Book Club Kit Discussion Guide Handmaid's Tale by Margaret
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The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information
Cambridge University Press 978-1-107-15962-4 — The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information The Cambridge Companion to Canadian Literature This fully revised second edition of The Cambridge Companion to Canadian Literature offers a comprehensive introduction to major writers, genres, and topics. For this edition several chapters have been completely re-written to relect major developments in Canadian literature since 2004. Surveys of ic- tion, drama, and poetry are complemented by chapters on Aboriginal writ- ing, autobiography, literary criticism, writing by women, and the emergence of urban writing. Areas of research that have expanded since the irst edition include environmental concerns and questions of sexuality which are freshly explored across several different chapters. A substantial chapter on franco- phone writing is included. Authors such as Margaret Atwood, noted for her experiments in multiple literary genres, are given full consideration, as is the work of authors who have achieved major recognition, such as Alice Munro, recipient of the Nobel Prize for literature. Eva-Marie Kröller edited the Cambridge Companion to Canadian Literature (irst edn., 2004) and, with Coral Ann Howells, the Cambridge History of Canadian Literature (2009). She has published widely on travel writing and cultural semiotics, and won a Killam Research Prize as well as the Distin- guished Editor Award of the Council of Editors of Learned Journals for her work as editor of the journal Canadian -
Introducing the 2020 Scotiabank Giller Prize Jury
1/13/2020 Introducing the 2020 Scotiabank Giller Prize Jury Subscribe Past Issues Translate RS View this email in your browser Introducing the 2020 Scotiabank Giller Prize Jury January 13, 2020 (Toronto, Ontario) – Elana Rabinovitch, Executive Director of the Scotiabank Giller Prize, today announced the five-member jury panel for the 2020 Scotiabank Giller Prize. This year marks the 27th anniversary of the Prize. The 2020 jury members are: Canadian authors David Chariandy, Eden Robinson and Mark Sakamoto (jury chair), British critic and Editor of the Culture segment of the Guardian, Claire Armitstead, and Canadian/British author and journalist, Tom Rachman. Some background on the 2020 jury: https://mailchi.mp/50144b114b18/introducing-the-2020-scotiabank-giller-prize-jury?e=a8793904cc 1/7 1/13/2020 Introducing the 2020 Scotiabank Giller Prize Jury Subscribe Past Issues Translate RS Claire Armitstead is Associate Editor, Culture, at the Guardian, where she has previously acted as arts editor, literary editor and head of books. She presents the weekly Guardian books podcast and is a regular commentator on radio, and at live events across the UK and internationally. She is a trustee of English PEN. David Chariandy is a writer and critic. His first novel, Soucouyant, was nominated for 11 literary prizes, including the Governor General’s Award and the Scotiabank https://mailchi.mp/50144b114b18/introducing-the-2020-scotiabank-giller-prize-jury?e=a8793904cc 2/7 1/13/2020 Introducing the 2020 Scotiabank Giller Prize Jury Brother Subscribe GillerPast Prize. His Issues second novel, , was nominated for fourteen prizes, winningTranslate RS the Rogers Writers’ Trust Fiction Prize, the Ethel Wilson Fiction Prize, and the Toronto Book Award. -
Nopf Leday Hing Up
Fall 2009 THE KNOPF DOUBLEDAY PUBLISHING GROUP DOUBLEDAY The Knopf NAN A. TALESE Doubleday KNOPF Publishing PANTHEON SCHOCKEN Group EVERYMAN’S LIBRARY VINTAGE ANCHOR THE IMPRINTS OF THE KNOPF DOUBLEDAY GROUP AND THEIR COLOPHONS Catalog, Final files_cvr_MM AA.indd 1 3/5/09 6:48:32 PM Fa09_TOC_FINAL_r2.qxp 3/10/09 12:05 PM Page 1 The Knopf Doubleday Publishing Group Fall 2009 Doubleday and Nan A. Talese.............................................................3 Alfred A. Knopf................................................................................43 Pantheon and Schocken ..................................................................107 Everyman’s Library........................................................................133 Vintage and Anchor........................................................................141 Group Author Index .......................................................................265 Group Title Index ...........................................................................270 Foreign Rights Representatives ........................................................275 Ordering Information .....................................................................276 Fa09_TOC_FINAL.qxp:Fa09_TOC 3/6/09 2:13 PM Page 2 Doubleday DdAaYy Nan A. Talese Catalog, Final files_dvdrs_MM AA.indd 3 3/5/09 6:43:33 PM DD-Fa09_FINAL MM.qxp 3/6/09 3:53 PM Page 3 9 0 0 2 L L FA DD-Fa09_FINAL MM.qxp 3/6/09 3:53 PM Page 4 DD-Fa09_FINAL MM.qxp 3/6/09 3:53 PM Page 5 INDEXF O A UTHORS Ackroyd, Peter, THE CASEBOOK Lethem, Jonathan, -
MS ATWOOD, Margaret Papers Coll
MS ATWOOD, Margaret Papers Coll. 00127L Gift of Margaret Atwood, 2017 Extent: 36 boxes and items (11 metres) Includes extensive family and personal correspondence, 1940s to the present; The Handmaid’s Tale TV series media; Alias Grace TV series media; The Heart Goes Last dead matter; appearances; print; juvenilia including papier mache puppets made in high school; Maternal Aunt Joyce Barkhouse (author of Pit Pony and Anna’s Pet), fan mail; professional correspondence and other material Arrangement note: correspondence was organized in various packets and has been kept in original order, rather than alphabetical or chronological order Restriction note: Puppets are restricted due to their fragility (Boxes 26-29). Box 1 Family correspondence, 1970s-1980s: 95 folders Parents (Carl and Margaret Eleanor Atwood) Aunt Kae Cogswell Aunt Ada Folder 1 Mother to Peggy and Jim ALS and envelope January 2, 1969 [sic] 1970 Folder 2 Mother to Peggy and Jim ALS and envelope March 30, 1970 Folder 3 Mother to Peggy and Jim TLS and envelope April 21, 1970 Folder 4 Mother to Peggy and Jim TLS and ALS, envelope April 29, 1970 Folder 5 Mother to Peggy and Jim ALS August 20, 1970 Folder 6 Mother to Peggy and Jim ALS September 6, 1970 Folder 7 Mother to Peggy and Jim TLS, ANS and envelope September 17, 1970 1 MS ATWOOD, Margaret Papers Coll. 00127L Folder 8 Mother to Peggy ALS September 19, 1970 Folder 9 Dad to Peggy ALS September 26, 1970 Folder 10 Mother to Peggy and Jim TLS (stamps) and envelope October 14, 1970 Folder 11 Mother to Peggy and Jim ALS November 10, 1970 Folder 12 Mother to Peggy ALS November 15, 1970 Folder 13 Mother to Peggy and Jim ALS December 20, 1970 Folder 14 Mother to Peggy and Jim TLS and envelope December 27, 1970 Folder 15 Mother to Peggy and Jim TLS and envelope January 8, 1971 Folder 16 Mother to Peggy and Jim TLS and envelope January 15, 1971 Folder 17 Mother to Peggy and Jim TLS January 20, 1971 TLS and envelope January 27, 1971 Folder 18 Mother to Peggy ALS and envelope November 25, 1973 2 MS ATWOOD, Margaret Papers Coll. -
The Wolfe Institute the Ethyle R
The Wolfe Institute The Ethyle R. Wolfe Institute for the Humanities, in cooperation with the English Department and the MFA Intergenre Reading Series, presents Madeleine Thien and Cedar Sigo Madeleine Thien was born in Vancouver. She is the author of four books, including Do Not Say We Have Nothing, winner of the Scotiabank Giller Prize, the Governor-General’s Literary Award for Fiction, and an Edward Stanford Prize; and shortlisted for the Man Booker Prize, the Baileys Women’s Prize for Fiction, and The Folio Prize. The novel was named a New York Times Critics’ Top Book of 2016 and longlisted for a Carnegie Medal. Madeleine’s books have been translated into twenty- five languages and her essays have appeared in The Guardian, the Globe & Mail, Brick, Maclean’s, The New York Times, Al Jazeera and elsewhere. With Catherine Leroux, she was the guest editor of Granta magazine’s first issue devoted to new Canadian writing, published in 2017. The youngest daughter of Malaysian-Chinese immigrants to Canada, she lives in Montreal and New York. Cedar Sigo was raised on the Suquamish Reservation in the Pacific Northwest and studied at The Jack Kerouac School of Disembodied Poetics at the Naropa Institute. He is the editor of There You Are: Interviews, Journals, and Ephemera on Joanne Kyger (2017), and author of eight books and pamphlets of poetry, including Royals (Wave Books, 2017), Language Arts (Wave Books, 2014), Stranger in Town (City Lights, 2010), Expensive Magic (House Press, 2008), and two editions of Selected Writings (Ugly Duckling Presse, 2003 and 2005). Wednesday, April 25, 2018 6 to 7:30 p.m. -
Cahiers-Papers 53-1
The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf. -
The Eco-Posthuman 'Utopia' of Margaret Atwood's Oryx and Crake
Writing Technologies http://www.ntu.ac.uk/writing_technologies/index.html ‘Someone Else’s Utopia’: The Eco-Posthuman ‘Utopia’ of Margaret Atwood’s Oryx and Crake Melissa Roddis Writing Technologies, vol. 5 (2013), 19-35 ISSN 1754-9035 Someone Else’s Utopia 19 ‘Someone Else’s Utopia’: The Eco-Posthuman ‘Utopia’ of Margaret Atwood’s Oryx and Crake Melissa Roddis Dystopian novels, in their concerns for worlds or civilizations under threat, often are deeply humanistic in outlook: protagonists long for a return to the imperfect human arrangements before the new order, arrangements often very familiar to the reader holding the book as well. The new society is someone else’s utopia but it is presented as incompatible with even minimal requirements for human happiness and comfort.1 Rudolphus Teeuwen In this article I argue that an eco-posthuman reading of Margaret Atwood’s Oryx and Crake (2003) provides an alternative utopian perspective on what is generally considered to be a dystopian text. Although many other generically similar texts invite such readings by introducing eco-posthuman themes within the narrative – such as Michel Houellebecq’s Atomised and Kazuo Ishiguro’s Never Let Me Go – it is the fact that Oryx and Crake often seems actively to resist these readings that enables significant debates to emerge about some of the text’s main assumptions. By reading this text ‘against the grain’, we are able to confront and analyse the central beliefs, assertions and anxieties it vocalises regarding the future of humanity, nature and technology. The critical response to Oryx and Crake has been extensive and diverse, drawing on a range of theoretical foundations to provide a wide variety of interpretations. -
Margaret Atwood 2017
Emcke 2016 Kermani 2015 Lanier 2014 Margaret Atwood 2017 Alexijewitsch 2013 Liao 2012 Sansal 2011 Grossman 2010 Magris 2009 Kiefer 2008 Friedländer 2007 Lepenies 2006 Pamuk 2005 Esterházy 2004 Sontag 2003 Conferment speeches Achebe 2002 Habermas 2001 Peace Prize of the German Book Trade 2017 Djebar 2000 Sunday, October 15, 2017 Stern 1999 Walser 1998 Kemal 1997 Vargas Llosa 1996 Schimmel 1995 Semprún 1994 Schorlemmer 1993 Oz 1992 Konrád 1991 Dedecius 1990 Havel 1989 Lenz 1988 Jonas 1987 Bartoszewski 1986 Kollek 1985 Paz 1984 The spoken word prevails. Sperber 1983 Kennan 1982 Kopelew 1981 Cardenal 1980 Menuhin 1979 Lindgren 1978 Kołakowski 1977 Frisch 1976 Grosser 1975 Frère Roger 1974 The Club of Rome 1973 Korczak 1972 Dönhoff 1971 Myrdal 1970 Mitscherlich 1969 Senghor 1968 Bloch 1967 Bea/Visser 't Hooft 1966 Sachs 1965 Marcel 1964 Weizsäcker 1963 Hinweis: Die ausschließlichen Rechte für die Reden liegen bei den Autoren. Tillich 1962 Radhakrishnan 1961 Die Nutzung der Texte ist ohne ausdrückliche Lizenz nicht gestattet, sofern Gollancz 1960 nicht gesetzliche Bestimmungen eine Nutzung ausnahmsweise erlauben. Heuss 1959 Jaspers 1958 Wilder 1957 Schneider 1956 Hesse 1955 Burckhardt 1954 Buber 1953 Guardini 1952 Schweitzer 1951 Tau 1950 Friedenspreis des Deutschen Buchhandels 2017 Peter Feldmann Lord Mayor of the City of Frankfurt Greeting On behalf of the City of Frankfurt, I would like what I can say with confidence is that I and many to welcome you to the presentation of this year’s other readers know that your books have changed Peace Prize of the German Book Trade to Margaret our world. Among many other things, you have Atwood. -
Fall 2013 / Winter 2014 Titles
INFLUENTIAL THINKERS INNOVATIVE IDEAS GRANTA PAYBACK THE WAYFINDERS RACE AGAINST TIME BECOMING HUMAN Margaret Atwood Wade Davis Stephen Lewis Jean Vanier Trade paperback / $18.95 Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $19.95 ANANSIANANSIANANSI 978-0-88784-810-0 978-0-88784-842-1 978-0-88784-753-0 978-0-88784-809-4 PORTOBELLO e-book / $16.95 e-book / $16.95 e-book / $16.95 e-book / $16.95 978-0-88784-872-8 978-0-88784-969-5 978-0-88784-875-9 978-0-88784-845-2 A SHORT HISTORY THE TRUTH ABOUT THE UNIVERSE THE EDUCATED OF PROGRESS STORIES WITHIN IMAGINATION FALL 2013 / Ronald Wright Thomas King Neil Turok Northrop Frye Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $14.95 978-0-88784-706-6 978-0-88784-696-0 978-1-77089-015-2 978-0-88784-598-7 e-book / $16.95 e-book / $16.95 e-book / $16.95 e-book / $14.95 WINTER 2014 978-0-88784-843-8 978-0-88784-895-7 978-1-77089-225-5 978-0-88784-881-0 ANANSI PUBLISHES VERY GOOD BOOKS WWW.HOUSEOFANANSI.COM Anansi_F13_cover.indd 1-2 13-05-15 11:51 AM HOUSE OF ANANSI FALL 2013 / WINTER 2014 TITLES SCOTT GRIFFIN Chair NONFICTION ... 1 SARAH MACLACHLAN President & Publisher FICTION ... 17 ALLAN IBARRA VP Finance ASTORIA (SHORT FICTION) ... 23 MATT WILLIAMS VP Publishing Operations ARACHNIDE (FRENCH TRANSLATION) ... 29 JANIE YOON Senior Editor, Nonfiction ANANSI INTERNATIONAL ... 35 JANICE ZAWERBNY Senior Editor, Canadian Fiction SPIDERLINE .. -
The Machineries of Uncivilization: Technology and the Gendered Body
The Machineries of Uncivilization: Technology and the Gendered Body in the Fiction of Margaret Atwood and William Gibson by Annette Lapointe A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements of the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg Copyright © 2010 by Annette Lapointe For Patricia Lapointe reader, teacher, literary guide my mom Table of Contents Acknowledgements iv Abstract v Introduction Factory Girl @ the Crossroads 1 Chapter 1 Cyborg Pathology: Infection, Pollution, and Material Femininity in Tesseracts 2 15 Chapter 2 Girls on Film: Photography, Pornography, and the Politics of Reproduction 56 Chapter 3 Meat Puppets: Cyber Sex Work, Artificial Intelligence, and Feminine Existence 96 Chapter 4 Manic Pixie Dream Girls: Viral Femininity, Virtual Clones, and the Process of Embodiment 138 Chapter 5 Woman Gave Names to All the Animals: Food, Fauna, and Anorexia 178 Chapter 6 The Machineries of Uncivilization: Gender, Disability, and Cyborg Identity 219 Conclusion New Maps for These Territories 257 Works Cited 265 iii Acknowledgements Many thanks to Dr. Mark Libin, my dissertation adviser, for all of his guidance in both my research and my writing. Dr Arlene Young guided me to a number of important nineteenth century texts on gender and technology. My foray into disability studies was assisted by Dr. Nancy Hansen and by Nadine Legier. melanie brannagan-frederiksen gave me insight into the writings of Walter Benjamin. Patricia Lapointe read every draft, provided a sounding board and offered a range of alternate perspectives. The Histories of the Body Research Group guided me through to literary and non-literary approaches to body studies. -
Commonwealth Essays and Studies, 43.2 | 2021 Negotiating Dataveillance in the Near Future: Margaret Atwood’S Dystopias 2
Commonwealth Essays and Studies 43.2 | 2021 In Other Worlds Negotiating Dataveillance in the Near Future: Margaret Atwood’s Dystopias Claire Wrobel Electronic version URL: https://journals.openedition.org/ces/7718 DOI: 10.4000/ces.7718 ISSN: 2534-6695 Publisher SEPC (Société d’études des pays du Commonwealth) Electronic reference Claire Wrobel, “Negotiating Dataveillance in the Near Future: Margaret Atwood’s Dystopias”, Commonwealth Essays and Studies [Online], 43.2 | 2021, Online since 23 July 2021, connection on 29 July 2021. URL: http://journals.openedition.org/ces/7718 ; DOI: https://doi.org/10.4000/ces.7718 This text was automatically generated on 29 July 2021. Commonwealth Essays and Studies is licensed under a Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Negotiating Dataveillance in the Near Future: Margaret Atwood’s Dystopias 1 Negotiating Dataveillance in the Near Future: Margaret Atwood’s Dystopias Claire Wrobel 1 Imagining what comes next is the stuff that Margaret Atwood’s dystopian novels are made of.1 In retrospect, The Handmaid’s Tale (1985) may seem to have been prescient. While it may be read in the context of the backlash against feminism in the United States in the 1980s (Neuman 2006), it has gained new significance in the misogynous context of the Trump administration. The handmaid’s outfit, with its scarlet robe and white cornet, has become a visual rallying cry for women protesting against attempts on their reproductive rights in places as diverse as Texas, Northern Ireland or Argentina (Beaumont and Holpuch 2018). Atwood’s awareness of the threat that uncontrollable viruses constitute may also seem prescient in light of the ongoing pandemic. -
Revisionist Mythmaking in Margaret Atwood's
Author: Keck, Michaela Title: Paradise Retold: Revisionist Mythmaking in Margaret Atwood’s MaddAddam Trilogy Paradise Retold: Revisionist Mythmaking in Margaret Atwood’s MaddAddam Trilogy Michaela Keck Carl von Ossietzky University of Oldenburg, Germany [email protected] Abstract This paper focuses on the subversive potential of myths by exploring Margaret Atwood’s feminist revision of creation, more specifically the myth of paradise. According to Adrienne Rich’s definition, the “re-vision” of myths signifies the critical adaptation, appropriation, and invasion of traditional texts. As such, myths have not only legitimized exploitative power relationships, but they have also served as a powerful means to participate in and subvert hegemonic discourses. By drawing on the theories of Aby Warburg, Ernst Cassirer, and Hans Blumenberg, for whom myths constitute cultural-artistic mediations that involve the polarities of affect and intellect, terror and logos, Atwood’s revision of paradise in the MaddAddam trilogy may be approached in itself as—to use a term by Hans Blumenberg—a “work of logos.” I argue that Atwood revises paradise by duplicating the ancient human dreams of paradise into Crake’s techno pagan and Adam One’s eco-millennialist “gardens of delights,” both of which are refracted through evolutionary science and ecology. Characterized by human destructiveness, these posthuman paradises feature multiple Eves alongside the dominant male figures. Among Atwood’s Eves, there is the brazen Oryx as exploited racial “Other” of white society in the pathos formula of the Asian “digital virgin prostitute.” Atwood employs a self-reflexivity regarding myths that is characteristic of postmodern pastiche and thus highlights storytelling as the distinguishing characteristic of humankind, while her use of an evolutionary grotesque aesthetics erodes clear-cut distinctions between humans, animals, and post- humans.