This is basically a review of a review. Sharon Wilson originally wrote a book about Atwood, and this article is about the book Sharon Wilson wrote.
"... of the female artist's transformation from patriarchal Medusa monster in Rapunzel tower to woman artist courageous enough to draw on Medusa wisdom and her own artistic vision and 'touch"
The main theme of this article is that Atwood pulls out many themes of fairy tales into many of her stories. It says that Atwood has used several fairy tale stories at some point such as "Red Riding Hood" "The Little Mermaid" and much more. It then goes to say that fairytales have been neglected by feminists mostly due to the role the women in them have played; that is, being saved by the man. Wilson then goes on to say that the artists who paint the book jackets often emphasize the fairy-tale motif used in the story, and many people are unaware of it. The last part is that with Atwood's then-new book, The Robber Bride was published, so was Wilson's, who argued that fairy-tales played a huge role in Atwood's work, but can't be seen in The Robber Bride.
Friday, 14 October 2011
Critcal Article #2 Atwood's The Handmaid's Tale
This was written by Erica Dymond.
"A thing is valued, she says, only if it is rare and hard to get. We want you to be valued, girls. She is rich in pauses, which she savors in her mouth. Think of yourselves as pearls. We, sitting in our rows, eyes down, we make her salivate morally. We are hers to define, we must suffer her adjectives. I think about pearls. Pearls are congealed oyster spit"
The pearl theme is one that is constantly brought up in the story, but is also very central to the plot as well. The character, Offred, will often when she thinks of her past, or makes a comparison, will think of pearls, such as one memory when she saw a Holocaust documentry, she noticed the mistress of a Nazi was wearing pearls. Another mention of this is Offred's lust for Nick, only the pearl/oyster is used in a negative light, to show just how repulsive it is. In another chapter, the pearl underlines how things truly are in Gilead. In the ultarian Gilead, it is said that Handmaidens are unfit to adorn themselves with such finery like pearls, believing that they are not good enough. The last example used in this text is when Offred compares herself to sand (believed to help create the pearl) and that her daughter is therefore a pearl. The author says this theme binds together these points
"The pearl/oyster theme ingeniously binds the novel's central points. Serena Joy is not a Commander's wife; she is the complacent mistress of a Nazi. Offred is not an imprisoned woman; she is an object of possession, denied even the most fundamental pleasure of love. Gilead is not a fine-tuned machine journeying toward Utopia; it is an inferior military-state swarming with contradiction. Finally, Offred's abducted child is not living a more privileged and moral life but is being brainwashed into becoming a fine, baby-producing "Gileadean." All this from a pearl." (ERICA JOAN DYMOND, Lehigh University)
"A thing is valued, she says, only if it is rare and hard to get. We want you to be valued, girls. She is rich in pauses, which she savors in her mouth. Think of yourselves as pearls. We, sitting in our rows, eyes down, we make her salivate morally. We are hers to define, we must suffer her adjectives. I think about pearls. Pearls are congealed oyster spit"
The pearl theme is one that is constantly brought up in the story, but is also very central to the plot as well. The character, Offred, will often when she thinks of her past, or makes a comparison, will think of pearls, such as one memory when she saw a Holocaust documentry, she noticed the mistress of a Nazi was wearing pearls. Another mention of this is Offred's lust for Nick, only the pearl/oyster is used in a negative light, to show just how repulsive it is. In another chapter, the pearl underlines how things truly are in Gilead. In the ultarian Gilead, it is said that Handmaidens are unfit to adorn themselves with such finery like pearls, believing that they are not good enough. The last example used in this text is when Offred compares herself to sand (believed to help create the pearl) and that her daughter is therefore a pearl. The author says this theme binds together these points
"The pearl/oyster theme ingeniously binds the novel's central points. Serena Joy is not a Commander's wife; she is the complacent mistress of a Nazi. Offred is not an imprisoned woman; she is an object of possession, denied even the most fundamental pleasure of love. Gilead is not a fine-tuned machine journeying toward Utopia; it is an inferior military-state swarming with contradiction. Finally, Offred's abducted child is not living a more privileged and moral life but is being brainwashed into becoming a fine, baby-producing "Gileadean." All this from a pearl." (ERICA JOAN DYMOND, Lehigh University)
Themes of Alias Grace
Sexuality is probably the biggest one.
With Grace, she is accused of doing sexual favours for James in order to have him kill Kinnear and Thomas. Also, it is suspected Grace and Jamie had a sexual encounter in the orchard, whereas according to Grace, it was just an innocent interaction. Grace often would flirt with Kinnear in hopes that maybe she would get an elavated position. She must also fend off sexual predators in the prison.
With Nancy, she actually had a sexual relationship with Kinnear in hopes of a marriage contract, an evalation in position,
Mary had a sexual relationship with her employers son, George. When she became pregnant, she was then jilted and had an abortion. She later died from it.
For Rachel, she begins a sexual relationship with Dr. Jordan after her husband leaves her.
Dr. Jordan also faces this when he is in bed with Rachel, thinking about Lydia, or fantasizing about Grace.
In many ways, the characters are driven by the sexuality or sexual desire. This is often a re-occuring theme is Atwood's writing as well.
With Grace, she is accused of doing sexual favours for James in order to have him kill Kinnear and Thomas. Also, it is suspected Grace and Jamie had a sexual encounter in the orchard, whereas according to Grace, it was just an innocent interaction. Grace often would flirt with Kinnear in hopes that maybe she would get an elavated position. She must also fend off sexual predators in the prison.
With Nancy, she actually had a sexual relationship with Kinnear in hopes of a marriage contract, an evalation in position,
Mary had a sexual relationship with her employers son, George. When she became pregnant, she was then jilted and had an abortion. She later died from it.
For Rachel, she begins a sexual relationship with Dr. Jordan after her husband leaves her.
Dr. Jordan also faces this when he is in bed with Rachel, thinking about Lydia, or fantasizing about Grace.
In many ways, the characters are driven by the sexuality or sexual desire. This is often a re-occuring theme is Atwood's writing as well.
Conflicts in Alias Grace
The biggest conflicts is Grace vs Nancy Montgumery and Thomas Kinnear.
The problem is, did Grace kill Nancy? The novel doesn't answer this, so its up in the air as to who did, but in the end, Grace is pardoned and marries Jamie.
Grace vs Jamie
The relationship between them was in Grace's telling, innocent. Jamie helped convict Grace, despite the fact that he loved her. However, he also helped release Grace from prison.
Grace vs James
Grace and James both worked for Kinnear, and neither liked Nancy. It was said that Grace did sexual favors for James to get him to kill Kinnear and Nancy.
Grace vs Dr. Jordan
Initially piqued by Grace's story, he listens to her side of it. Later, however, he leaves because of stress.
Rachel vs Jordan
Rachel falls in love with him, and they begin a relationship. When he leaves, she writes to his mother to find his whereabouts.
Lydia vs Jordan
Lydia later developes a crush on Dr. Jordan, while flattered, he stays with Rachel.
Mary vs George
Mary and George have a relationship, which ends up with Mary becoming pregnant. George leaves Mary, and Mary gets an abortion and dies from it.
The problem is, did Grace kill Nancy? The novel doesn't answer this, so its up in the air as to who did, but in the end, Grace is pardoned and marries Jamie.
Grace vs Jamie
The relationship between them was in Grace's telling, innocent. Jamie helped convict Grace, despite the fact that he loved her. However, he also helped release Grace from prison.
Grace vs James
Grace and James both worked for Kinnear, and neither liked Nancy. It was said that Grace did sexual favors for James to get him to kill Kinnear and Nancy.
Grace vs Dr. Jordan
Initially piqued by Grace's story, he listens to her side of it. Later, however, he leaves because of stress.
Rachel vs Jordan
Rachel falls in love with him, and they begin a relationship. When he leaves, she writes to his mother to find his whereabouts.
Lydia vs Jordan
Lydia later developes a crush on Dr. Jordan, while flattered, he stays with Rachel.
Mary vs George
Mary and George have a relationship, which ends up with Mary becoming pregnant. George leaves Mary, and Mary gets an abortion and dies from it.
Characters in Alias Grace
Agnes: The chambermaid at the Parkinsons'. She defends Grace against accusations of Grace not telling the truth about Mary.
Dr. Bannerling: The director of the asylum. He thinks Grace is pretending to be ill and believes she did commit murder. He attempts to keep her in the asylum.
Mrs. Burt: Rents a room to Grace's family when they come to Toronto. She befriends Grace's father and introduces Grace to the Parkinsons' as a maid.
Dr. Jerome Dupont: He is a charlatan who is in love with Grace and asks her to leave the Kinnear manor to come travelling with him. He appears in several disguises in the novel.
Govenor's Wife: She employs Grace, but does not trust her.
Mrs. Rachel Humphreys: She begins a personal relationship with Dr. Jordan after her husband leaves her. When Dr. Jordan leaves her, she writes to his mother to find his whereabouts.
Dr. Sime Jordan: He becomes interested in Grace's case a few years after she has been imprisonned, but leaves without having made any conclusions. He later starts a relationship with Rachel Humphreys, but leaves to Europe where life is less stressful for him. He later returns to America and is involved in the Civil War.
Mr. Thomas Kinnear: He is Grace's second employer. He is well-to-do, and had an affair with his housemaid, Nancy Montgumery. He is a known womanizer, and Grace openly flirts with him, which causes his arousal, and Nancy's jealousy. He is later killed with a bullet to the head, presumably by James McDormant.
Miss Lydia: The oldest of the govenor's two daughters. She has a crush on Dr. Jordan and openly flirts with him. Despite his arousal and slightly flattered, he doesn't go after her.
Kenneth McKenzie: He is Grace's lawyer and tells her to pretend to be stupid. According to him, he believes Grace is guilty.
Grace Marks: She is the main character of the novel, and is accused of killing Nancy Montgumery. She then relates her story to Dr. Jordan, and often maintains a somewhat innocent manner. Grace was told by her lawyer to pretend to be mad, even though he believes she is guilty. In the end of the story, it is so imcomplete no one knows if she is lying or not, so she wins her pardon and later marries Jamie, a boy who had a crush on her.
James McDermott: The young stable boy at the Kinnear house. He is often short of temper, and Nancy decided to ask him to leave, which angered him. He is accused of killing Nancy and Thomas, and is then hanged.
Nancy Montgumery: The housemaid at the Kinnear house. She often puts on airs that she is better than Grace, and has a relationship with Thomas Kinnear. When Thomas leave for two days, she warms up to Grace, but later dismisses her again. She is then found dead in the cellar by strangulation and her throat slit.
Mrs. Alderman Parkinson: The mistress of the house where Grace finds her first job.
Mr. George Parkinson: The son of Mrs. Parkinson. He is very weak, and starts a relationship with Mary Whitney, impregnanted her, then left her.
Aunt Pauline: The sister of Graces' mother. She lives in Ireland and often would send money to Grace's family. But when she has her own family, her husband, Roy, tells her to stop so they can support themselves. She later sends enough money so they can move to Toronto for a better future.
Mrs. Quennell: A famous hypnotist who tries to find out the spirit who inhabits Grace at the time of the murder. She believes it is someone else talking through Grace.
Uncle Roy: Grace's uncle who helps pay to support Graces' family until his own wife has a family.
Reverend Verringer: Part of an organization to help free Grace from prison. Later, he is successful.
Jamie Walsh: A young servant boy at the Kinnear household who developes a crush on Grace. Later, he is instrumental to both her conviction and release. Once Grace is freed, he marries her, and to take care of her.
Mary Whitney: A girl whom Grace befriends at the Parkinson household. When Mary becomes pregnant from Mr. George, she gets an abortion but dies from it . Later, its believed that her spirit stayed with Grace.
Nancy Montgumery
Grace Marks and James McDormott
Dr. Bannerling: The director of the asylum. He thinks Grace is pretending to be ill and believes she did commit murder. He attempts to keep her in the asylum.
Mrs. Burt: Rents a room to Grace's family when they come to Toronto. She befriends Grace's father and introduces Grace to the Parkinsons' as a maid.
Dr. Jerome Dupont: He is a charlatan who is in love with Grace and asks her to leave the Kinnear manor to come travelling with him. He appears in several disguises in the novel.
Govenor's Wife: She employs Grace, but does not trust her.
Mrs. Rachel Humphreys: She begins a personal relationship with Dr. Jordan after her husband leaves her. When Dr. Jordan leaves her, she writes to his mother to find his whereabouts.
Dr. Sime Jordan: He becomes interested in Grace's case a few years after she has been imprisonned, but leaves without having made any conclusions. He later starts a relationship with Rachel Humphreys, but leaves to Europe where life is less stressful for him. He later returns to America and is involved in the Civil War.
Mr. Thomas Kinnear: He is Grace's second employer. He is well-to-do, and had an affair with his housemaid, Nancy Montgumery. He is a known womanizer, and Grace openly flirts with him, which causes his arousal, and Nancy's jealousy. He is later killed with a bullet to the head, presumably by James McDormant.
Miss Lydia: The oldest of the govenor's two daughters. She has a crush on Dr. Jordan and openly flirts with him. Despite his arousal and slightly flattered, he doesn't go after her.
Kenneth McKenzie: He is Grace's lawyer and tells her to pretend to be stupid. According to him, he believes Grace is guilty.
Grace Marks: She is the main character of the novel, and is accused of killing Nancy Montgumery. She then relates her story to Dr. Jordan, and often maintains a somewhat innocent manner. Grace was told by her lawyer to pretend to be mad, even though he believes she is guilty. In the end of the story, it is so imcomplete no one knows if she is lying or not, so she wins her pardon and later marries Jamie, a boy who had a crush on her.
James McDermott: The young stable boy at the Kinnear house. He is often short of temper, and Nancy decided to ask him to leave, which angered him. He is accused of killing Nancy and Thomas, and is then hanged.
Nancy Montgumery: The housemaid at the Kinnear house. She often puts on airs that she is better than Grace, and has a relationship with Thomas Kinnear. When Thomas leave for two days, she warms up to Grace, but later dismisses her again. She is then found dead in the cellar by strangulation and her throat slit.
Mrs. Alderman Parkinson: The mistress of the house where Grace finds her first job.
Mr. George Parkinson: The son of Mrs. Parkinson. He is very weak, and starts a relationship with Mary Whitney, impregnanted her, then left her.
Aunt Pauline: The sister of Graces' mother. She lives in Ireland and often would send money to Grace's family. But when she has her own family, her husband, Roy, tells her to stop so they can support themselves. She later sends enough money so they can move to Toronto for a better future.
Mrs. Quennell: A famous hypnotist who tries to find out the spirit who inhabits Grace at the time of the murder. She believes it is someone else talking through Grace.
Uncle Roy: Grace's uncle who helps pay to support Graces' family until his own wife has a family.
Reverend Verringer: Part of an organization to help free Grace from prison. Later, he is successful.
Jamie Walsh: A young servant boy at the Kinnear household who developes a crush on Grace. Later, he is instrumental to both her conviction and release. Once Grace is freed, he marries her, and to take care of her.
Mary Whitney: A girl whom Grace befriends at the Parkinson household. When Mary becomes pregnant from Mr. George, she gets an abortion but dies from it . Later, its believed that her spirit stayed with Grace.
Critical Article #1 Lady killer - The Robber Bride by Margaret Atwood
"Come on, you're not a baby," Zenia tells Charis. "He loves your a--. Or some other body part, how would I know? Anyway, for sure it's not your soul, it's not you....Believe me, there's only one thing any man ever wants from a woman, and that's sex. How much you can get them to pay for it is the important thing."
The author of this article summerizes Atwood's novel, The Robber Bride, to be a Nietzschean fairy tale, (The definition of this is: German philosopher who reasoned that Christianity's emphasis on the afterlife makes its believers less able to cope with earthly life. He argued that the ideal human, the Übermensch, would be able to channel passions creatively instead of suppressing them. His written works include Beyond Good and Evil (1886) and Thus Spake Zarathustra (1883-1892).) in which this story is a moral allgorism, in which it is a feminist fairytale, which portrays that men do not love women, but love only one thing: sex, as the above quote suggests.
The story introduces Zenia, the perfect, beautiful, Barbie-esque man stealer, or every womans' nightmare. She wishes to show that love does not truly exist. Then the three good girls: Tony, the war historian, Roz, the rich business woman, and Charis, the airhead. Each of these women are happy with their men until Zenia comes along.
Zenia comes along to prove that love does not exist between men and women, only the sexual desire. Basically, Zenia represents the truths most women don't want to face; when a man has tired of you, he will move on, and that love is every man's fantasy. The only characters exempt from such pain are Boyce, who is the only nice man in the story, who turns out to be a homosexual, and Roz's son, Larry, who ends up being Boyce's lover, and her two twin daughters. To Atwood, it seems the only nice man is a gay man, since he is not in a relationship with a woman, and therefore can never hurt her. Only Tony manages to keep her man, but not how she imagined him, and the other two, Roz and Charis lose theirs to Zenia. The message to those two girls is: "You don't need men to be happy."
The author of this article summerizes Atwood's novel, The Robber Bride, to be a Nietzschean fairy tale, (The definition of this is: German philosopher who reasoned that Christianity's emphasis on the afterlife makes its believers less able to cope with earthly life. He argued that the ideal human, the Übermensch, would be able to channel passions creatively instead of suppressing them. His written works include Beyond Good and Evil (1886) and Thus Spake Zarathustra (1883-1892).) in which this story is a moral allgorism, in which it is a feminist fairytale, which portrays that men do not love women, but love only one thing: sex, as the above quote suggests.
The story introduces Zenia, the perfect, beautiful, Barbie-esque man stealer, or every womans' nightmare. She wishes to show that love does not truly exist. Then the three good girls: Tony, the war historian, Roz, the rich business woman, and Charis, the airhead. Each of these women are happy with their men until Zenia comes along.
Zenia comes along to prove that love does not exist between men and women, only the sexual desire. Basically, Zenia represents the truths most women don't want to face; when a man has tired of you, he will move on, and that love is every man's fantasy. The only characters exempt from such pain are Boyce, who is the only nice man in the story, who turns out to be a homosexual, and Roz's son, Larry, who ends up being Boyce's lover, and her two twin daughters. To Atwood, it seems the only nice man is a gay man, since he is not in a relationship with a woman, and therefore can never hurt her. Only Tony manages to keep her man, but not how she imagined him, and the other two, Roz and Charis lose theirs to Zenia. The message to those two girls is: "You don't need men to be happy."
Monday, 10 October 2011
People Compared to Atwood and Critical Articles
In one article, the author, goes on to say that Canadian writes, especially female ones, have the power to evoke drama and reveling and captivating stories; Atwood is mentioned alongside L.M Montgumery (Anne of Green Gables) Nellie McLung and Pauline Johnson.
In another article, Margaret is paired alongside such famous authors such as Steven King, Charles Dickens, this time, for her novel The Blind Asssassin.
To be honest, I love Steven King's work, and his works and opinions are quite valid. To be listed amoungst one of the best authors along side him, that just goes to show how well-written Atwood's work is.
Critical Articles:
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=132698E596C2&forAuthor=2561&ItemNumber=52
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=132696749212&forAuthor=2561&ItemNumber=100
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=13255A491582&forAuthor=2561&ItemNumber=99
Sources:
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=13255A491582&forAuthor=2561&ItemNumber=9
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=13255A491582&forAuthor=2561&ItemNumber=6
In another article, Margaret is paired alongside such famous authors such as Steven King, Charles Dickens, this time, for her novel The Blind Asssassin.
To be honest, I love Steven King's work, and his works and opinions are quite valid. To be listed amoungst one of the best authors along side him, that just goes to show how well-written Atwood's work is.
Critical Articles:
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=132698E596C2&forAuthor=2561&ItemNumber=52
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=132696749212&forAuthor=2561&ItemNumber=100
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=13255A491582&forAuthor=2561&ItemNumber=99
Sources:
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=13255A491582&forAuthor=2561&ItemNumber=9
http://literature.proquestlearning.com/critRef/displayItem.do?QueryType=criticism&ResultsID=13255A491582&forAuthor=2561&ItemNumber=6
Themes in Atwood's Writing
In Margaret Atwood's writing, it's easy to see several noticable themes in many of her works.
The most noticable is the pro-feminism in her stories. The roles women are given are roles normally given to men.
Also, a reoccuring theme is that of sexual violence. The Handmaiden's Tale and Alias Grace are prime examples of this.
She is known to re-build fairytales and the like to create something entirely new. Such as Alias Grace, murder and mystery are not new. The way she writes it, though, gives it a spin on the "could have beens".
However, the most noticible is the trait of feminism and the extreme roles given to the women. Grace Marks (whilst based on a true story) is personified by Margaret Atwood, and given a more in-depth role, which expands on Atwood's own belief on feminism.
The most noticable is the pro-feminism in her stories. The roles women are given are roles normally given to men.
Also, a reoccuring theme is that of sexual violence. The Handmaiden's Tale and Alias Grace are prime examples of this.
She is known to re-build fairytales and the like to create something entirely new. Such as Alias Grace, murder and mystery are not new. The way she writes it, though, gives it a spin on the "could have beens".
However, the most noticible is the trait of feminism and the extreme roles given to the women. Grace Marks (whilst based on a true story) is personified by Margaret Atwood, and given a more in-depth role, which expands on Atwood's own belief on feminism.
Influences on Atwood's Writing
Influences of Atwood's Writing
At the age of 16 when she gave up writing, only then to begin to pursue it again, was the influence of the poet, Edgar Allen Poe.
Prehaps the biggest influence can be said where she was born. She lived in a "woodsy area" in Ottowa area, and didn't attend school full time It could be she wrote in much of her spare time to give her something to do.
The time she grew up in, which was during WWII, gave women a very limited role in many aspects of society, which is completely the opposite in many of her writings, such as in Cat's Eye or Alias Grace. Her women are given roles not expected of them during the time period they appear in. It is also known she supports pro-feminism, and is a huge feminist.
At the age of 16 when she gave up writing, only then to begin to pursue it again, was the influence of the poet, Edgar Allen Poe.
Prehaps the biggest influence can be said where she was born. She lived in a "woodsy area" in Ottowa area, and didn't attend school full time It could be she wrote in much of her spare time to give her something to do.
The time she grew up in, which was during WWII, gave women a very limited role in many aspects of society, which is completely the opposite in many of her writings, such as in Cat's Eye or Alias Grace. Her women are given roles not expected of them during the time period they appear in. It is also known she supports pro-feminism, and is a huge feminist.
Other Works and Genres
Other notable works by Margaret Atwood
Double Persephone (Toronto, 1961)
The circle game; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1964)
The trumpets of summer: choral suite for mixed chorus, four soloists, male speaker and six instruments; music by John Beckwith and text by Margaret Atwood(1964)
Kaleidoscopes baroque: a poem; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1965)
Talismans for children; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1965)
Expeditions: poems; with lithographs by Charles Pachter (Bloomfield Hills, Mich., 1966)
Speeches for Doctor Frankenstein; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1966)
The animals in that country (Toronto, 1968)
The edible woman (Toronto, 1969)
What was in the garden (Santa Barbara, Calif., 1969)
Dreams of the animals(1970)
Procedures for underground (Toronto, 1970)
The journals of Susanna Moodie: poems (Toronto, 1970)
Why they walk out; As essay in seven parts (Rome, 1970)
Power politics (Toronto, 1971)
Surfacing (Toronto, 1972)
Survival: a thematic guide to Canadian literature (Toronto, 1972)
You are happy (Toronto, 1974)
Lady oracle (Toronto, 1976)
Selected poems (Toronto, 1976)
Dancing girls and other stories (Toronto, 1977)
Days of the rebels, 1815/1840 (Toronto, 1977)
A poem for grandmothers ([Missoula, Mont.], 1978)
Two-headed poems (Toronto, 1978)
Up in the tree (Toronto, 1978)
Women on women; edited with an introductory essay by Ann B. Shteir (Toronto, 1978)
Life before man (Toronto, 1979)
Anna's pet, by Margaret Atwood and Joyce Barkhouse; with illustrations by Ann Blades (Toronto, 1980)
Bodily harm (Toronto, 1981)
Notes towards a poem that can never be written (Toronto, 1981)
True stories (Toronto, 1981)
Encounters with the element man; with a wood engraving by Michael McCurdy (Concord, N.H., 1982)
Second words; selected critical prose (Toronto, 1982)
The new Oxford book of Canadian verse in English; selected, with an introduction, by Margaret Atwood (Toronto, 1982)
Bluebeard's egg (Toronto, 1983)
Murder in the dark: short fictions and prose poems (Toronto, 1983)
Snake poems (Toronto, 1983)
Unearthing suite ([Toronto], 1983)
Interlunar (Toronto, 1984)
The handmaid's tale (Toronto, 1985)
[Contribution to] The mission of the university: a symposium in six parts […] (Kingston, Ont., 1985)
[Introduction to] St. Lawrence blues, by Marie-Claire Blais (Toronto, 1985)
Selected poems II: poems selected and new 1976-1986 (Toronto, 1986)
The Oxford book of Canadian short stories in English (Toronto, 1986)
The canlit foodbook; from pen to palate, a collection of tasty literary fare; selected and illustrated by Margaret Atwood (Toronto, 1987)
Cat's eye (Toronto, 1988)
[Foreword to] The dry wells of India […] selected poems entered in the Canadian poetry contest, 1987-88; edited by George Woodcock (Madeira Park, B.C., 1989)
For the birds; with illustrations by John Bianchi, and boxes and sidebars written by Shelley Tanaka (Toronto, 1990)
Margaret Atwood: conversations; edited by Earl G. Ingersoll (Princeton, N.J., 1990)
[Foreword to] Barbed lyres: Canadian venomous verse (Toronto, 1990)
Variations on the word sleep; monotype by Charles Hobson (San Francisco, 1991)
Wilderness tips (New York, 1991)
Good bones (Toronto, 1992)
[Foreword to] Charles Pachter, by Bogomila Welsh-Ovcharov (Toronto, 1992)
The robber bride (Toronto, 1993)
[ed. M. Atwood, with introduction and notes] Poems, by Gwendolyn MacEwen ([Toronto], 1993-94)
Good bones and simple murders (New York, 1994)
Polarities: selected stories; herausgegeben von Reingard M. Nischik (Stuttgart, Germany, 1994)
Bones and murder (London, 1995)
Morning in the burned house (Toronto, 1995)
Princess Prunella and the Purple Peanut; with illustrations by Maryann Kovalski (Toronto, 1995)
Strange things: the malevolent north in Canadian literature (Oxford, 1995)
The new Oxford book of Canadian short stories in English; selected by Margaret Atwood and Robert Weaver (Toronto, 1995)
Alias Grace (Toronto, 1996)
Deux sollicitudes; entretiens [between Margaret Atwood and Victor-Levy Beaulieu] (Trois-pistoles, Quebec, 1996)
The labrador fiasco (London, 1996)
In search of Alias Grace; on writing Canadian historical fiction (Ottawa, 1997)
Stories by Margaret Atwood; edited by Alan Purney and with commentary and notes by Miki Kuji (Quarry Bay, Hong Kong, 1997)
The moment (Toronto, 1997)
[Contribution to] A second skin: women write about clothes; ed. Kirsty Dunsneath (London, 1998)
Eating fire; selected poetry, 1965-1995 (London, 1999)
The blind assassin (London, 2000)
Negotiating with the dead: a writer on writing (Cambridge, 2002)
Oryx and crake (Toronto, 2003)
Genres: Children, Fiction, Non-Fiction, Poetry, Drama, Short Stories
Sources: http://literature.proquestlearning.com/critRef/displayItemById.do?QueryType=reference&forAuthor=2561&BackTo=Author%20Page&ItemID=bib2561%20pqllit_ref_lib
http://literature.britishcouncil.org/margaret-atwood
Double Persephone (Toronto, 1961)
The circle game; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1964)
The trumpets of summer: choral suite for mixed chorus, four soloists, male speaker and six instruments; music by John Beckwith and text by Margaret Atwood(1964)
Kaleidoscopes baroque: a poem; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1965)
Talismans for children; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1965)
Expeditions: poems; with lithographs by Charles Pachter (Bloomfield Hills, Mich., 1966)
Speeches for Doctor Frankenstein; with illustrations by Charles Pachter (Bloomfield Hills, Mich., 1966)
The animals in that country (Toronto, 1968)
The edible woman (Toronto, 1969)
What was in the garden (Santa Barbara, Calif., 1969)
Dreams of the animals(1970)
Procedures for underground (Toronto, 1970)
The journals of Susanna Moodie: poems (Toronto, 1970)
Why they walk out; As essay in seven parts (Rome, 1970)
Power politics (Toronto, 1971)
Surfacing (Toronto, 1972)
Survival: a thematic guide to Canadian literature (Toronto, 1972)
You are happy (Toronto, 1974)
Lady oracle (Toronto, 1976)
Selected poems (Toronto, 1976)
Dancing girls and other stories (Toronto, 1977)
Days of the rebels, 1815/1840 (Toronto, 1977)
A poem for grandmothers ([Missoula, Mont.], 1978)
Two-headed poems (Toronto, 1978)
Up in the tree (Toronto, 1978)
Women on women; edited with an introductory essay by Ann B. Shteir (Toronto, 1978)
Life before man (Toronto, 1979)
Anna's pet, by Margaret Atwood and Joyce Barkhouse; with illustrations by Ann Blades (Toronto, 1980)
Bodily harm (Toronto, 1981)
Notes towards a poem that can never be written (Toronto, 1981)
True stories (Toronto, 1981)
Encounters with the element man; with a wood engraving by Michael McCurdy (Concord, N.H., 1982)
Second words; selected critical prose (Toronto, 1982)
The new Oxford book of Canadian verse in English; selected, with an introduction, by Margaret Atwood (Toronto, 1982)
Bluebeard's egg (Toronto, 1983)
Murder in the dark: short fictions and prose poems (Toronto, 1983)
Snake poems (Toronto, 1983)
Unearthing suite ([Toronto], 1983)
Interlunar (Toronto, 1984)
The handmaid's tale (Toronto, 1985)
[Contribution to] The mission of the university: a symposium in six parts […] (Kingston, Ont., 1985)
[Introduction to] St. Lawrence blues, by Marie-Claire Blais (Toronto, 1985)
Selected poems II: poems selected and new 1976-1986 (Toronto, 1986)
The Oxford book of Canadian short stories in English (Toronto, 1986)
The canlit foodbook; from pen to palate, a collection of tasty literary fare; selected and illustrated by Margaret Atwood (Toronto, 1987)
Cat's eye (Toronto, 1988)
[Foreword to] The dry wells of India […] selected poems entered in the Canadian poetry contest, 1987-88; edited by George Woodcock (Madeira Park, B.C., 1989)
For the birds; with illustrations by John Bianchi, and boxes and sidebars written by Shelley Tanaka (Toronto, 1990)
Margaret Atwood: conversations; edited by Earl G. Ingersoll (Princeton, N.J., 1990)
[Foreword to] Barbed lyres: Canadian venomous verse (Toronto, 1990)
Variations on the word sleep; monotype by Charles Hobson (San Francisco, 1991)
Wilderness tips (New York, 1991)
Good bones (Toronto, 1992)
[Foreword to] Charles Pachter, by Bogomila Welsh-Ovcharov (Toronto, 1992)
The robber bride (Toronto, 1993)
[ed. M. Atwood, with introduction and notes] Poems, by Gwendolyn MacEwen ([Toronto], 1993-94)
Good bones and simple murders (New York, 1994)
Polarities: selected stories; herausgegeben von Reingard M. Nischik (Stuttgart, Germany, 1994)
Bones and murder (London, 1995)
Morning in the burned house (Toronto, 1995)
Princess Prunella and the Purple Peanut; with illustrations by Maryann Kovalski (Toronto, 1995)
Strange things: the malevolent north in Canadian literature (Oxford, 1995)
The new Oxford book of Canadian short stories in English; selected by Margaret Atwood and Robert Weaver (Toronto, 1995)
Alias Grace (Toronto, 1996)
Deux sollicitudes; entretiens [between Margaret Atwood and Victor-Levy Beaulieu] (Trois-pistoles, Quebec, 1996)
The labrador fiasco (London, 1996)
In search of Alias Grace; on writing Canadian historical fiction (Ottawa, 1997)
Stories by Margaret Atwood; edited by Alan Purney and with commentary and notes by Miki Kuji (Quarry Bay, Hong Kong, 1997)
The moment (Toronto, 1997)
[Contribution to] A second skin: women write about clothes; ed. Kirsty Dunsneath (London, 1998)
Eating fire; selected poetry, 1965-1995 (London, 1999)
The blind assassin (London, 2000)
Negotiating with the dead: a writer on writing (Cambridge, 2002)
Oryx and crake (Toronto, 2003)
Genres: Children, Fiction, Non-Fiction, Poetry, Drama, Short Stories
Sources: http://literature.proquestlearning.com/critRef/displayItemById.do?QueryType=reference&forAuthor=2561&BackTo=Author%20Page&ItemID=bib2561%20pqllit_ref_lib
http://literature.britishcouncil.org/margaret-atwood
Tuesday, 4 October 2011
Alias Margaret
Brief Background on Margaret Atwood
Born Margaret Eleanor Atwood to Carl Edmund and Margaret (Killam) Atwood, in Ottowa, Ontario, 1939.
Even when she was very young, Margaret enjoyed writing poetry, stories, comics and an unfinished story about an ant.
Margaret and her father in 1942
At a certain point when she was in elementary school, she abandoned the pursuit of becoming an author, but this was rekindled when she was in high school and studied Edgar Allen Poe, and at 16 decided to pursue a writing career.
Margaret went on to Victoria College, and while there her first volume of poetry was published called Double Persephone. She later went to attain her masters at Radcliffe College in Massachusetts. After that, she began her full time writing career. Her one book Survival attained much critisim and praise, which eventually caused her to leave the public light, but still continue to write. Her works soon began to include political and sexual abuse themes, and relationships between countries. In addition she has written many critical essays, poems, novels, and much more.
She is also an advocate for human rights, and pro-feminism.
Source: http://literature.proquestlearning.com/critRef/displayItemById.do?QueryType=reference&forAuthor=2561&BackTo=Author%20Page&ItemID=bio2561%20pqllit_ref_lib
Monday, 3 October 2011
Alias Grace ~ Reasons for the Choice
Author: Margaret Atwood
Book Title: Alias Grace
What made me interested in the author?
Growing up, hearing the name Margaret Atwood was a rather common occurence. I would often hear people speak of her novels and how well-written they were. One book of hers that I have often heard of that was one of her best and her first would be The Handmaiden's Tale. I guess you could say that since then, (and being an avid reader myself) I always wanted to read something of hers. It sure helped with all the praise I heard about her books, since I am often quite picky about what I read. When I heard she also wrote a non-fiction mystery book on one of the most famous murders in the Richmond area, I knew that I had to do this project on her and Alias Grace.
A younger Margaret Atwood
One of the first novels she wrote, it's one of them that got me into her writing.
Book Title: Alias Grace
What made me interested in the author?
Growing up, hearing the name Margaret Atwood was a rather common occurence. I would often hear people speak of her novels and how well-written they were. One book of hers that I have often heard of that was one of her best and her first would be The Handmaiden's Tale. I guess you could say that since then, (and being an avid reader myself) I always wanted to read something of hers. It sure helped with all the praise I heard about her books, since I am often quite picky about what I read. When I heard she also wrote a non-fiction mystery book on one of the most famous murders in the Richmond area, I knew that I had to do this project on her and Alias Grace.
Tuesday, 27 September 2011
Wait, where is that?
Another place that is important to the story is the Kingston Penitentiary, where Grace was kept in prison.
The building was opened on June 1, 1835, and was built to hold about 500 prisoners. Today it is a national historic sight.
The entrance of the Kingston Penitentary.
Friday, 16 September 2011
All is fair in love and war...?
So far in the novel, Grace, who is now 24, is in prison, and tells the reader the reoccurring dream she has about her past, which is rather confusing since you don't really know what's going on. Grace then says she is a model prisoner, which isn't always easy to be. You then read an exerpt from the Toronto Mirror dated November 23, 1843, and from the Punishment Book of the Kensington Penitentry. The rest is a poem basically summing up what happens for the rest of the novel. After this, it returns to Grace, who currently works at the govenors' home in the penitentry, and talks about the women that come to visit his wife, and then goes on to say that when she reads things about herself in the newspaper, she says they are lies, and not true. Basically, one could say this sets up the background for the story that is going to take place.
To me, some themes that begin for form are that of innocence in terms of, "Did she do it? Or didn't she?" This comes more into question when Grace says that what the newspapers say about her are a lie. Also the themes of fairness as well. Is what happened to Grace fair in terms of her part in the murders? So far, this question can't be answered since I'm not far enough to answer that. Also there is the theme of "love" if you could call it that, or better yet, lust. So far in the poem in the 2nd chapter it talks about Nancy Montgumery and Thomas Kinnear having a relationship, while Grace, who was jealous, and James McDormmat, who liked her also, probably was used for sexual favours in order to kill Thomas and Nancy. I believe the author right away introduces these themes since she wants to captivate the readers attention; since there is obviously more to them then just what's on the surface.
Thus far, my only secondary sources have been the wikipedia, which is rather devoid of any good information save the most basic information.
"Out of the gravel there are peonies growing." Chapter 1, Page 1
This is the first line in the first chapter of the novel. This sentence reminds me that out of something ugly, something good can happen. After all, what's so good looking about dirt? Nothing really, I suppose. Yet the peony can be something very lovely. At a certain point, when I hit rock bottom at my old high school, I didn't think anything good could come out of it.
In Gr. 11, I was friends with this guy, so we'll just call him John Doe. I also had a group of female friends too, and the so-called "leader" was a girl we'll call Jane Doe. John and Jane never really were friends when I met them both. After all, it was because of me they started as friends anyway. Jane became more and more jealous of my friendship with John, so she would do anything to make me feel like dirt. It wasn't long until she completely alienated me from my group of friends, and then I was basically friendless. It was that way for a long time, even after Jane and John began to date. However, I would like to thank Jane. If it weren't for her, I wouldn't have learned how to show true compassion and kindness to people. I learned how not to treat people since she treated everyone like they were very simplistic, and made them feel horrible about themselves. So thank you, Jane Doe, because you treated me and everyone else so horribly, you showed me how to be a better person!
To me, some themes that begin for form are that of innocence in terms of, "Did she do it? Or didn't she?" This comes more into question when Grace says that what the newspapers say about her are a lie. Also the themes of fairness as well. Is what happened to Grace fair in terms of her part in the murders? So far, this question can't be answered since I'm not far enough to answer that. Also there is the theme of "love" if you could call it that, or better yet, lust. So far in the poem in the 2nd chapter it talks about Nancy Montgumery and Thomas Kinnear having a relationship, while Grace, who was jealous, and James McDormmat, who liked her also, probably was used for sexual favours in order to kill Thomas and Nancy. I believe the author right away introduces these themes since she wants to captivate the readers attention; since there is obviously more to them then just what's on the surface.
Thus far, my only secondary sources have been the wikipedia, which is rather devoid of any good information save the most basic information.
"Out of the gravel there are peonies growing." Chapter 1, Page 1
This is the first line in the first chapter of the novel. This sentence reminds me that out of something ugly, something good can happen. After all, what's so good looking about dirt? Nothing really, I suppose. Yet the peony can be something very lovely. At a certain point, when I hit rock bottom at my old high school, I didn't think anything good could come out of it.
In Gr. 11, I was friends with this guy, so we'll just call him John Doe. I also had a group of female friends too, and the so-called "leader" was a girl we'll call Jane Doe. John and Jane never really were friends when I met them both. After all, it was because of me they started as friends anyway. Jane became more and more jealous of my friendship with John, so she would do anything to make me feel like dirt. It wasn't long until she completely alienated me from my group of friends, and then I was basically friendless. It was that way for a long time, even after Jane and John began to date. However, I would like to thank Jane. If it weren't for her, I wouldn't have learned how to show true compassion and kindness to people. I learned how not to treat people since she treated everyone like they were very simplistic, and made them feel horrible about themselves. So thank you, Jane Doe, because you treated me and everyone else so horribly, you showed me how to be a better person!
Monday, 12 September 2011
Alias Grace ~ A Basic Introduction
The other day, we were chosen to pick a book in English, and I chose Alias Grace, a historical fiction novel based on a true story; that of Grace Marks. This novel was written by Margaret Atwood in 1996. The number of pages in this novel is 470-so it's a good read as far as length goes.
There are a few reasons why I chose to do this novel; firstly, the novel is set in Toronto, not far from my own home. Secondly, this story really leaves you wondering, "What happens next?" since this is a mystery/suspense novel. Also, from what I have read so far, it seems that Grace's point of view is "could haves", which really makes me wonder if she is being truthful or not. Thirdly, it's the murder aspect of the novel that I find rather bewitching-after all, don't you wonder who did it? Convicted doesn't mean you did it (in a few cases.)
So far from what I have read, I find this book to be both an attention-grabber and very hard to put down. So far in the book, the first chapter is a bit confusing, since you don't really know what's going on, and then it shifts to 1859, where Grace is in prison, telling us where she is now; which is prison. She then begins to talk about how she got to where she is. The relationships that are mentioned in a poem in chapter 2 are rather intruging, which leads one to keep reading trying to find out how and why this happens.
Currently I have read up to the beginning of chapter 3, and thus far I find this book to be one you should at least give a chance.
So far from what I have read, I find this book to be both an attention-grabber and very hard to put down. So far in the book, the first chapter is a bit confusing, since you don't really know what's going on, and then it shifts to 1859, where Grace is in prison, telling us where she is now; which is prison. She then begins to talk about how she got to where she is. The relationships that are mentioned in a poem in chapter 2 are rather intruging, which leads one to keep reading trying to find out how and why this happens.
Currently I have read up to the beginning of chapter 3, and thus far I find this book to be one you should at least give a chance.
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