Alias Grace, 68–72, 84, 107, 127–8 Author's Afterword, 69 Class

Home , Bodily Harm (novel), Interlunar, The Resplendent Quetzal, The Robber Bride, The Tent (Atwood book)

Cambridge University Press 978-0-521-87298-0 - The Cambridge Introduction to Margaret Atwood Heidi Slettedahl Macpherson Index More information

Index

Alias Grace, 68–72, 84, 107, 127–8 ideology, 23 Author’s Afterword, 69 influence of, 3, 16 class position, 69, 70 influences on, 18 ending, 72 interpretation of, 14 female bad behaviour, 68, 69 interviews, 7–8, 9, 115 focus on language, 69 management of her public persona, 3 freedom, 70 control, 4–5, 8 historical basis of, 68–9 distancing, 4–5, 6, 8 multiple stories and multiple voices marriages, 2 69 politicization, 47 power, 71 reading, 2, 4 quilting metaphors, 69, 71 reputation, 1, 14 rescue, 70 scholarship, 77 storytelling, 70, 71 separability of art and life, 62 truth, 69–72 siblings, 1, 2 Amnesty International, 47, 107 study of her works, 14 The Animals in that Country, use of punctuation, 56 ecological focus, 105 visual art, 114, 116 Annotated bibliography on Margaret autobiographical resonances in Atwood, 3 Atwood’s works, 3, 6, 7–8, Atwood, Margaret 110, 121 and Amnesty International, 47, 107 ‘Butterfly’, 109 and autobiography, 7–8, 10 ‘My Mother Dwindles’, 109 biographies, 1, 115, 131 autobiography, 10, 119 birth, 1 and celebrity, 10 childhood, 1 autobiography and art, 62, 64 commercial success, 2, 15 as cultural export, 14, 15, 113, 119 Bardolph, Jacqueline, 118 daughter, 2 Barzilai, Shuli, 81 education, 2 Beaulier, Victor-Lévy, 16 environmental concerns, 78, 86, betrayal, 90, 92–3, 100 105 Billingham, Susan, 13 and feminism, 23, 24, 26, 60, 114 biographies of Margaret Atwood, 1, historiography, 68 115, 131 honours, 2–3 Bjerring, Nancy, 31

133

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87298-0 - The Cambridge Introduction to Margaret Atwood Heidi Slettedahl Macpherson Index More information

134 Index

Blake, William, 105 Cambridge Companion to Margaret The Blind Assassin, 19, 21, 72–7, 101, Atwood, 5, 119–20 128 Canada blindness, 77 funding for the arts in, 15 Booker Prize, 8, 77 history of, 11, 12, 72 brutality, 76 landscape, 13, 88 celebrity, 8, 72 regulation of gender, 60 class and gender, 72 relationship with America, 13, 18, 31 control, 73 responses to Atwood in, 14 experiment in genre and style, 72 Canadian literature, 2, 11, 12 hands, 77 Atwood’s place in, 1, 111, 113 marriage, 75 development of, 12–15, 21 respectability, 75 patterns and motifs, 16 secrets, 76 archaeological motifs, 17 seeing and not seeing, 76 ‘failed’ or ‘mediocre’ artists, 17 truth, 72, 74 ‘magic baby’ motif, 17 victimization in, 74, 76 the malevolent north, 18 withholding of information, 75 Rapunzel syndrome, 17 blindness, 77 wendigos, 18, 31, 35 Bluebeard (oral tale), 97 reception of, 16 Bluebeard’s Egg,88 strengths of, 17 collapsing of fixed categories, 94, 95 Survival: A Thematic Guide to Bodily Harm, 47–53, 91, 108, 126 Canadian Literature, 16–18 disengagement, 53 women writers, 12, 22 doubling, 52 Castro, Jan Garden, 114 fantasy, 53 Cat’s Eye, 8, 59–64, 127 fragmentation, 48, 49 childhood, 59, 63 Gothic romance narrative, 48, 49 competition, 61 hands, 19, 52 control, 61 mirrors, 48 female bad behaviour, 60 morality, 52 femininity, 60, 62 power, 50 feminism, 59, 60, 63 rescue, 48, 50, 52 heroism, 63 sadism, 51 mirrors, 61 storytelling, 49, 51 power, 62, 63 surfaces, 48 respect, 63 violence, 50, 51, 52, 107 secrets, 59 wordplay, 48 semi-autobiographical character Booker Prize, 2, 8, 77 of, 59 Bouson, J. Brooks, 29, 34, 116 truth, 63 The Blind Assassin, 74, 76 unreliable narrator, 64 Oryx and Crake,81 visual art in, 19, 60, 63 The Robber Bride,67 women artists, 59 British Association for Canadian celebrity, 5, 8–9, 35, 77 Studies, 13 Atwood and, 3, 5, 6, 9–10, 119

Index 135

and autobiography, 10 Davidson, Arnold E., 112, 113 in The Blind Assassin,72 Davidson, Cathy N., 113 commercial aspect of, 15 Davies, Madeleine, 119 and death, 9 debt, 21–2 change, 30, 106 DiMarco, Danette, 81 Chernin, Kim, 64 The Door, 109–10 childhood, 59, 63, 97 doubling, 19, 24, 104, 112 Christ, Carol P., 111 duplicity, 32, 112, 115 Christian symbolism, 34, 108 dystopia, 53, 77, 120 Cole, Amanda, 86 control, 8, 45, 61, 73 Eating Fire: Selected Poetry 1965–1995, Cooke, Nathalie, 1, 115 109 Corse, Sarah, 12 The Edible Woman, 112, 124–5 critical reception, 11, 13, 16–22, 23, characters, 27 111–20 conflict between self and other, 26 in the 1970s and 1980s, 111–14 criticism of, 28, 29 in the 1990s, 114–18 identity, 27, 28 approach to, 16, 111 make-believe and fairy tales, 27 Curious Pursuits, 19–21 publication of, 26 feminist, 67, 111, 112 refusal of food, 28 Negotiating with the Dead, 109 Empson Lectures, 6–7, 19 Payback: Debt and the Shadow entrapment, 23, 57, 107 Side of Wealth, 21–2 environmental concerns, 78, 105, 114 psychoanalytical theory, 112, escape, 30, 56, 118 115–16 Second Words, 18, 23 fairy tales, 35, 64–8 Strange Things: the Malevolent fathers, 31, 35, 78, 82 North in Canadian Fiction, female bad behaviour, 64, 68 18 femininity, 59, 94, 96, 100 Survival: A Thematic Guide to artifice of, 29, 116 Canadian Literature, 16–18 and feminism, 29 thematic, 16 and food, 29 in the twenty-first century, 118–20 feminism, 11, 21 Curious Pursuits, 3, 19–21 and antifeminism, 59 ‘In Search of Alias Grace’, 21 and art, 63 ‘Spotty-Handed Villainesses: and consumption, 64 The Problem of Female Bad and femininity, 29 Behaviour in the Creation of and literature, 24 Literature’, 20–1 organized, 51 as a political force, 24 Dancing Girls, 88–93 psychoanalytical, 112, 115, 116 betrayal, 90 food, 28, 29, 35, 65–6 miscommunication, 88, 90 Foucault, Michel, 61–2 Dancygier, Barbara, 77 freedom, 54, 56, 70; Davey, Frank, 45, 87, 88, 113 see also entrapment

136 Index

Friedan, Betty, 26 hands, images of friendship, 31 in Bodily Harm, 19, 48, 52 Frye, Northrop, 12, 18, 35 in The Blind Assassin, 74, 77 Fuller, Danielle, 13 in poetry, 109 Hansen, Elaine Tuttle, 49 Gartner, Hana, 9 happy endings, see narrative endings Gerstenberger, Donna, 112 haunting, 103 Gibson, Eleanor Jess, 2 Hengen, Shannon, 115–16 Gibson, Graeme, 2 heroism, 40, 63, 64 Giller Prize, 2 history, 21, 106 Godard, Barbara, 94 feminist perspective on, 71 Gothic romance narratives, 38–41, 48, postmodern reconstruction of, 71 49, 114 reconstruction of, 54 conventions of, 41–2 war history, 65, 109 parody of, 36, 37, 40 Hite, Molly, 62 Governor General’s Award, 2 Hönnighausen, Lothar, 105, 107 Grace, Sherrill, 112 House of Anansi Press, 2 Graves, Robert, 18 Howells, Coral Ann, 5, 112, 117, 118, Greer, Germaine, 16 119–20 Grey Owl, 18 Alias Grace, 70, 71 Griffith, Margaret, 28 The Blind Assassin,73 Bodily Harm, 49, 50, 53 Hancock, Geoff, 22 Cat’s Eye,59 The Handmaid’s Tale, 24, 53–9, 91, 109, Lady Oracle,42 126 Life Before Man,47 access to information, 54, 56 Oryx and Crake,81 control, 61 humour, 1, 10, 26, 64, 104 dystopia, 53, 54 entrapment, 57 identity, 13, 30, 56, 115 freedom, 54, 56 Canadian, 11, 12 love and sex, 55 multiple, 30, 47, 87 marriage, 56 national identity, 13 memory, 57 Ingersoll, Earl, 77, 114 Offred’s passivity, 58 Interlunar, 107, 108 palimpsest, 54 myth, 108 past and present, 55 rescue, 108 reconstruction of history, 54 Internet, power of, 79, 86 rescue, 56 interviews, 7–8, 9, 87, 115 resistance movement, 58 invisibility, 10 roles of men, 54 irony, 104 sensory deprivation, 57–8 Irvine, Lorna, 12, 22, 45, 49 storytelling, 53, 58 strict gender roles for women, 53, 54 Johnson, Gordon, 104 theocracy, 54 The Journals of Susanna Moodie, 21, 105 totalitarianism, 53 justice, 21

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Kertzer, Jonathan, 12 love and violence, 44 Klappert, Peter, 105 male–female divide, 43 knowledge, 75, 80, 95, 109 marriage, 44 Kolodny, Annette, 112 power, 45, 46 Kroetsch, Robert, 13 refusal to be a victim, 46 secrets, 45 Lady Oracle, 8, 35–42, 125 survival instinct, 46 automatic writing, 19, 37 torture, 46 and categories of Gothic romance, literature, 12, 111, 118 38–41 and politics, 18, 23, 26 absent father, 39 LongPen, 3 Byronic figures, 40–1 Loriggio, Francesco, 16 Other Woman, 39 secrets, 41 MacLulich, T. D., 28 wicked mother, 38 The Malahat Review, 111 celebrity, 35, 36 Margaret Atwood Reference Guide, conventions of Gothic romance, 120 41–2 Margaret Atwood Reference Site, 5 criticism of, 36, 38–41 Margaret Atwood Society, 3, 113, 120 escape, 36 Current Atwood Checklist, 120 identity, 35–42 Margaret Atwood Studies, 120 parody of Gothic romance, 36, 40 marriage, 27 Escape from Love,37 in The Blind Assassin,75 Love, My Ransom,37 in The Handmaid’s Tale,56 Stalked by Love,37 in Life Before Man,44 politics, 36 role of wife, 28 possible heroes, 40–1 in Surfacing, 32, 33 possible villains, 40 Martel, Yann, 15 storytelling, 42 masculinity, 94 the supernatural in, 37 Massey Lectures, 22 unreliability of the narrator, 39 Mathews, Robin, 17 language, 31, 80, 95, 117 McCombs, Judith, 112, 114 in Alias Grace,69 McWilliams, Ellen, 118 in The Handmaid’s Tale,54 memory, 21, 57, 63, 78 in Life Before Man,42 Mendez-Egles, Beatrice, 114 in Surfacing, 31, 112 mirrors, 106, 115 Larkin, Joan, 34 in Bodily Harm,48 Le Bihan, Jill, 53 in Cat’s Eye,61 Life Before Man, 42–7, 102, 125–6 literature as a mirror, 12 characters, 45–7 in poetry, 104, 106 disintegration, 45 Modern Language Association, 3 emotional paralysis, 42 Moral Disorder,7,112 feminism, 43–5 semi-autobiographical character of, focus on language, 42 101 fossilization, stasis and decay, 43 morality, 78, 81

138 Index

Morning in the Burned House, 108 dystopia, 77 mortality, 109 games, 79 mothers, 35, 78, 81, 82, 102, 116 importance of language, 80 Mycak, Sonia, 117 knowledge, 80 myth, 34, 93, 104, 107, 108, 112 morality and science, 78, 80, 81 in poetry, 104, 109 past and present, 79 reality and unreality, 80 narrative endings, 35, 72, 75, 99, 117 role of women in, 81 nationalism, 13, 87 storytelling, 80 nationality, 31 Negotiating with the Dead, 6–7, 19, 109 Pache, Walter, 16, 18 New, W. H., 111 palimpsest, 33, 54 Nicholson, Colin, 116–17 Palumbo, Alice, 30 Nischik, Reingard, 86, 90, 118–19 past and present, 104 non-fiction, 108, 124; see also under Payback: Debt and the Shadow Side of individual titles Wealth, 21–2 Negotiating with the Dead, 6–7, 19, Penelope, 21, 37, 71 109 The Penelopiad, 108 Survival, 16–18 Persephone, 108 Second Words, 18, 23 poetry, 87, 104–10, 129 Curious Pursuits, 3, 19–21 collections Payback: Debt and the Shadow Side The Animals in That Country, 105 of Wealth, 21–2 The Door, 109 Strange Things,18 Eating Fire: Selected Poetry normality, 28, 95 1965–1995, 109 novels, 80, 123; see also under Interlunar, 107, 108 individual titles The Journals of Susanna Moodie, Alias Grace, 68–72 105 The Blind Assassin, 72–7 Morning in the Burned House, 108 Bodily Harm,47 The Penelopiad, 108 Cat’s Eye, 114 Power Politics, 105 The Edible Woman, 26–30 Procedures for the Underground, The Handmaid’s Tale, 53–9 105 historical, 21 Selected Poems: 1965–1975, 106 Lady Oracle, 35–42 Selected Poems: 1965–1984, 109 Life Before Man, 42–7 Selected Poems II: Poems Selected Oryx and Crake, 77–81 and New 1976–1986, 107 and poetry, 114 True Stories, 107 The Robber Bride, 64–8 Two-Headed Poems, 106, 107 Surfacing, 30–5 You Are Happy, 106 The Year of the Flood, 81–6 diversity and scope of, 104 environmental issues, 104 Oates, Joyce Carol, 107 fairy tales, 104 Ondaatje, Michael, 14 landscape, 104 Oryx and Crake, 77–81, 128 mirrors, 104

Index 139

miscommunication, 104 Polk, James, 2 myth, 104, 109 postfeminism, 64 and novels, 114 Potts, Donna, 67 poems power, 45, 61, 104, 115, 116, 117, 119 ‘A Women’s Issue’, 107 and blood, 65 ‘Another Visit to the Oracle’, 109 of language, 95 ‘Butterfly’, 109 in Life Before Man,46 ‘Cressida to Troilus: A Gift’, 108 of Margaret Atwood, 12 ‘The Door’, 109–10 and politics, 87, 119 ‘Eating Snake’, 108 in The Robber Bride,67 ‘Helen of Troy Does Counter of women, 64, 65, 68, 100 Dancing’, 108–9 in The Year of the Flood,84 ‘The Loneliness of the Military Power Politics, 105 Historian’, 109 presence and absence, 105 ‘Marrying the Hangman’, 107 Procedures for the Underground, 105 ‘My Mother Dwindles’, 109 psychoanalytical theory, 115, 116, 117 ‘Notes Towards a Poem that Can Never be Written’, 107 Quill and Quire,14 ‘Owl and Pussycat, Some Years Later’, 109 Rao, Eleonora, 115 ‘Poetry Reading’, 109 Rapunzel Syndrome, 17 ‘The Poet Has Come Back’, 109 reality, 34, 80 ‘The Poets Hang On’, 109 reference works, 131–2 ‘The Woman Who Could Not refusal of food, 28, 35 Live With Her Faulty Heart’, relationships between men and 106 women, 104, 105, 106, 116 ‘The Woman Who Makes Peace religion, 108 With Her Faulty Heart’, 106–7 rescue, 30, 56, 70, 83, 85, 103, 108 ‘This is a Photograph of Me’, 100, in Bodily Harm, 48, 50, 52 104–5 respectability, 75, 103 ‘Torture’, 107 responsibility, 18, 35, 104, 109 ‘Tricks with Mirrors’, 106 Rigney, Barbara Hill, 112, 114 ‘Two-Headed Poems’, 106 Robertson, Ray, 4 ‘War Photo’, 109 The Robber Bride, 7, 64–8, 108, ‘War Photo 2’, 109 109, 127 ‘You Fit Into Me’, 105–6 ceremony, 65 relationships between men and criticism of, 67 women, 104 female bad behaviour, 64 responsibility, 104 femininity, 66 presence and absence, 105 feminism, 67–8 victimhood, 104 food and desire, 64, 65–6 violence, 104 for Charis, 65–6 politics, 87, 91 for Roz, 66 and power, 119 for Tony, 65 politics of literature, 18, 26 hunger, 65, 68

140 Index

The Robber Bride (cont.) miscommunication, 93 metaphors for hunting and fishing, myths and folktales, 93 67 narrative endings, 99 multiple devouring females, 65 repetition and accumulation of power, 65, 66, 67 image and symbol, 88 Zenia, 66–7, 68 stories role models, 114 ‘The Age of Lead’, 100 role-play, 30–5; see also identity ‘The Art of Cooking and Serving’, Rosenberg, Jerome H., 113, 117 101 Rosenthal, Caroline, 14 ‘Bad News’, 101 Royal Society of Canada, 2 ‘Betty’, 89 Rubbo, Michael, 6 ‘Bluebeard’s Egg’, 96–7 Rubenstein, Roberta, 52, 58 ‘The Bog Man’, 90, 99–100 Russ, Joanna, 38–41 ‘The Boys at the Lab’, 103 ‘Dancing Girls’, 93 Sandler, Linda, 7, 14 ‘Death by Landscape’, 100 Schaub, Danielle, 35 ‘Encouraging the Young’, 87 science and scientists, 78 ‘Entities’, 103 Second Words,18 ‘Giving Birth’, 93 ‘On Being a Woman Writer’, 23 ‘The Grave of the Famous Poet’, secrets, 41, 45, 59, 76, 98 90 Sedgwick, Eve Kosofsky, 38–42 ‘Hack Wednesday’, 100 seeing and not seeing, 33, 76 ‘Hair Jewellery’, 90–1 Selected Poems: 1965–1975, 106, 109 ‘Hairball’, 99 Selected Poems II: Poems Selected and ‘The Headless Horseman’, 49 New 1976–1986, 107 ‘Hurricane Hazel’, 95 self 30, 117; see also identity ‘In Search of the Rattlesnake sexual politics, 104 Plantain’, 97, 103 short stories, 86–103, 129 ‘Isis in Darkness’, 99 betrayal, 92–3 ‘The Labrador Fiasco’, 103 breakdown in communication ‘Life Stories’, 87 between men and women, 93 ‘Lives of the Poets’, 92–3 Canadian setting, 100 ‘Loulou; Or, the Domestic Life of collapsing of fixed categories, 94 the Language’, 94–5 collections, 87 ‘The Man from Mars’, 88–9 Bluebeard’s Egg, 88, 93–7 ‘Monopoly’, 102 Dancing Girls, 88–93 ‘Moral Disorder’, 102 Moral Disorder, 101–3, 112 ‘My Last Duchess’, 101–2 The Penelopiad, 108 ‘No More Photos’, 87 The Tent,87 ‘The Other Place’, 102 Wilderness Tips, 87–8, 97–101 ‘Polarities’, 89–90 construction of, 103 ‘The Resplendent Quetzal’, 91–2, distance, 100 96 environmental themes, 97 ‘The Salt Garden’, 97 landscape, 97 ‘Scarlet Ibis’, 97

Index 141

‘Significant Moments in the Life femininity, 34 of My Mother’, 93–4 identity, 31 ‘Spring Songs of the Frogs’, 97 landscape, 35 ‘The Sunrise’, 96 marriage, 32, 33 ‘Training’, 92 narrator, 30, 32, 34 ‘A Travel Piece’, 91 a palimpsestic text, 33 ‘True Trash’, 97–8, 101 subterfuge, 32 ‘Two Stories about Emma’, 95 and Survival,17 ‘Uglypuss’, 95 truth, 33 ‘Uncles’, 100 use of language, 31, 112 ‘Under Glass’, 90 Survival: A Thematic Guide to ‘Unearthing Suite’, 97 Canadian Literature ‘Walking on Water’, 95, 96 criticism of, 16 ‘Weight’, 100 impact of, 16–18 ‘When It Happens’, 91 and Surfacing,17 ‘The Whirlpool Rapids’, 95–6 ‘White Horse’, 102–3 Templin, Charlotte, 14 Showalter, Elaine, 112 The Tent,87 siblings, 101, 103 Thomas Fisher Rare Book Library, Signs, 111 University of Toronto, Atwood social responsibility of the writer, Archives, 3 18 Tolan, Fiona, 118 Somacarrera, Pilar, 119 totalitarianism, 53 Staels, Hilde, 77 travel, 50, 91–2, 102 Staines, David, 12 True Stories, 107 Stein, Karen, 117 truth, 14, 59 storytelling, 49, 93, 107, 117 in Alias Grace, 69, 71, 72 in Alias Grace, 70, 71 in The Blind Assassin, 72, 74 in Bluebeard’s Egg,94 in Cat’s Eye,63 conventions of, 73 and storytelling, 107 in The Handmaid’s Tale, 53, 58 in Surfacing,33 in Lady Oracle,42 Two-Headed Poems, 106, 107 in Oryx and Crake,80 and truth, 107 United Kingdom, responses to Strange Things: The Malevolent North Atwood in, 14 in Canadian Fiction,18 University of Toronto, Thomas Fisher Sturgess, Charlotte, 94, 95 Rare Book Library, 3 Sullivan, Rosemary, 1, 115 Surfacing, 13, 30–5, 111, Van Spanckeren, Kathryn, 114 112, 125 victim theory, 16, 50, 68, 87, 113 acquiescence, 33 basic victim positions, 17, 18 alienation, 112 in The Blind Assassin, 74, 76 Christian symbolism, 34 Rapunzel syndrome, 17 criticism of, 31 refusal to be a victim, 35, 46 duplicity, 32 Vincent, Sybill Korff, 37

142 Index

violence, 44, 51, 104 Lady Oracle, 35–42 in Bodily Harm, 50, 51, 52, 107 MaddAddam Trilogy, 82 visibility, 62 Oryx and Crake, 77–81 visual art, 114 Power Politics, 105 The Robber Bride, 64–8 Weir, Lorraine, 113 Surfacing, 30–5, 112 wendigos, 18, 31, 35 use of the double voice, 30 White, Roberta, 30 The Year of the Flood, 81–6 wilderness, 18 poetry, 87, 104–10, 123–4, 129 Wilderness Tips, 87–8 The Animals in That Country, Wilson, Sharon Rose, 16, 116, 120 105 Wolf, Naomi, 68 The Door, 109 women, 5, 94, 118 Eating Fire: Selected Poetry artists, 59 1965–1995, 109 monstrous women, 64 Interlunar, 107, 108 objectified, 104, 107 The Journals of Susanna relationships with other women, 59, Moodie, 105 60, 114 Morning in the Burned House, women’s stories, 20, 70 108 writers, 18, 22–4 The Penelopiad, 108 Woodcock, George, 28 Power Politics, 105 Woolf, Virginia, 106 Procedures for the works of Margaret Atwood, 25–110, Underground, 105 123–4 Selected Poems: 1965–1975, 106 book reviews, 4 Selected Poems: 1965–1984, 109 non-fiction, 124; see also (under Selected Poems II: Poems Selected individual titles) and New 1976–1986, 107 Negotiating with the Dead, 6–7, True Stories, 107 19, 109 Two-Headed Poems, 106, 107 Payback: Debt as Metaphor and You Are Happy, 106 the Shadow Side of Wealth, reference guide to, 115 21–2 short stories, 86–103, 129; Curious Pursuits, 3, 19–21 see also under individual Strange Things,18 titles Second Words,18 Bluebeard’s Egg, 88, 93–7 Survival: A Thematic Guide to Dancing Girls, 88–93 Canadian Literature, 16, 17 Moral Disorder, 101–3, 112 novels, 25–86, 123; see also (under The Penelopiad, 108 individual titles) The Tent,87 Alias Grace, 68–72 writing The Blind Assassin, 72–7 about women, 22–4 Bodily Harm, 47–53 motivations for, 73 Cat’s Eye, 59–64, 114 The Edible Woman, 26–30, 112 The Year of the Flood, 81–6, 128 The Handmaid’s Tale, 53–9 belief and action, 83

Index 143

extra-textual elements in, 86 rescue, 83, 85 female persective of, 82 survival, 85 God’s Gardeners cult, 81, 82, Waterless Flood, 84 84, 86 website for the novel, 86 and Oryx and Crake,85 York, Lorraine, 4, 9, 10, power of Adam One, 84 14, 117 religion, 83 You Are Happy, 106