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Margaret Atwood's Environmentalism

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Margaret Atwood's Environmentalism Marinette Grimbeek | Margaret Atwood’s Environmentalism | Grimbeek | Margaret Marinette Margaret Atwood’s Environmentalism Margaret Atwood routinely eludes her readers, and the MaddAddam Trilogy is no exception. These three novels, Oryx and Crake (2003), The Year of the Flood (2009), Margaret Atwood’s and MaddAddam (2013), are ostensibly written in the tradition of environmental apocalypse, yet they constantly undermine its conventions through satire. This study considers the trilogy as an environmental project, performed in the interplay Environmentalism between Atwood’s literary stature, the ambiguous content of her work, and the irreverence with which she blurs distinctions between fact and fiction, art and Apocalypse and Satire in the MaddAddam Trilogy commodity, and activism and aesthetics. Atwood’s use of the MaddAddam Trilogy 2017:15 in her real-world environmental activism creates uncertainty about how seriously both her art and her activism should be taken. Her opinions on environmental matters are legitimised, but at the same time an urgent environmental ‘message’ Marinette Grimbeek is presented as entertainment. Atwood’s message often appears circular: her art carries no message, but Margaret Atwood the writer does have an important message, which she gets to deliver precisely because of her art. Storytelling is a central theme in all three novels, and through both critiquing and relying on commercialism, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world. ISBN 978-91-7063-771-1 (print) ISBN 978-91-7063-772-8 (pdf) Faculty of Arts and Social Sciences ISSN 1403-8099 English DOCTORAL THESIS | Karlstad University Studies | 2017:15 DOCTORAL THESIS | Karlstad University Studies | 2017:15 Margaret Atwood’s Environmentalism Apocalypse and Satire in the MaddAddam Trilogy Marinette Grimbeek DOCTORAL THESIS | Karlstad University Studies | 2017:15 Margaret Atwood’s Environmentalism - Apocalypse and Satire in the MaddAddam Trilogy Marinette Grimbeek DOCTORAL THESIS Karlstad University Studies | 2017:15 urn:nbn:se:kau:diva-48126 ISSN 1403-8099 ISBN 978-91-7063-771-1 (print) ISBN 978-91-7063-772-8 (pdf) © The author Distribution: Karlstad University Faculty of Arts and Social Sciences Department of Language, Literature and Intercultural Studies SE-651 88 Karlstad, Sweden +46 54 700 10 00 Print: Universitetstryckeriet, Karlstad 2017 WWW.KAU.SE Abstract This study considers the way in which Margaret Atwood’s post-apocalyptic MaddAddam Trilogy functions as an environmental project. The main focus is on how the three novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013), simultaneously draw on and destabilise the apocalypticism inherent in so much environmental discourse, primarily through the use of satire. The trilogy is securely anchored in the concerns of contemporary readers, and transposition of the action to the near future is integral to Atwood’s environmental project: attention is focussed on the present causes of anticipated environmental catastrophe, which readers implicitly are implored to avoid. Atwood’s environmentalism is performed in the interplay between her literary stature, the equivocal content of her work, and the irreverence with which she metaleptically blurs distinctions between fact and fiction, art and commodity, and activism and aesthetics. Whereas the satiric mode serves as a way of avoiding some of the limitations of apocalyptic thinking by maintaining and even creating complexity, it also renders the entire project ambiguous. Uncertainty about the exact environmental injunction presented in the trilogy creates doubts about the degree to which Atwood’s extradiegetic environmental activism should be taken seriously, or conversely. Storytelling is foregrounded in all three novels, and through its concurrent critique of and reliance on market forces and the political potential of art, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world. i Acknowledgements The MaddAddam Trilogy features different types of interpersonal relationships, sometimes transcending species boundaries. Some of these are purely based on necessity or exploitation; others are constellations of allegiance, friendship or kinship. I am grateful for the fact that the years spent on this study have been characterised by the latter kind. I have first and foremost been extremely privileged in my advisors. Maria Holmgren Troy and Magnus Ullén have always been exceedingly patient, and never failed to see something worthwhile in half-formed ideas. Their insightful direction has improved this project immensely and will stay with me for years to come. Erik van Ooijen read the preliminary draft both carefully and generously, and made pertinent suggestions at my final seminar. Further, I am particularly indebted to Elisabeth Wennö and Anna Swärdh. Their perceptive comments have been valuable, but their friendship and encouragement even more so. I would like to thank Anna, Elisabeth, Magnus, and Maria, as well as Åke Bergvall, Etienne Fourie, and Johan Wijkmark for their assistance with proofreading. The flaws remaining in the end product are, of course, mine alone. Many people have provided input at work-in-progress seminars or in other contexts. In addition to those already mentioned, I want to extend a special word of thanks to Solveig Granath, Mark Troy, and Sofia Wijkmark. Some of my fellow doctoral students—present and former—served as insightful readers of my drafts, shared office space with me, or otherwise provided companionship that extends well beyond our individual projects. Thank you to Sophia Liu Fei, Kari Løvaas, Andreas Nyström, Anna Stibe Waller, Fredrik Svensson, Marie Tåqvist, Peter Wikström, and Grace Zhu Yuanyuan for many hours of conversation. Ulf Mellström, Wibke Straube, and the rest of the staff at Karlstad University’s Centre for Gender Studies have provided me with a second departmental home during recent months and for this I am truly grateful. I would further like to thank the staff of Karlstad University Library, and the Helge Ax:son Johnsson Foundation for funding a visit to the British Library. Chapters 1 and 3 contain material derived from “Wholesale Apocalypse: Brand Names in Margaret Atwood’s Oryx and Crake,” published in Names: A Journal of Onomastics, and here reused by permission of the American Name Society. The images in Chapter 2 have been reproduced with the kind permission of Bloomsbury Publishing Plc, Penguin Random House Canada Limited, Random House LLC, and the Little, Brown Book Group Ltd. iii My parents, Jackie and Ria, made numerous sacrifices to enable us to continue with higher education; it is also because of them that my sister Sunél and I are readers. My family has shown me unwavering support, despite the vast distance separating us. I am incredibly grateful for this. Finally, I would like to thank Jens for much more than I will attempt to list here, but particularly for enduring the way in which I had selfishly disappeared into this project at times. Living with cats brings incessant reminders about how much we share with the more-than-human world; Jens never lets me forget that there is so much more to being human than tinkering with texts. Marinette Grimbeek Norrbyås, April 2017 iv Contents Abstract ..................................................................................... i Acknowledgements .................................................................. iii List of Illustrations ................................................................ viii Note on Editions ...................................................................... ix Abbreviations .......................................................................... ix Introduction ................................................................ 1 “A third thing”: Conceptualising the MaddAddam Trilogy ..................... 5 Plotting the Anthropocene ..................................................................... 14 Environmental Apocalypticism ............................................................................. 17 Metaleptic Satire ................................................................................................... 24 Organisation ........................................................................................... 29 1 | The MaddAddam Trilogy in Context ...................... 33 Atwood’s Cultural and Environmentalist Capital .................................. 33 Canonical Atwood ................................................................................................. 34 Atwood’s Celebrity Activism ................................................................................. 37 The MaddAddam Trilogy and Atwood’s Novels .................................... 42 Narration and Agency ........................................................................................... 45 Names and Naming ............................................................................................... 49 Feminism and Environmentalism ........................................................................ 52 Art, Education, and the Humanities ....................................................................
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