The Heart Goes Last Margaret Atwood
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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. -
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. -
Identity, Gender, and Belonging In
UNIVERSITY OF DUBLIN, TRINITY COLLEGE Explorations of “an alien past”: Identity, Gender, and Belonging in the Short Fiction of Mavis Gallant, Alice Munro, and Margaret Atwood A Thesis submitted to the School of English at the University of Dublin, Trinity College, in fulfilment of the requirements for the Degree of Doctor of Philosophy Kate Smyth 2019 Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. ______________________________ Kate Smyth i Table of Contents Summary .......................................................................................................................................... iii Acknowledgements ...................................................................................................................... iv List of Abbreviations ..................................................................................................................................... v Introduction ..................................................................................................................................... 1 Part I: Mavis Gallant Chapter 1: “At Home” and “Abroad”: Exile in Mavis Gallant’s Canadian and Paris Stories ................ 28 Chapter 2: “Subversive Possibilities”: -
List of Works by Margaret Atwood
LIST OF WORKS BY MARGARET ATWOOD Note: This bibliography lists Atwood’s novels, short fiction, poetry, and nonfiction books. It is current as of 2019. Dates in parentheses re- fer to the initial date of publication; when there is variance across countries, the date refers to the Canadian publication. We have used standard abbreviations for Atwood’s works across the essays; how- ever, contributors have used a range of editions (Canadian, American, British, etc.), reflecting the wide circulation of Atwood’s writing. For details on the specific editions consulted by contributors, please see the bibliography immediately following each essay. For a complete bibliography of Atwood’s works, including small press editions, children’s books, scripts, and edited volumes, see http://mar- garetatwood.ca/full-bibliography-2/ Novels EW The Edible Woman (1969) Surf. Surfacing (1972) LO Lady Oracle (1976) LBM Life Before Man (1979) BH Bodily Harm (1981) HT The Handmaid’s Tale (1985) CE Cat’s Eye (1988) RB The Robber Bride (1993) AG Alias Grace (1996) BA The Blind Assassin (2000) O&C Oryx and Crake (2003) P The Penelopiad (2005) YF Year of the Flood (2009) MA MaddAddam (2013) HGL The Heart Goes Last (2015) HS Hag-Seed (2016) Test. The Testaments (2019) ix x THE BIBLE AND MARGARET ATWOOD Short Fiction DG Dancing Girls (1977) MD Murder in the Dark (1983) BE Bluebeard’s Egg (1983) WT Wilderness Tips (1991) GB Good Bones (1992) GBSM Good Bones and Simple Murders (1994) Tent The Tent (2006) MD Moral Disorder (2006) SM Stone Mattress (2014) Poetry CG The Circle -
Annual Atwood Bibliography 2016
Annual Atwood Bibliography 2016 Ashley Thomson and Shoshannah Ganz This year’s bibliography, like its predecessors, is comprehensive but not complete. References that we have uncovered —almost always theses and dissertations —that were not available even through interlibrary loan, have not been included. On the other hand, citations from past years that were missed in earlier bibliographies appear in this one so long as they are accessible. Those who would like to examine earlier bibliographies may now access them full-text, starting in 2007, in Laurentian University’s Institutional Repository in the Library and Archives section . The current bibliography has been embargoed until the next edition is available. Of course, members of the Society may access all available versions of the Bibliography on the Society’s website since all issues of the Margaret Atwood Studies Journal appear there. Users will also note a significant number of links to the full-text of items referenced here and all are active and have been tested on 1 August 2017. That said—and particularly in the case of Atwood’s commentary and opinion pieces —the bibliography also reproduces much (if not all) of what is available on-line, since what is accessible now may not be obtainable in the future. And as in the 2015 Bibliography, there has been a change in editing practice —instead of copying and pasting authors’ abstracts, we have modified some to ensure greater clarity. There are a number of people to thank, starting with Dunja M. Mohr, who sent a citation and an abstract, and with Desmond Maley, librarian at Laurentian University, who assisted in compiling and editing. -
Book Club Kit Discussion Guide Handmaid's Tale by Margaret
Book Club Kit Discussion Guide Handmaid’s Tale By Margaret Atwood Author: Margaret Atwood was born in 1939 in Ottawa, and grew up in northern Ontario and Quebec, and in Toronto. She received her undergraduate degree from Victoria College at the University of Toronto and her master’s degree from Radcliffe College. Margaret Atwood is the author of more than forty books of fiction, poetry, and critical essays. Her latest book of short stories is Stone Mattress: Nine Tales (2014). Her MaddAddam trilogy – the Giller and Booker prize- nominated Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013) – is currently being adapted for HBO. The Door is her latest volume of poetry (2007). Her most recent non-fiction books are Payback: Debt and the Shadow Side of Wealth (2008) and In Other Worlds: SF and the Human Imagination (2011). Her novels include The Blind Assassin, winner of the Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; and The Robber Bride, Cat’s Eye, The Handmaid’s Tale – coming soon as a TV series with MGM and Hulu – and The Penelopiad. Her new novel, The Heart Goes Last, was published in September 2015. Forthcoming in 2016 are Hag-Seed, a novel revisitation of Shakespeare’s play The Tempest, for the Hogarth Shakespeare Project, and Angel Catbird – with a cat-bird superhero – a graphic novel with co-creator Johnnie Christmas. (Dark Horse.) Margaret Atwood lives in Toronto with writer Graeme Gibson. (From author’s website.) Summary: In the world of the near future, who will control women's bodies? Offred is a Handmaid in the Republic of Gilead. -
The Handmaid's Tale Is About the Writing Process
The Handmaid’s Tale (Questions) 1. The novel begins with three epigraphs. What are their functions? 2. In Gilead, women are categorized as wives, handmaids, Marthas, or Aunts, but Moira refuses to fit into a niche. Offred says she was like an elevator with open sides who made them dizzy; she was their fantasy. Trace Moira's role throughout the tale to determine what she symbolizes. 3. Aunt Lydia, Janine, and Offred's mother also represent more than themselves. What do each of their characters connote? What do the style and color of their clothes symbolize? 4. At one level, The Handmaid's Tale is about the writing process. Atwood cleverly weaves this sub-plot into a major focus with remarks by Offred such as "Context is all, " and "I've filled it out for her," "I made that up," and "I wish this story were different." Does Offred's habit of talking about the process of storytelling make it easier or more difficult for you to suspend disbelief? 5. A palimpsest is a medieval parchment that scribes attempted to scrape clean and use again, though they were unable to obliterate all traces of the original. How does the new republic of Gilead's social order often resemble a palimpsest? 6. The Commander in the novel says you can't cheat nature. How do characters find ways to follow their natural instincts? 7. Why is the Bible under lock and key in Gilead? 8. Babies are referred to as "a keeper, "unbabies," "shredders." What other real or fictional worlds do these terms suggest? 9. -
Lady Oracle" : the Politics of the Body
(( Lady Oracle" : The Politics of the Body MARILYN PATTON I search instead for the others the ones left over, the ones who have escaped from these mythologies with barely their lives MARGARET ATWOOD, You Are Happy X. VJLARGARET ATWOOD wrote these words as if they were spoken by the Circe persona in the "Circe/Mud Poems" section of her book of poetry called You Are Happy. Atwood's career as poet, storyteller, and critic has been a coming to terms with "these myth• ologies," a general term for myths about women and myths about gender relations which have been inscribed in our literature. Her career has been also a search for an escape from "these myth• ologies." Although numerous critics have analyzed Atwood's work with myths about women, their readings have been limited to primarily psychological interpretations. For the many women who have escaped "with barely their lives," however, cultural myths about women are very much a form of "power politics." To do justice to Atwood's work, we must look beyond psychology to the politics of her work with — and against — myth. By far the most potent myth in Atwood's imagination has been the White Goddess, a multi-faceted myth which reflects socially constructed images of women's roles. Ever since Atwood's first reading of Robert Graves's book, The White Goddess, when she was of college age, this Goddess has shadowed her thinking. One could easily argue that even her most recent novel, Cat's Eye ( 1988), is a reworking of goddess images. In fact, while she was working on Cat's Eye, which is a novel of retrospectives, Atwood wrote a retrospective on her own career for Ms. -
Moral Disorder Margaret Atwood
BIBLIOTECA TECLA SALA March 15, 2018 Moral Disorder Margaret Atwood Introduction Margaret Atwood has frequently been cited as one of the foremost writers of our time. Moral Disorder could be seen as a collection of eleven stories that is almost a novel ... or a novel broken up into eleven stories. It resembles a photograph album - a series of clearly observed moments that trace the course of a life, and the lives intertwined with it - those of parents, siblings, children, friends, enemies, teachers and even animals. And as in a photograph album, times change; every decade is here, from the 1930s through the 50s, 60s and 70s to the present day. The settings are equally varied: large cities, suburbs, farms, northern forests. By turns funny, moving, lyrical, incisive, tragic, earthy, shocking and deeply personal, Moral Disorder displays Atwood's celebrated storytelling gifts and inimitable Contents: style to their best advantage. As the The New York Times has said, 'Atwood has complete access to her Introduction 1 people's emotional histories, complete understanding of their hearts and imaginations.' Biography: 2 Margaret Atwood [https://www.bloomsbury.com/uk/moral-disorder- 9780747581628/] Two reviews from 3-4 The Guardian The Tent - by 5 Margaret Atwood Notes 6 Page 2 Biography: Margaret Atwood Margaret Atwood is a Canadian puritanical, theocratic dystopia in writer born on November 18, which a select group of fertile 1939 in Ottawa. The women — a condition which has internationally-known author has become a rarity — are made to written award-winning poetry, bear children for corporate male short-stories and novels, overlords. -
Uncanny Spaces and Troubled Times in Margaret Atwood's Poetry
Article “It always Takes a Long Time/to Decipher Where You Are”: Uncanny Spaces and Troubled Times in Margaret Atwood’s Poetry Eleonora Rao Department of Humanities, University of Salerno, Fisciano, 84084 Italy; [email protected] Received: 27 July 2017; Accepted: 15 August 2017; Published: 18 August 2017 Abstract: The focus is on Atwood’s most recent poetry collections; Morning in the Burned House (1995) and The Door (2007), in addition to the prose poems volume The Tent (2006). They have in common, albeit with a different emphasis, a preoccupation with mortality and with the writing of poetry itself. They also share a special concern for space. This reading considers space and landscape to function as metonyms. Space here is far from being passive; instead it is constantly in the process of being constructed. The disorientation that the poetic personae experience in these texts follows a labyrinthine pattern where heterogeneity and multiplicity in the sense of contemporaneous plurality prevail. In this perspective, the identity of a place becomes open and provisional, including that of a place called home. Keywords: contemporary poetry; space and place; liminality You remember this. No, you dreamed it. Your dream was of choking, and sinking down, and blankness. You woke from your nightmare and it had already happened. Everything was gone. Everything, and everyone—fathers, mothers, brothers, sisters, the cousins, the tables and chairs and toys and beds—all swept away. Nothing is left of them. Nothing remains but the erased beach and the silence. (Atwood 2006b, p. 149) The “nightmare” described by Margaret Atwood in her 2006 collection of poems, short prose poems, and fictional essays The Tent plays heavily on the Freudian Unheimliche—“the uncanny”— evoking the speaker’s most intimate fears of sudden, inexplicable loss of home and the familiar. -
Margaret Atwood, World-Famous but Yet to Be Discovered by Many Slovene Readers
33 ACTA NEOPHILOLOGICA UDK: 821.111(71).09Atwood M.:82.09(497.4) DOI: 10.4312/an.53.1-2.33-47 Margaret Atwood, World-Famous but Yet to Be Discovered by Many Slovene Readers Tomaž Onič, Michelle Gadpaille, Jason Blake, Tjaša Mohar Abstract Margaret Atwood is the only Canadian author whose 80th birthday in 2019 was cel- ebrated by the global academic community. This is not surprising, as she is the most famous Canadian writer, popular also outside literary circles. On this occasion, Slovene Canadianists organized a literary event at the Maribor University Library, which pre- sented an outline of Atwood’s oeuvre and a selection of translated poems and excerpts of prose texts; some of these were translated especially for the event. Of Atwood’s rich and varied oeuvre, only eight novels, a few short fiction pieces and some thirty poems have been translated into Slovene. This article thus aims at presenting those aspects of Atwood’s work which are less know to Slovene readers. It is no secret that Atwood is often labelled a feminist writer, mostly on account of The Handmaid’s Tale and the TV series based on the novel. However, many Slovene readers may not know that she also writes poetry, short fiction, non-fiction and children’s literature, that she is a committed environmentalist, and that she discussed the problem of “Debt and the Shadow Side of Wealth” in a prestigious lecture series. There are not many authors who master as many genres as Atwood and who are so well-received by readers and critics alike. -
Reading List for a Level English Literature. Unit One: Love Through the Ages
Reading List for A Level English Literature. Over the course of the 2 year A Level course, you will study 8 texts. These are: Tennessee Williams – A Streetcar Named Desire Margaret Atwood – The Handmaid’s Tale Carol Ann Duffy – Feminine Gospels F Scott Fitzgerald – The Great Gatsby AQA Anthology of Love Poetry Through the Ages Shakespeare – Othello Chaucer – The Miller’s Tale One other text of your choice from a shortlist to be provided. We will be studying them in the order they are given above. Of course, it would be good to read these to make sure you are well prepared for when you start at college. We will, however, be studying them in class so it is not essential to have read them beforehand. What would stand you in really good stead would be to have done a bit of reading around the text – to read other books by the same author, or written at the same time or about similar themes and ideas. To help you with this, we have put together the following list of suggestions. We do not expect you to read all of these – that way madness lies! – but the more you have read the more ideas you will have about the contexts of your set texts which will be really useful on your A Level course. Unit One: Love Through the Ages. Othello: Read Shakespeare’s other Tragedies – Hamlet King Lear Macbeth Read other Shakespeare plays which revolve around love – Romeo and Juliet The Winter’s Tale As you Like It Antony and Cleopatra These are all very different both from Othello and from each other.