Ms. Atwood, Margaret Papers Coll
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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 -
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. -
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. -
MARGARET ATWOOD: WRITING and SUBJECTIVITY Also by Colin Nicholson
MARGARET ATWOOD: WRITING AND SUBJECTIVITY Also by Colin Nicholson POEM, PURPOSE, PLACE: Shaping Identity in Contemporary Scottish Verse ALEXANDER POPE: Essays for the Tercentenary (editor) CRITICAL APPROACHES TO THE FICTION OF MARGARET LAURENCE (editor) IAN CRICHTON SMITH: New Critical Essays (editor) Margaret Atwood photo credit: Graeme Gibson Margaret Atwood: Writing and Subjectivity New Critical Essays Edited by Colin Nicholson Senior Lecturer in English University of Edinburgh M St. Martin's Press Editorial material and selection © Colin Nicholson 1994 Text © The Macmillan Press Ltd 1994 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published in Great Britain 1994 by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world A catalogue record for this book is available from the British Library. ISBN 978-0-333-61181-4 ISBN 978-1-349-23282-6 (eBook) DOI 10.1007/978-1-349-23282-6 First published in the United States of America 1994 by Scholarly and Reference Division, ST. MARTIN'S PRESS, INC., 175 Fifth Avenue, New York, N.Y. 10010 ISBN 978-0-312-10644-7 Library of Congress Cataloging-in-Publication Data Margaret Atwood : writing and subjectivity I edited by Colin Nicholson. -
Adderson, Caroline
Caroline Adderson Fonds In Special Collections, Simon Fraser University Library Finding aid with file descriptions prepared by: Wendy Sokolon, November 2006 40. Caroline Adderson fonds 1986-2004 2.58 m of textual records and other material Biographical Sketch: Caroline Adderson was born in Edmonton, Alberta in 1963. After finishing high school, she entered Katimavik, a Canadian youth volunteer-service program, and travelled across Canada, partaking in such activities as working on a sheep farm and building log cabins on a reservation. Adderson completed an education degree at UBC in 1986, and a year later she settled in Vancouver and started teaching ESL. She has spent most of her adult life in Vancouver, B.C., but has also lived for brief periods in New Orleans and Toronto. Her first book of short fiction, Bad Imaginings (1993) won the 1994 Ethel Wilson Fiction Prize, was shortlisted for the 1993 Governor General’s Award and Commonwealth Book Prize, and in audio format the CNIB (Canadian National Institute for the Blind) Talking Book of the Year. These stories have since appeared in many anthologies and have been broadcast and adapted for radio. Her first novel, A History of Forgetting (1999) was nominated for the 2000 Ethel Wilson Fiction Prize and the 2000 Rogers’ Writer’s Trust Fiction Prize. Her second novel, Sitting Practice (2003) was shortlisted for the VanCity Book Prize for best book pertaining to women’s issues by a B.C. author as well as the City of Vancouver Book Award. It won the 2004 Ethel Wilson Fiction Prize. Her works of fiction and non-fiction have been widely published in literary magazines and newspapers. -
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. -
QC Fiction in EN
QUEBEC FICTIO I EGLISH DURIG THE 1980S: 1 A CASE STUDY I MARGIALITY Linda Leith I The unique position of Quebec writers in the English language 2 and the peculiarities of the fiction they have been publishing during the 1980s are best understood in the light of recent socio-political and cultural changes within Quebec and in Canada as a whole. Caught up as no other English-Canadian writers have been caught up in the maelstrom of change, and living as no other English-Canadian writers live in a society with a French face, these writers have produced a body of work quite distinct in some ways from other contemporary English-Canadian fiction. Much of my thinking about this writing is inspired by recent work on the formation of literary canons and on the literary production of marginal social groups. It owes a particular debt to the work of Raymond Williams, who devoted much of his career to exploring the possibilities of discussing English literature and society together while respecting the uniqueness of specific texts. This is a debt not only to Williams's most general observation that "as a society changes, its literature changes" (1965, 268), and to his comments on the formation of a literary tradition, but also to his suggestive, though not wholly applicable, account of the interrelations between dominant and alternative or oppositional aspects at a given historical moment. Williams's distinction between two different kinds of alternatives on a status quo, which he terms the "residual" and the "emergent" (1977, 121-27), is helpful in discussions of the cultural manifestations of the middle class in nineteenth century Britain; it is not applicable in the present context of English Quebec fiction, which requires an assessment of a social group linked not along class lines but rather along linguistic and cultural lines.