By Dr Heidi Slettedahl Macpherson
Margaret Atwood bargains an immensely influential voice in modern literature. Her novels were translated into over 22 languages and are extensively studied, taught and loved. Her sort is outlined by means of her comedian wit and willingness to test. Her paintings has ranged throughout a number of genres, from poetry to literary and cultural feedback, novels, brief tales and paintings. This advent summarizes Atwood's canon, from her earliest poetry and her first novel, The fit to be eaten girl, in the course of the Handmaid's story to The 12 months of the Flood. masking the whole variety of her paintings, it courses scholars via a number of readings of her oeuvre. It good points chapters on her existence and occupation, her literary, Canadian and feminist contexts, and the way her paintings has been got and debated over the process her profession. With a advisor to extra interpreting and a transparent, good organised constitution, this e-book offers an enticing evaluation for college kids and readers.
Read or Download The Cambridge Introduction to Margaret Atwood (Cambridge Introductions to Literature) PDF
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Additional resources for The Cambridge Introduction to Margaret Atwood (Cambridge Introductions to Literature)
Example text
Like Alice, I’ve become curiouser and curiouser myself, and the world 20 The Cambridge Introduction to Margaret Atwood has done the same. Another way of putting it: if something doesn’t arouse my curiosity, I’m not likely to write about it. Though perhaps ‘curious’ as a word carries too light a weight: my curiosities are (I hope) not idle ones. ‘Passionate’ might have been more accurate; however, it would have given a wrong impression, and disappointed a few men in raincoats. (CP xv) For the purposes of exploring Atwood’s fiction further, there are two essays in the collection that warrant deeper analysis.
They also offer a sense of context not only for Atwood’s writing, but for her reading and world view, as well. On being a woman writer, writing about women Irvine also suggests that Canadian literature benefits from the ‘seriousness with which it treats women’s quests’ (Irvine in Davison and Broner 243). These elements are clearly at work in Atwood’s novels, poetry and short stories, in obvious ways in novels such as Surfacing as well as in more subtle ways in a number of her poems. Indeed, it is impossible to consider Atwood’s work without considering the central importance she places on women as characters, with every one of her novels, except Oryx and Crake, featuring a female protagonist, and most of her short stories doing so as well.
Not all critics have seen the intricacies of Atwood’s plot, however, and it is intriguing to explore the reactions of early male critics to the text. George Woodcock, for example, a very well-known and respected critic of Canadian literature, argued that, rather than being a victim in this marriage plot, Marian has ‘cannibalistically, trapped a highly normal young man into a proposal of marriage’ (Woodcock 93). The choice of words itself is intriguing, given her inability to eat during this period in the novel.