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Burning Questions |
These essays and pieces were written between 2004 and 2021. I am a fan of Atwood as a writer and a person, having heard her 'in conversation' occasionally over the years. Her interests and curiosity are boundless, and she is self-deprecating and quite droll. She does consider the big issues of the day: climate change, wealth inequality and the perilous state of democracy but also fellow writers and her own writing. The book remains at my bedside.
(Christine Miller - bwl 104 Spring 2022) |
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Cat's Eye |
If you experienced the subtle bullying that so-called best friends can inflict on a child, this book will strike a chord. It tells the story of Elaine, a painter, who because of an exhibition, returns reluctantly to Toronto where she grew up. Long buried memories begin to surface and as the story unfolds so are revealed the miseries she underwent at the hands of her tormentor Cordelia. This is Margaret Atwood at her best.
(Jenny Baker - bwl 4 July 2000) |
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Hag-Seed |
Atwood takes on Shakespeare's The Tempest. The play about imprisonment, revenge, forgiveness and enchantment is to be produced by the inmates of a modern prison. The director, not an inmate, grieves over the death of his daughter and from this stems his creativity, together with his vengeful desire to expose the corruption of those in power. Atwood's interpretation covers the themes of the original. You may miss the glorious Shakespearian language but it is a terrific read.
Ed Note: This is the fourth in the Hogarth Shakespeare series of modern interpretations, following Jeanette Winterson's The Gap of Time (The Winter's Tale), Howard Jacobson's Shylock is my Name (The Merchant of Venice) and Anne Tyler's Vinegar Girl (The Taming of the Shrew)
(Christine Miller - bwl 83 Winter 2017) |
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Moral Disorder |
Eleven "chapters" which can be viewed as stand alone short stories or vignettes of a woman's life spanning childhood to old age. Sometimes first person, sometimes third person narration, not always told chronologically, make for an intriguing format which doesn't feel like a true novel but nevertheless flows easily. Well drawn family members anchor and link the chapters and have the effect of making the mundane events of life appear vivid.
(Sue Pratt - bwl 86 Autumn 2017) |
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Negotiating with the Dead |
Margaret Atwood's six essays, based on her 2001 Cambridge lectures, examine the writer's moral responsibility to, and relationships with, his readers, society and forerunners. She illuminates these issues through the ages from ancient myths to contemporary writing using numerous eclectic quotes and references as well as fascinating personal anecdotes and relates it all to today's 'entertainment industry'. A profound and erudite analysis, a joy for all who love reading and a special treat for Atwood fans.
(Denise Lewis - bwl 57 Summer 2010) |
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Oryx and Crake |
Atwood has once again created a terrifying and horrific world without stretching credibility too far. The people and animals who inhabit this world are strangely altered: the reader gradually understands what has happened and why. There are just enough touches of realism to contemplate the possibility of this actually happening. A gripping read - it could not be described as enjoyable - which will stay with you for a long time afterwards.
(Annie Noble - bwl 28 February 2005) |
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Oryx and Crake |
In a world of competitive genetic-engineering enclaves, genius Crake is brewing his cure for the ills of humanity, helped by the beautiful Oryx. What happens emerges through the memories of Snowman - once Jimmy - possibly the last surviving non-modified human, who sleeps in trees to avoid wolvogs, lives on the scavenged leftovers of collapsed civilisation and watches over Crake's new human 'models'. Horrible, yes, but gruesomely enjoyable - Jimmy is real and touching and Atwood is gleefully creative.
(Annabel Bedini - bwl 58 Autumn 2010) |
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The Blind Assassin |
This is really three books in one: a woman's memories of her younger years with her sister; her life now as a frail old lady and the separate story of The Blind Assassin. They are interwoven, which can confuse, but despite that this is a moving story of two sisters, mental illness, thwarted love and the frustrations of old age. Aficionados of Atwood say it's not her best work but, as a newcomer, I loved it.
(Annie Noble - bwl 13 April 2002) |
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The Penelopiad |
". . . it's always an imprudence to step between a man and the reflection of his own cleverness" which is exactly what Atwood does in this wonderfully witty, down-to-earth retelling of the ancient Greek myth. Penelope is brought to life and tells what is was like to live for twenty years without her husband, coping with in-laws, suitors and a teenage son, while the twelve hanged maids have their say, burlesque style, in the background.
(Denise Lewis - bwl 57 Summer 2010) |
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The Testaments |
Like many others I had waited a long time for Atwood to complete the written story of Gilead. After the TV series I think she chose well to choose three different voices, rather than simply follow June. Aunt Lydia is a powerful, disturbing presence throughout. Is she merely self-serving? The story rattles along but the ending is a little too neat a resolution. Perhaps because she chooses optimism - tyrannies are brought down by resistance.
(Christine Miller - bwl 95 Winter 2020) |
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The Testaments |
I was so looking forward to this but I have to admit it didn't live up to expectations. It looks at what happens after The Handmaid's Tale finishes, and I didn't buy in to the basic tenet regarding a significant revelation about a major character. But it's an interesting story, beautifully written, and it ties up loose ends.
(Annie Noble - bwl 96 Spring 2020) |
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