio of girls who initiated her into the fierce politics of childhood and its secret world of friendship, longing, and betrayal. Elaine must come to terms with her own identity as a daughter, a lover, an artist, and a woman--but above all she must seek release from her haunting memories. Disturbing, hilarious, and compassionate, Cat's Eye is a breathtaking novel of a woman grappling with the tangled knot of her life.
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“Homer’s Odyssey is not the only version of the story. Mythic material was originally oral, and also local -- a myth would be told one way in one place and quite differently in another. I have drawn on material other than the Odyssey, especially for the details of Penelope’s parentage, her early life and marriage, and the scandalous rumors circulating about her. I’ve chosen to give the telling of the story to Penelope and to the twelve hanged maids. The maids form a chanting and singing Chorus, which focuses on two questions that must pose themselves after any close reading of the Odyssey: What led to the hanging of the maids, and what was Penelope really up to? The story as told in the Odyssey doesn’t hold water: there are too many inconsistencies. I’ve always been haunted by the hanged maids and, in The Penelopiad, so is Penelope herself.” -- from Margaret Atwood’s Foreword to The Penelopiad
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Joan Foster is the bored wife of a myopic ban-the-bomber. She takes off overnight as Canada's new superpoet, pens lurid gothics on the sly, attracts a blackmailing reporter, skids cheerfully in and out of menacing plots, hair-raising traps, and passionate trysts, and lands dead and well in Terremoto, Italy. In this remarkable, poetic, and magical novel, Margaret Atwood proves yet again why she is considered to be one of the most important and accomplished writers of our time.
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Part detective novel, part psychological thriller, Surfacing is the story of a talented woman artist who goes in search of her missing father on a remote island in northern Quebec. Setting out with her lover and another young couple, she soon finds herself captivated by the isolated setting, where a marriage begins to fall apart, violence and death lurk just beneath the surface, and sex becomes a catalyst for conflict and dangerous choices. Surfacing is a work permeated with an aura of suspense, complex with layered meanings, and written in brilliant, diamond-sharp prose. Here is a rich mine of ideas from an extraordinary writer about contemporary life and nature, families and marriage, and about women fragmented...and becoming whole.
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Margaret Atwood's The Robber Bride is inspired by "The Robber Bridegroom," a wonderfully grisly tale from the Brothers Grimm in which an evil groom lures three maidens into his lair and devours them, one by one. But in her version, Atwood brilliantly recasts the monster as Zenia, a villainess of demonic proportions, and sets her loose in the lives of three friends, Tony,
Charis, and Roz. All three "have lost men, spirit, money, and time to their old college acquaintance, Zenia. At various times, and in various emotional disguises, Zenia has insinuated her way into their lives and practically demolished them.
To Tony, who almost lost her husband and jeopardized her academic career, Zenia is 'a lurking enemy commando.' To Roz, who did lose her husband and almost her magazine, Zenia is 'a cold and treacherous bitch.' To Charis, who lost a boyfriend, quarts of vegetable juice and some pet chickens, Zenia is a kind of zombie, maybe 'soulless'" (Lorrie Moore, New York Times Book Review). In love and war, illusion and deceit, Zenia's subterranean malevolence takes us deep into her enemies' pasts.
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A delightfully pointed m?lange of fictional pieces from one of the world’s most acclaimed and incisive authors, The Tent is a sparkling addition to Margaret Atwood’s always masterful work.
Here Atwood pushes form once again, with meditations on warlords, pet heaven, and aging homemakers. She gives a sly pep talk to the ambitious young; writes about the disconcerting experience of looking at old photos of ourselves; and examines the boons and banes of orphanhood. Accompanied by her own playful illustrations, Atwood’s droll humor and keen insight make each piece full of clarity and grace. Prescient and personal, delectable and tart, The Tent reflects one of our wittiest authors at her best.
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Ever since her engagement, the strangest thing has been happening to Marian McAlpin: she can't eat. First meat. Then eggs, vegetables, cake, pumpkin seeds—everything! Worse yet, she has the crazy feeling that she's being eaten. Marian ought to feel consumed with passion. But really she just feels...consumed. A brilliant and powerful work rich in irony and metaphor, The Edible Woman is an unforgettable materpiece by a true master of contemporary literary fiction.
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This splendid volume of short fiction testifies to Margaret Atwood's startlingly original voice, full of a rare intensity and exceptional intelligence. Her men and women still miscommunicate, still remain separate in different rooms, different houses, or even different worlds. With brilliant flashes of fantasy, humor, and unexpected violence, the stories reveal the complexities of human relationships and bring to life characters who touch us deeply, evoking terror and laughter, compassion and recognition--and dramatically demonstrate why Margaret Atwood is one of the most important writers in English today.
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Presenting Princess Prunella. Proud, prissy, and pretty, and unhappily very spoiled, she lives in a pink palace with her pinheaded parents, her three plump pussycats, and her prize puppy dog, Pug. Her passion? Her very own person. Her aspiration? To marry a pinheaded prince with piles of pin money, who will praise and pamper her. From Margaret Atwood--the novelist, poet, short story writer and author of such contemporary bestsellers as The Handmaid's Tale and The Robber Bride--comes a modern fairy tale with a classic message. Illustrated with elegant humor by Maryann Kovalski, Princess Prunella and the Purple Peanut revels in the smart-alecky humor of its impertinent heroine and an alliteration of p's that gives the story a tongue-twisting energy with surprises at every turn. Children, and adults who love reading to children, will love reading princess prunella in the same way that they love reading Dr. Suess for the sheer fun of the language. But there's something more, too, as a born storyteller creates, with the mere choice of a word, an indelibly lively portrait of a spoiled little girl who is about to get her much-deserved comeuppance. Selection of Book-of-the-Month Club.
53,000 copies in print.
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By turns humorous and warm, stark and frightening, Bluebeard'S Egg glows with childhood memories, the reality of parents growing old, and the casual cruelty men and women inflict on each other. Here is the familiar outer world of family summers at remote lakes, winters of political activism, and seasons of exotic friends, mundane lives, and unexpected loves. But here too is the inner world of hidden places and all that emerges from them-the intimately personal, the fantastic, the shockingly real...whether it's what lives in a mysterious locked room or the secret feelings we all conceal. In this dramatic and far-ranging collection, Margaret Atwood proves why she is a true master of the genre.
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"I don't mind being 'interviewed' any more than I mind Viennese waltzing—that is, my response will depend on the agility and grace and attitude and intelligence of the other person. Some do it well, some clumsily, some step on your toes by accident, and some aim for them."—Margaret Atwood
This gathering of 21 interviews with Margaret Atwood covers a broad spectrum of topics. Beginning with Graeme Gibson's "Dissecting the Way a Writer Works" (1972), the conversations provide a forum for Atwood to talk about her own work, her career as a writer, feminism, and Canadian cultural nationalism, and to refute the autobiographical fallacy. These conversations offer what Earl Ingersoll calls "a kind of 'biography' of Margaret Atwood—the only kind of biography she is likely to sanction." Enlivened by Atwood's unfailing sense of humor, the interviews present an invaluable view of a distinguished contemporary writer at work.
From the Interviews:
"Let's not pretend that the interview will necessarily result in any absolute and blinding revelations. Interviews too are an art form; that is to say, they indulge in the science of illusion."
"I don't think you ever know how to write a book. You never know ahead of time. You start every time at zero. A former success doesn't mean that you're not going to make the most colossal failure the next time."