antilopa

ANTILOPA I KOSAC - Margaret Atvud « poslato: 04.03.2007.15:49:14 » Ilija Bakić Povodom romana «Antilopa i Kosac» Margaret Atvud 2004. izdanje Laguna, Beograd POSLOVIĉNA APOKALIPSA (SA ZADRŠKOM) Najnoviji roman Margaret Atvud (1939) «Antilopa i Kosac», originalno objavljen 2003.g, reklamiran kao vrhunac stvaralaštva autorke iz Kanade i svrstan meĊu kandidate za Bukerovu nagradu, drugi je njen roman, posle «Služavkine priĉe» iz 1985.g, koji pripada Science Fiction žanru. Ovo je svakako nužno pomenuti jer većina 'ozbiljnih', meinstrim pisaca, odbija da se prlja sadržajima koji imaju žanrovski pedigre, smatrajući (ĉesto s pravom) da će takvo delo biti tretirano kao nedovoljno seriozno, dakle kao slaba karika u njihovom opusu. S svoje strane, pak, Atvud je dovoljno poznata i priznata da bi dozvolila sebi da 'zastrani' (prihvatajući i rizik da delo ne privuĉe širu pažnju što se u ovom sluĉaju nije desilo). Kao u pomenutoj «Služavkinoj priĉi» i u «Antilopi i Koscu» reĉ je o raspadu vodećeg društava Zapadnog sveta; dok u prvom romanu, Amerika tone u totalitarnu, mizoginijsku, regresivnu paternalistiĉku organizaciju (u pitanju je dakle tzv. antiutopija), u drugom se srećemo sa znanim žanrovskim obrascem - propašću ĉitavog sveta - i to podvrstom 'propast izazvana ljudskim (ne)delima'. Ova varijanta uništenja ljudske vrste sopstvenim rukama, za razliku od onog izazvanog spoljnim elementima (npr. kosmiĉkim nesrećama kakve bi bili udari meteora u Zemlju ili izbijanjem svakojakih epidemija neznanog porekla), postala je primarni oblik apokaliptiĉkog podžanra (baš kao što su mraĉne vizije ljudske budućnosti definitivno zbrisale bilo kakva utopijska razmatranja i vizije). Protek vremena donosio je žanru sve veći broj razloga za (samo)uništenje Homo Sapiens Sapiensa: od atomskog rata preko ekološke katastrofe do zluopotreba nauke. U «Antilopi i Koscu» nalazimo (osim nuklearnog uništenja) sve dosadašnje 'opasne elemente': nepredvidive klimatske promene izazvane efektom 'staklene bašte', prenaseljenost, istrošenost svih resursa, nekontrolisano i neograniĉeno manipulisanje naukama i medijima, totalitaristiĉku organizaciju življenja, terorizam. Gordijev ĉvor buduĉnosti (neugodno nam bliske) vladari (politiĉari, korporacijski magnati i policajci) ne pokušavaju da razreše već insistiraju na odugovlaĉenju i, eventualno, postepenim promenama koje neće ugroziti one koji su moćni i nameravaju da to i ostanu. Otuda i formalna podela izmeĊu komlekasa u kojima žive povlašćeni i prljavih, prenaseljenih 'plebeja' bez kojih, meĊutim, povlašćeni ne mogu postojati jer plebeja je najvažniji-najbrojniji konzument robe koju korporacije nude. Podela na bogate i ostatak sveta podrazumeva jaku policiju koja će spreĉavati mešanje slojeva, nadzirati i uništavati teroriste i ostale društveno nepoželjene elemente odnosno spreĉavati suparniĉku špijunažu i kraĊe; korporacijski kompleksi vrlo su pogodni kako za izolacij u od siromašnih tako i za stalnu unutrašnju kontrolu što, sveukupno, vrlo nalikuje na ustrojstva koncentracionih logora, luksuznih ali ipak logora. Ovakva razmišljanja o organizaciji društva (ipak) nisu nova; davne 1907.g. Džek London je, u romanu «Gvozdena peta», opisao upravo takav naĉin organizovanja kapitalistiĉkog poslovanja u kome se potpunim vezivanjem radnika sa firmama u kojima rade razbija revolucionarna snaga radniĉke klase; na sliĉnim principima, već funkcionišu mnoge japanske korporacije (od izdvojenog stanovanja do jutarnjeg podizanja korporacijske zastave i sviranja njene himne) a takva je i organizacija stalnih NATO vojnih baza. Šansa da se održi postojeće stanje, uprkos pogoršavanju svih uslova, naĊena je u ubacivanju genetike u sve pore svakodnevnog života. Genetski modifikovana hrana nastala 'usavršavanjem' postojećih vrsta biljaka i životinja, odnosno stvaranjem novih, uplitanje genetskih manipulacija i u ostale proizvode, od kozmetike do kontracepcije, naĉin je da se neprestano izbacuju novi proizvodi koji će utoliti rastuću glad, stvarati iluziju blagostanja i doneti profit. Stoga se, baš kao i danas, za ove rabote regrutuju najpametniji, daju im se specijalni uslovi u izolovanim laboratorijama i postavljaju zadaci koje valja ispuniti. Naravno, od svih projekata se oĉekuje uspeh ali, malo-malo, dešavaju se i pehovi; u tom sluĉaju greške se zataškavaju preko medija i policijskim akcijama. Na isti se naĉin pokušavaju onemogućiti akcije terorista koji su naslednici danjašnjih antiglobalista. Reĉju, svet balansira na ivici ponora nevoljan-nesposoban da se konaĉno spase ili propadne jer to ne odgovara interesima bogate manjine. Terazije ĉas pretežu na jednu ĉas na drugu stranu. U trenu kada se na sceni pojavljuje mladi genije Kosac ĉini se da ć e stvari krenuti na bolje jer on predlaže idealna sredstva koja zadržavaju status quo a mogu da smanje sveopšte tenzije. Znaĉajni ljudi korporacija odobravaju enormna sredstva za razvoj njegovih ideja, on angažuje najbriljantnije umove i uspeh je na dohvat ruke ali... na scenu stupa stari Frankenštajnovski sindrom, pomešan sa idejama o ljudima kao rasi koja nije sposobna da opstane (jer nije za tako nešto programirana), koji tera Kosca da se igra Boga i stvori novu vrstu ljudi a zatim da uništi postojeći svet kako bi naslednicima poklonio šansu. Dodatni stimulans ostvarenju plana daje nesretna Košĉeva ljubav prema Antilopi koja ga, pak, vara sa najboljim mu drugom Snežnim. I tako je apokalipsa neminovna jer, ĉini se, ni genije ne može da se uzdigne iznad genetski utisnute matrice dominantnog mužjaka koji nasiljem rešava konflikte. Ipak, Snežni će, prema Košĉevom planu, preživeti pošast da bi nove ljude izveo iz karantina u spoljni svet, oĉišćen od 'zastarelih' ljudi. Atvud je priĉu rasprostrla na gotovo 400 stranica, dajući Snežnom ulogu pripovedaĉa koji se seća prošlih godina dok nadgleda nove ljude i pokušava da preživi još neki dan u svetu koji više nije njegov. Priĉa je u prvom delu koncipirana po obrascu 'bildungs romana' i prati odrastanje Snežnog, druženje sa Koscem, odvajanje i samostalno lomatanje Snežnog po svetu, ponovni susret sa prijateljem, ljubavnu vezu Snežnog i Antilope te propast sveta izazvanu (ili barem ubrzanu) ljubomorom. Opisi svakodnevnog, obiĉnog života u kompleksima puni su detalja koji, sveukupno, deluju vrlo ubedljivo. Autorka je uložila vidne napore da se obavesti o mnoštvu nauĉniĉkih i tehnoloških detalja koje iznosi u pravilnim dozama uspevajući da ne optereti ili zaustavi priĉu zarad objašnjenja odreĊene postavke. Široki zahvat dešavanja, od izolovanih naselja, škola, preko plebejskih naselja do slikanja politiĉke situacije ĉitave planete, zahtevao je ali i nudio mnogo ambicioznom autoru i Margaret Atvud je iskoristila gotovo sve šanse, mada joj se potkradaju i neka popriliĉno voluntaristiĉka tumaĉenja. Ipak, osnovni problem romana je u sumnjivoj motivaciji junaka, što je sluĉaj i u njenin prethodnim romanima (npr. «Slepom ubici»). Scene odrastanja Snežnog u koledžu nenadahnute su i rutinske a objašnjenja psiholoških procesa-faza kroz koje prolazi sasvim prigodna. Neuravnoteženost kulminira u slikanju Kosca, koji je drugi glavni junak romana; obrasci razmišljanja i ponašanju jednog genija nerazaznatljivi su i obavijeni tajnom ili, u nekim scenama, popriliĉno naivni i površni (npr. teze po kojima bi ljudi biljožderi bili bolji od današnjih ili o Zaplet po kome um božanskih moći. na poĉetku XXI veka. Nekoliko naraštaja ispaštaće za bahatost predaka koji su grabili oko sebe da bi .umetnosti kao znaku da stvari ide u pogrešnom. b olan i jadan. proizvedene i. ĉini se da je autorka. opet. preterano je naivnoromantiĉarska. dijaboliĉni plan izaziva podozrenje i sumnju u preteranu artificielnost lika. konaĉno. Ma koliko efektno to izgledalo sa stanovišta romana kao forme koja ima svoj poĉetak i kraj izmeĊu kojih se mora ispriĉati priĉa. napokon. Konaĉno pitanje da li je Kosac svet uništio zato što je uvideo promašenost ljudi (kakav je i sam) ili je to bila njegova osveta nevernoj dragoj i prijatelju-izdajniku. to je veća verovatnoća da ga sagledaju u celini. a u kojima se nalazi uspavani izazivaĉ epidemija. sa stanovišta stvarnosne uverljivosti (na kojoj se insistira tokom ĉitavog romana) koncept se ne može održati. što ostavlja ĉitaoca zateĉenog i zbunjenog. ma kako to sumorno i sumanuto zvuĉalo. A. kako je znano. možda najveća zamerka ĉitavoj priĉi leži u samoj postavci apokalipse. fatalnom pravcu). gotovo da briše tajnovitost jer. distribuirane po vrlo preciznom rasporedu. Na ovo se nadovezuje i sam scenario apokalipse koji podrazumeva da epidemija neizleĉive bolesti bukne gotovo istovremeno na ĉitavoj zemljinoj kugli i za kratko vreme satre ĉoveĉanstvo. Kombinovanje Frankenštajnovskog obrasca sa melodramatskim pokazuje se kao ne baš najsretnija odluka. nadmašuje svu bulumentu nužnih saradnika (odavno je rad u laboratorijama timski a ne pojedinaĉni) koji su takoĊe natproseĉno inteligentni i prekaljeni u svojim poslovima (usput i iskusni ne samo u kreativnom iznalaženju novog i neoĉekivanog već i u bežanju od policijskih kontrola) i uspeva da od svih njih sakrije svoj ogromni. što je veći broj ljudi umešan u neki poduhvat. moraju biti zamišljene sa sinhronizovanim okidaĉem. Dublja analiza opštih postavki na kojima je priĉa izgraĊena otkriva i druge nelogiĉnosti ili barem diskutabilne teze. Epidemija se pojavljuje kao manje zlo u odnosu na ono što jeste realnija budućnost a po kojoj će se agonija ljudskog roda protezati na nekoliko generacija te će kraj Homo Sapiensa Sapiensa biti vrlo dug. postavljeno je pogrešno i nepotrebno vulgarizuje ĉin osobe za koju ne važe uobiĉajena merila. sve se to ne može izvesti samostalno što. I. Ideja o genijalnom nauĉniku koji nosi blagostanje ili propast u svojim rukama. Ne zato što ne postoje bolesti koje bi mogle uništiti ljudski rod u rekordno kratkom roku već zbog toga što pilule koje Kosac distribuira. suviše optimistiĉki razrešila sudbinu ĉoveĉanstva. Već danas je veliko pitanje da li se.0 http://www. gladovati i patiti.margaretatwood. Naravno.com/forumi/index. Ilija Bakić http://www.php?topic=149. da je izmanipulisan za stepen više nego što je pristao a to i nije naroĉito ugodno i budi sumnje u umetniĉko poštenje autora pa ĉak i unjegovu sposobnost da dosledno privede priĉu kraju. pažnjom ĉitaoca procenjući koliĉinu mraĉnih detalja koje servira (ublažavajući tenziju zrncima melodrame). ĉitalac može osetiti. kako stvarna volja za promenama ne postoji na strani onih koji bi mogli najviše da urade. nema povratka. manipuliše. sliĉan postupak ona je primenila i u «Služavkinoj priĉi» ali je tada alibi bio jaĉi jer se totalitarno ureĊenje nije prostiralo preko granica Amerike.zadovoljili svoju sujetu i blagoutrobije ravnajući se. što je sasvim taĉno. kao i svaki umetnik. Pošto mu je. ovog puta. Niko ne može reći da li je ĉovek prekoraĉio fatalnu stepenicu posle koje. oseĉajući kako im omĉa klopke šteže vrat i skraćuje dah. Svake godine naši relativno bliski po tomci gušiće se. po fatalnoj maksimi 'posle mene potop'. smer koji vodi u propast ljudi može izmeniti. a tu klopku postavili smo mi. da dobija lakonska objašnjenja. priznaćemo. to baš i nije neka uteha). zamišljen i opisan u «Antilopi i Koscu» (i mnogim delima pre ovog) stoga je optimistiĉka verzija koja je u funkciji romana kao izmišljene priĉe. Atvud. odnosno naši preci (naravno. uprkos kajanju. dakle. danas živući. sivih ćelija'. uprkos javnim deklarisanjima. ĉitava dilema je u domenu intelektualistiĉkih vežbi za razgibavanje 'malih. Brzi slom ĉoveĉanstva.ca/ margaretin sait .art-anima. ali biće to slabašna uteha onima koji ispaštaju. predoĉena sveopšta propast. može se reći kako uloga svakog pojedinaĉno nije ista. dakle onih najbogatijih. ĉak i kad bi postojala stvarna volja svih. zbog naglašene lakoće propasti ona je pitkija i gotovo da umiruje ĉitaoca. uostalom ni te muke neće biti podeljene na ravne ĉasti jer će bogati 'trajati' duže od siromašnih pa će im i kraj doći kasnije ali. Grimm's Fairy Tales. OOnt. While she is best known for her work as a novelist. winning twice. and many other magazines.[3] Atwood has published short stories inTamarack Review. which have been interests of hers from an early age. but never finished because she never completed a dissertation on ―The English Metaphysical Romance‖. Her professors included Jay Macpherson. the University of Alberta (1969–70). CC. and environmental activist. novelist. In 1957. having published 15 books of poetry to date. and Carl Edmund Atwood. Atwood spent much of her childhood in the backwoods of Northern Quebec and back and forth between Ottawa.[5] Due to her father’s ongoing research in forest entomology. Double Persephone. Pratt Medal for her privately printed book of poems. Dell pocketbook mysteries. literary critic. Canadian animal stories..[5] Atwood began writing at age six and realized she wanted to write professionally when she was 16.  [edit]Early life Born in Ottawa. She has also published four collections of stories and three collections of unclassifiable short prose works. York University in Toronto (1971–72). and Toronto. She obtained a master's degree (MA) from Radcliffe in 1962 and pursued further graduate studies at Harvard University for 2 years. has been shortlisted for the Booker Prize five times. Atwood is the second of three children[4] of Margaret Dorothy (née Killam).J. She became a voracious reader of literature. Harper's.[5] In late 1961. . where she was visiting M. she is a winner of the Arthur C. winning once. and New York University. 1939) is a Canadian poet. She attended Leaside High School in Leaside. a former dietitian and nutritionist. the University of Alabama in Tuscaloosa (1985). Toronto and graduated in 1957. Ms. She did not attend school full-time until she was in eighth grade.Margaret Atwood From Wikipedia. Alphabet.A.F. Canada. and Northrop Frye. and comic books. Marie. Chair. She has taught at the University of British Columbia (1965). Ontario. after winning the E. Saturday Night. Sir George Williams University in Montreal (1967–68). She is among the most-honoured authors of fiction in recent history. where she was Berg Professor of English. and has been a finalist for the Governor General's Award seven times. Sault Ste. she is also a poet. she began graduate studies at Harvard's Radcliffe College with a Woodrow Wilson fellowship. She graduated in 1961 with a Bachelor of Arts in English (honours) and minors in philosophy and French. Clarke Award and Prince of Asturias award for Literature. FRSC (born November 18. the free encyclopedia Margaret Eleanor Atwood. an entomologist.[1][2] Many of her poems have been inspired by myths and fairy tales. CBC Anthology. essayist. she began studying at Victoria College in the University of Toronto. and the 1987 Prometheus Award.[6] a book which commences with the conception of debt and its kinship with justice.. She formed a relationship with fellow novelist Graeme Gibson soon after and moved to a farm near Alliston. manifest as it is in early historical peoples. [8] [edit]Margaret Atwood and Feminism . She clarified her meaning on the difference between speculative and science fiction. was "talking squids in outer space.[edit]Personal life In 1968. and said that science fictional narratives give a writer the ability to explore themes in ways that realistic fiction cannot." The latter phrase particularly rankled among advocates of science fiction. Atwood holds that. as opposed to what she herself wrote. no teleportation. Atwood was at one time offended at the suggestion that The Handmaid's Tale or Oryx and Crake were science fiction.. and that Handmaid's Tale and Oryx and Crake can be designated as such. who matched their conceptions of debt with those of justice as typically exemplified by a female deity. was born. no Martians.. north of Toronto. Eleanor Jess Atwood Gibson. The award is given for the best science fiction novel that was first published in the United Kingdom during the previous year. It was also nominated for the 1986 Nebula Award. Atwood married Jim Polk. In 2003. It contains no intergalactic space travel. the science fiction label belongs on books with things in them that we can't yet do. speculative fiction means a work that employs the means already to hand and that takes place on Planet Earth". while admitting that others use the terms interchangeably: "For me." and on BBC Breakfast explained that science fiction. Shaftesbury Films produced an anthology series. [edit]Critical reception The Economist called her a "scintillating wordsmith" and an "expert literary critic". Clarke Award in 1987. not a science fiction proper. [edit]Atwood and science fiction The Handmaid's Tale received the first Arthur C. this deity has been replaced by a more thorough conception of debt. and especially the installation of the court system detailed in Aeschylus's Oresteia. In 1976 their daughter. insisting to The Guardian that they were speculative fiction instead: "Science fiction has monsters and spaceships. both science fiction awards." She told the Book of the Month Club: "Oryx and Crake is a speculative fiction. The Atwood Stories. speculative fiction could really happen. they were divorced in 1973. but commented that her logic does not match her prose inPayback: Debt and the Shadow Side of Wealth.[7] Atwood has since said that she does at times write social science fiction. which dramatized six of Atwood's short stories. with the rise of Ancient Greece. and frequently recurs when her writing is discussed. Ontario. The family returned to Toronto in 1980. Atwood claims that this conception is ingrained in the human psyche. and by extension Canadian identity.[11] In Survival. She’s related to Mary Webster who was married to Noah Webster.[12] This symbol is expressed in the omnipresent use of ―victim positions‖ in Canadian literature. The themes in the book were much like the ones discussed through the movement but Atwood goes on to deny that the book is feminist and that she wrote it four years before the movement.[15] In such works. The Blind Assassin and Surfacing. according to her theories in works such as Survival and her exploration of similar themes in her fiction. [edit]Atwood and animals .[10] [edit]Contribution to the theorizing of Canadian identity Atwood’s contributions to the theorizing of Canadian identity have garnered attention both in Canada and internationally. Atwood instrumentalizes Frye’s concept to a critical tool. Mary survived being hung for witchcraft in Connecticut during the seventeenth century (―the drop‖ wasn’t invented as of yet). According to this literature. Acta Victoriana. These positions represent a scale of selfconsciousness and self-actualization for the victim in the ―victor/victim‖ relationship. is considered outdated in Canada but remains the standard introduction to Canadian literature in Canadian Studies programs internationally. is characterized by the symbol of survival. Mary’s ―tough neck‖ has continued to run through the family with not only Atwood’s mother and aunts being very capable women but with Atwood herself. Alias Grace. Canadian identity has been defined by a fear of nature. Surrounded by intellectual dialogue by the female faculty members at Victoria College at UofT and her outspoken involvement in the literary journal. Survival: A Thematic Guide to Canadian Literature. the creator of the Webster Dictionary. [9] You can see Atwood’s feminist influence through Fiona Tolan’s book. are examples of what postmodern literary theorist Linda Hutcheon calls ―Historiographic Metafiction‖. it’s no surprise that Atwood’s books would encompass the notion of strong women. Ultimately. Atwood postulates that Canadian literature.[13] The "victor" in these scenarios may be other humans.[14] More recently.Margaret Atwood is a part of a long line of strong females in her family. Atwood believes that the feminist label can be applied to writers who consciously work within the framework of the feminist movement. The Edible Woman was published in 1969 which coincided with the early second wave of the feminist movement. nature. Margaret Atwood: Feminism and Fiction. Atwood has continued her exploration of the implications of Canadian literary themes for Canadian identity in lectures such as Strange Things: The Malevolent North in Canadian Literature (1995). the wilderness or other external and internal factors which oppress the victim[13] Atwood’s Survival bears the influence of Northrop Frye’s theory of garrison mentality. Her principal work of literary criticism. Atwood’s contribution to the theorizing of Canada is not limited to her non -fiction works. For example. by settler history and by unquestioned adherence to the community. Atwood explicitly explores the relation of history and narrative and the processes of creating history. which goes through each of her books and breaking them down. including The Journals of Susanna Moodie. Atwood considers Canadian literature as the expression of Canadian identity. Several of her works. In the 2008 federal election she attended a rally for the Bloc Québécois. she urged Canadians to vote for any other party to stop a Conservative majority. in the last week of Johnson's life. Having been a symbol of desolation. Ontario.And we eat them. marking the final stop of her international tour to promote The Year of the Flood.. she has indicated in interviews that she considers herself a Red Toryin the historical sense of the term.[19] During the debate in 1987 over a free trade agreement between Canada and the United States. they are substitute people. which resembles a trussed. granting us life. because of her support for their position on the arts. and be produced by City Opera of Vancouver. Atwood spoke out against the deal.Margaret Atwood has repeatedly made observations about our relationships to animals in her works."[21] . It will star Judith Forst.[17] Atwood and her partner Graeme Gibson are members of the Green Party of Canada and strong supporters of GPC leader Elizabeth May. dead Christ-flesh resurrecting inside us. Marian stops eating meat but then later returns to it. out of cans or otherwise. and is currently a Vice President of PEN International.[16] [edit]Chamber opera In March 2008 it was announced by Atwood that she had accepted her first chamber opera commission. if Sudbury can do it. It has thrown off its disguise as a meal and has revealed itself to me for what it is. Atwood has strong views on environmental issues. including an essay she wrote opposing the agreement. Pauline will be on the subject ofPauline Johnson. Atwood offers this observation about eating animals: "The animals die that we may live. [edit]Political involvement Although Atwood's politics are commonly described as being left-wing. and she and her partner are the Joint Honourary Presidents of the Rare Bird Club within BirdLife International. a large dead bird. aQuebec separatist party. British Columbia in March 1913. we are eaters of death.[18] In a Globe and Mail editorial. with music by Christos Hatzis. headless baby. Atwood's character Marian identifies with hunted animals and cries after hearing her fiance's experience of hunting and eviscerating a rabbit. the narrator recognizes the similarity between a turkey and a baby. She looks at "the turkey. She has been Chair of the Writers' Union of Canada and President of PEN Canada.[20] Atwood celebrated her 70th birthday at a gala dinner at Laurentian University in Sudbury. a dead heron represents purposeless killing and prompts thoughts about other senseless deaths. I say. so can you. She stated that she had chosen to attend the event because the city has been home to one of Canada's most ambitious environmental reclamation programs: "When people ask if there's hope (for the environment).." Characters in her books link sexual oppression to meat-eating and consequently give up meat-eating. Pauline will be set in Vancouver. a writer and Canadian artist long a subject of fascination to Atwood. it's become a symbol of hope. and stated that she would vote for the party if she lived in Quebec.[16] In Cat's Eye." In Atwood's Surfacing. In The Edible Woman. Oryx and Crake companion) [edit]Anthologies      edited The New Oxford Book of Canadian Verse (1982) The Canlit Foodbook (1987) The Oxford Book of Canadian Short Stories in Eng The Best American Short Stories 1989 (1989) (wit The New Oxford Book of Canadian Short Stories i [edit]Children's       books Up in the Tree (1978) Anna's Pet (1980) (with Joyce C. followed Atwood on the unusual book tour for her novel The Year of the Flood. finalist for the 1996 Booker Prize and the 1996 Governor General's Award)  The Blind Assassin (2000. winner of the 1987 Arthur C. winner of the St. The documentary is described as "a fly-on-the-wall film vérité. During this innovative book tour. winner of the 1996 Giller Prize. 1982–2004 ( Dancing Girls (1977. Reviews."[26] [edit]Works [edit]Novels       The Edible Woman (1969) Surfacing (1972) Lady Oracle (1976) Life Before Man (1979. with performers borrowed from the local areas she was visiting. longlisted for the 2007 IMPAC Award) The Year of the Flood (September 2009.[25] In the Wake of the Flood. a documentary film by Canadian director Ron Mann released in October 2010. finalist for the 1986Booker Prize)  Cat's Eye (1988. finalist for the 2003 Booker Prize and the2003 Governor General's Award)   The Penelopiad (2005. Personal Pr 2005(2005)   Payback: Debt and the Shadow Side of Wealth (20 In Other Worlds: SF and the Human Imagination   Murder in the Dark (1983) Bluebeard's Egg (1983) [edit]Drawings .[22] and a request to boycott from PACBI[23] Atwood visited Israel and accepted the $1. finalist for the 1988 Governor General's Award and the 1989 Booker Prize)  The Robber Bride (1993. Clarke Award and 1985 Governor General's Award. Barkhouse) For the Birds (1990) (with Shelly Tanaka) Princess Prunella and the Purple Peanut (1995) Rude Ramsay and the Roaring Radishes (2003) Bashful Bob and Doleful Dorinda (2006) [edit]Non-fiction        Survival: A Thematic Guide to Canadian Literatur Days of the Rebels 1815–1840 (1977) Second Words: Selected Critical Prose (1982) Through the One-Way Mirror (1986) Strange Things: The Malevolent North in Canadia [edit]Short  fiction collections Negotiating with the Dead: A Writer on Writing (2 Moving Targets: Writing with Intent. winner of the 2000 Booker Prize and finalist for the 2000 Governor General's Award)  Oryx and Crake (2003.[24] Atwood commented that "we don't do cultural boycotts". Lawrence Award for Fiction and the award of The Periodical Distributors of Canada for Short Fiction)  Writing with Intent: Essays.000. finalist for the Governor General's Award) Bodily Harm (1981) The Handmaid's Tale (1985. finalist for the 1994 Governor General's Award)  Alias Grace (1996.Despite calls for a boycott by Gazan students.000 Dan David Prize along with Indian author Amitav Ghosh at Tel Aviv University in May 2010. Atwood created a theatrical version of her novel. winner of the 1966 Governor General's Award)   scripts The Servant Girl (1974) Snowbird (1981) Heaven on Earth (1987) [edit]Poetry   collections [edit]Libretto The Trumpets of Summer (1964) (with composer J                  Expeditions (1965) Speeches for Doctor Frankenstein (1966) The Animals in That Country (1968) The Journals of Susanna Moodie (1970) Procedures for Underground (1970) Power Politics (1971) You Are Happy (1974) Selected Poems (1976) Two-Headed Poems (1978) True Stories (1981) Love Songs of a Terminator (1983) Snake Poems (1983)[27] Interlunar (1984) Selected Poems 1966–1984 (Canada) Selected Poems II: 1976–1986 (US) Morning in the Burned House.      Wilderness Tips (1991. [edit]Television    Double Persephone (1961) The Circle Game (1964. finalist for the Governor General's Award) Good Bones (1992) Good Bones and Simple Murders (1994) The Labrador Fiasco (1996) The Tent (2006) Moral Disorder (2006)  Kanadian Kultchur Komix featuring "Survivalwom Magazine under the pseudonym. McClelland & Stewart (1995) Eating Fire: Selected Poems. including: [edit]Awards [edit]Honorary degrees .1998)  "You Begin." (1978) – as recited by Margaret Atwood. Bart Gerrard 197  Others appear on her website. 1965–1995 (UK. with rock band [edit]Audio    recordings The Poetry and Voice of Margaret Atwood (1977) Margaret Atwood Reads “Unearthing Suite” (198 Margaret Atwood Reading From Her Poems (200  The Door (2007) [edit]Awards and honours Atwood has won more than 55 awards in Canada and internationally. CA. included in all three most recent editions of her "Selected Poems" as listed above (US. UK) Frankenstein Monster Song (2004. Martin’s. 1987 Foreign Honorary Member of the American Academy of Arts and Sciences. 1985. 2001 Harvard University. Margaret Atwood and Her Works. Margaret Atwood. Rochester. 1985) Companion of the Order of Canada. 1980 Smith College. "Margaret Atwood and Chaucer: Truth and Lies. 2011). pp. Rosenburg H. 1999. Ottawa: University of Ottawa Press. 2000 Prince of Asturias Awards for Literature. NY: Camden House. 1974 Concordia University. MI: Studies in Medievalism. Totowa. . Essays in Honor of William Calin. 1991. 1989 Trillium Book Award. 2011[32] * Los Angeles Times Fiction Award. ISBN 0-521-54851-9  Nischik. Toronto: ECW. Boston: Twayne. I. 1993. Margaret Atwood: A Biography. 1973 Queen's University. Clarke Award for best Science Fiction. Galway.  1994   Helmerich Award. MD: Scarecrow Press. 2009. 2010    [edit]Further   reading Carrington de Papp. Shannon and Ashley Thomson. Richard Utz and Elizabeth Emery (Kalamazoo. Coral Ann. Clements. N. 1985 University of Guelph. Pam. 1996. 2004 Ontario College of Art & Design. 1988 [31]    Canadian Booksellers Association Author of the Year. Helmerich Distinguished Author  Award is presented annually by the Tulsa Library Trust. Reingard M. Cambridge: Cambridge University Press. 1995 Government of France's Chevalier dans l'Ordre des Arts et des Lettres. 1984. J. 2008 Nelly Sachs Prize. 1983 University of Waterloo. Margaret Atwood. 1998. 1991 University of Leeds. 2010 National University of Ireland. 1981[29] Guggenheim fellowship. Margaret Atwood: Works & Impact. (1966. 1996 Laurentian University. ed. Margaret Atwood: A Reference Guide. 1988–2005.          Arthur C. 1982 University of Toronto. Reingard M. 1985 Mount Holyoke College.      Booker Prize.   Cooke. New York: St. 2009 Bard College. 2007." in: Cahier Calin: Makers of the Middle Ages. Toronto: EWC. Margaret Atwood. Engendering Genre: The Works of Margaret Atwood. Germany. ISBN 0776607243   Rigney. 1987 Université de Montréal. 2000.   Howells. 39–41. 1981 1986 [30]   Trent University. 1985 Victoria College. B. 1987. Lanham. The Cambridge Companion to Margaret Atwood. 2006. ISBN 1571132694  Nischik. Hengen.   Governor General's Award. Howells. 1994 McMaster University. NJ: Barnes & Noble. the Peggy V. Coral Ann. Fiona. 10. 2005 9. Margaret. Toronto: HarperFlamingoCanada. Vancouver: UBC Press. The Red Shoes: Margaret Atwood Starting Out. 5. David. CBC Archives. 2008. Print. New York Times. October 16. and Lorraine Weir. ^ a b c "Luminarium Margaret Atwood Page". 6. 8. Margaret Atwood: Feminism and Fiction. 7. Joyce Carol. Contemporary Writers. Retrieved August 9. 32. . ^ Oates. ^ Atwood. Nathalie. Sherrill. Garan (2005). "Margaret Atwood". eds. 2011. Sherrill E and Lorraine Weir. Print. 1981. 28. Print. 2009. Reingard M. Connecticut: Greenwood Press. Toronto: Anansi. Davidson and Cathy N. 3.  E. ^ Holcombe. Ed. 1998.  Sullivan. 14. Survival: A Thematic Guide to Canadian Literature. "Bits and Pieces" SFX magazine No. Text and System. ^ Langford. Eds. Toronto: Anansi. Ottawa: University of Ottawa Press."Margaret Atwood: Branding an Icon Abroad" in Margaret Atwood: The Open Eye. Margaret Atwood: Language. p. Grace. Retrieved October 26. (2006). Connecticut: Greenwood Press. Davidson. 2009. USA: Southern Illinois University Press. ^ Moss. Margaret Atwood: A Critical Companion. Luminarium. Academy of American Poets. 13. p. Fiona. ^ "Premium content". The Economist. 1983.V. Toronto: Anansi... 122. Tolan. "A Certain Frivolity: Margaret Atwood's Literary Criticism" in Margaret Atwood: Works and Impact. Nischik. 'Margaret Atwood: Poet'.org. p. "Meridians of Perception: A Reading of The Journals of Susanna Moodie" in The Achievement of Margaret Atwood ed. Margaret Atwood: Feminism and Fiction. ^ Tolan. 12. June 17. 2. ^ Pache. 1988. Print. 36–42. 2007. Walter. Arnold E. 4. Text and System. 2004. Retrieved April 6. 2004. Netherlands: Rodopi B. Margaret Atwood: Language. 107. [edit]References 1. Laura. 2008. Retrieved October 26. ISBN 0-00-255423-2    Cooke. Rosemary. 11. 1978 ^ Margaret Atwood: Queen of CanLit. Lorraine. Margaret Atwood: A Critical Companion. and Jan Garden Castro. Kathryn. John Moss and Tobi Kozakewich. M. "Aliens have taken the place of angels: Margaret Atwood on why we need science fiction" The Guardian. Margaret Atwood: Vision and Forms. August 2003 [1] ^ Atwood. 1983. Netherlands: Rodopi B.V. May 21. ^ "Margaret Atwood". London: British Arts Council. Retrieved October 22. Nathalie. 2007. Print. VanSpanckeren. 2009. ^ a b Atwood.  Weir. ^ Cooke. (1972). Vancouver: UBC Press. (2002). Grace. Margaret (1972). Print. ^ "Letter from Gaza students. Retrieved September 19. Northern Life. prize". 2009. Biblio. 2011. 2011. ^ "One Ring Zero with Margaret Atwood in Toronto". 2011. Atwood. The Continuum International Publishing Group. 2010. Retrieved October 26. ^ "Sudbury a symbol of hope: Margaret Atwood". 28. 27. July/August 1997 18. ^ [2] 21. Retrieved April 27. Retrieved September 19. Electronicintifada. November 23. Globe and Mail. 2010. Order of Canada citation. ^ Howells. 20.net. 2011. ^ "PACBI-Atwood – Do Not Accept Prizes from Apartheid Israel". Coral Ann. 2008. August 26. 17. Website for "The Year of the Flood. John Moss and Tobi Kozakewich. Retrieved September 19. 16. ^ "Canada Votes — Atwood backs Bloc on arts defence". ^ Mother Jones:Margaret Atwood: The activist author of Alias Grace and The Handmaid's Tale discusses the politics of art and the art of the con. The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory. 2011. Gwen. April 6. (2006). ^ Ackerman. Eds. 6. ^ "Book of Members. 24. Atwood. ^ "How Atwood became a writer".com. ^ In the Wake of the Flood. 26. ^ a b Carol J. ^ Margaret. 31. 2006. 2011. 2010. 32. "Writing History from The Journals of Susanna Moodie to The Blind Assassin" in Margaret Atwood: The Open Eye . Defends 'Artists Without Armies': Interview". Anything but a Harper majority. Caroline. Retrieved May 24. 2010. 111. 2010. 2006. Pacbi. ^ Walsh. Retrieved August 27. 25. ei. request Atwood to deny". 29. Harvard University Gazette. 1780–2010: Chapter A". October 4. 195. 2010 30.org. American Academy of Arts and Sciences. p141-142. ^ Office of the Governor General of Canada. ^ Margaret. "Margaret Atwood to be honoured by NUI Galway". 2001. October. 197.15. 19. Queen's Printer for Canada. Retrieved August 27. External links ." Retrieved March 30. 2009. 23. Ottawa: University of Ottawa Press. Bloomberg. Retrieved on June 18. Canada: CBC. 152. YouTube. "Atwood Accepts Israeli Prize. 22. p. November 8. The Irish Times. April 6. 2008. Retrieved August 27. Adams. "Snake Poems by Margaret Atwoo". ^ "Gaza students to Margaret Atwood: reject Tel Aviv U. Margaret Atwood at the Internet Speculative Fiction Database Margaret Atwood at Contemporary Writers The Margaret Atwood Society home page Profile from The Guardian Poems by Margaret Atwood at PoetryFoundation. excerpts. The Art of Fiction No. University of Toronto Audio: Margaret Atwood in conversationon the BBC World Service discussion show The Forum Articles by Margaret Atwood on the 5th Estate blog Audio: Margaret Atwood in conversation with Michael Cunningham at the Key West Literary Seminar.Poetry portal Biography portal Canada portal Wikiquote has a collection of quotations related to: Margaret Atwood                   Official website Margaret Atwood on Twitter Margaret Atwood at the Internet Movie Database Reading of her poem From an Italian Postcard Factory Margaret Atwood: Bio. 121". Paris Review.org CBC Digital Archives – Margaret Atwood: Queen of CanLit Margaret Atwood Papers at Thomas Fisher Rare Book Library. "Margaret Atwood. interviews and articles in the archives of the Prague Writers' Festival Mary Morris (Winter 1990). 2007 Canadian Poetry Online: Margaret Atwood – Biography and poem (In the Secular Night) Margaret Atwood at University of Toronto Libraries . She doesn't want the literary bigots to shove her into the literary ghetto. Our earliest loves. I would place my own books in this second category: no Martians. The Handmaid's Tale. why I have forsworn the term science fiction. But Margaret Atwood doesn't want any of her books to be called science fiction. the second work of fiction in a series exploring another kind of "other world" – our own planet in a future. she says that everything that happens in her novels is possible and may even have already happened. the child is mother to the woman. so they can't be science fiction. and therein lies the distinction. which is to extrapolate imaginatively from current trends and events to a near-future that's half prediction. or. In her recent. but they were emphatically not of this here-and-now Earth. as such worlds are when you're six or seven or eight. Like a great many children before and since. whatever I might say. have a way of coming back in other forms. like revenants. for among the first things I wrote as a child might well merit the initials SF. which treats of an invasion by tentacled Martians shot to Earth in metal canisters – things that could not possibly happen – whereas. Saturn was more my speed. Here are Le Guin's uproar-causing sentences: To my mind. I publishedThe Year of the Flood. Mine were rudimentary. Oryx and Crake and now The Year of the Flood all exemplify one of the things science fiction does. I am often asked. Her 2009 review in this paperbegan with a paragraph that has caused a certain amount of uproar in the skin-tight clothing and other-planetary communities – so much so that scarcely a Q&A session goes by at my public readings without someone asking.Recently I set out to explore my lifelong relationship with science fiction. and other realms even more outlandish. The Year of the Flood was reviewed. But is Nineteen Eighty-Four as much "science fiction" asThe Martian Chronicles? I might reply. Moving Targets. reviewers and prize-awarders. What I mean by "science fiction" is those books that descend from HG Wells's The War of the Worlds. along with its sibling. I . Ursula K Le Guin. The motive imputed to me is not in fact my actual motive for requesting separate names. for me. Oryx and Crake. Oryx and Crake and The Year of the Flood. I would answer not. has a proximate cause. half satire. My desire to explore my relationship with the SF world. which seems to be one of the salient features of SF. "speculative fiction" means plots that descend from Jules Verne's books about submarines and balloon travel and such – things that really could happen but just hadn't completely happened when the authors wrote the books. both as reader and as writer. which is "fiction in which things happen that are not possible today". brilliant essay collection. I have written three full-length fictions that nobody would ever class as sociological realism: The Handmaid's Tale. Are these books "science fiction". or worlds. To date. This arbitrarily restrictive definition seems designed to protect her novels from being relegated to a genre still shunned by hidebound readers. but told: I am a silly nit or a snob or a genre traitor for dodging the term because these books are as much "science fiction" as Nineteen Eighty-Four is. In 2009. I wasn't much interested in Dick and Jane: the creepily ultra-normal characters did not convince me. I was an inventor of other worlds. I say "lifelong". usually in injured tones. to paraphrase Wordsworth. by one of the reigning monarchs of the SF and fantasy forms. Though sometimes I am not asked. Not because I don't like Martians. I suppose. In a public discussion with Le Guin in the fall of 2010. . which has not yet become a 'category' … It is a contemporary kind of writing which has set its face against consensus reality. When it comes to genres. a set of conceptual guidelines. these "slipstream" books might all have been filed under the heading of "traveller's yarn" – Herodotus's accounts of monopods. José Saramago and Kurt Vonnegut. is distinct from a "genre". the film Star Wars and most of the TV series Star Trek. however. for example. the borders are increasingly undefended. such as Des Knaben Wunderhorn. dragons and mermaids. and since space travel was believed to be possible in the imaginable future. but not rigorously so. the way that living in the late 20th century makes you feel. which is "a spectrum of work united by an inner identity. many of them considered to be "serious" authors – from Kathy Ackerand Martin Amis to Salman Rushdie. says Sterling. a coherent aesthetic. they just don't fall within my skill set.hasten to add. and what she means by "fantasy" would include some of what I mean by "science fiction". RL Stevenson. I found that what she means by "science fiction" is speculative fiction about things that really could happen." His proposed list of slipstream fictions covers an astonishing amount of ground. In short. for her – as for me – dragons would belong in fantasy. with works by a wide assortment of people. And The War of the Worlds? Since people thought at the time that intelligent beings might live on Mars. in a 1989 essay called "Slipstream. Any seriously intended Martian by me would be a very clumsy Martian indeed. as would. Instead. and inter-genre visiting has been going on in the SF world – loosely defined – for some time. Later they might have turned up in collections of the marvellous and uncanny. It does not aim to provoke a 'sense of wonder' or to systematically extrapolate in the manner of classic science fiction. what Le Guin means by "science fiction" is what I mean by "speculative fiction". speculative on occasion. because it is seen as making use of the air currents created by science fiction proper – in this way: "I want to describe what seems to me to be a new. I suppose. For instance. In an earlier era. whereas things that really could not happen she classifies under "fantasy". What they have in common is that the kinds of events they recount are unlikely to have actually taken place. which happens to be in possession of a traditional national territory: a portion of bookstore rack space"A "category". literary gene-swapping. if you are a person of a certain sensibility. an ideology if you will". So that clears it all up. emergent 'genre'. Sterling defines his term slipstream – so named. and things slip back and forth across them with insouciance. occasionally. or medieval legends about unicorns. this book might have to be filed under Le Guin's "science fiction". or – even later – the kind of you-won't-believe-this hair-raiser to be found in assortments by MR James orH P Lovecraft or. Thus. It is fantastic. Mary Shelley's Frankensteinmight squeeze into Le Guin's "science fiction" because its author had grounds for believing that electricity actually might be able to reanimate dead flesh. Or parts of it might. Bendiness of terminology. this is a kind of writing which simply makes you feel very strange. more or less. surreal sometimes." the veteran SF author Bruce Sterlingdeplored the thencurrent state of science fiction and ticked off its writers and publishers for having turned it into a mere "category" – a "self-perpetuating commercial power-structure. Ustopia is a world I made up by combining utopia and dystopia – the imagined perfect society and its opposite – because. nor is circumscrib'd / In one self place. but where we are is hell.or herself with every completed chapter: is anyone going to believe this? (I don't mean literal belief: fictions admit that they are invented." In literature. in a programme run by West Berlin to encourage foreign artists to visit. to cite a more positive version. / And where hell is. Tuscaloosa provided another kind of flavour – that of a democracy. "Why this is Hell. Alabama. And so it is with Ustopia. like sliding on river ice – exhilarating but unbalancing. Ustopia is also a state of mind. and which are both mappable locations and states of mind? Why did I jump the tracks. or on the other side of the threshold that divides the known from the unknown. having to do with structure and execution and that biggest question of all. AsMephistophilis tells us in Marlowe'sDoctor Faustus. "They'll think you're a communist and run you off the road. I mean. you often have a secret hankering to try it yourself. and I thus had several first-hand experiences of the flavour of life in a totalitarian – but supposedly utopian – regime. almost always. sword-andsorcery fantasy. What put it into my head to write such a book? I had never done anything like it before: my previous fiction had been realistic. a mapped location. as it were. in the spring of 1985. nor am I out of it. from realistic novels to dystopias? Was I slumming. right on the cover. as well as Poland and Czechoslovakia. but shalt possess / A Paradise within thee. every landscape is a state of mind. "Hell hath no limits. which are anywhere but nowhere. and completed it in Tuscaloosa. speculative fiction. The Handmaid's Tale. How thin is this ice? How far can I go? How much trouble am I in? What's down there if I fall? These were writerly questions. Science fiction. as some "literary" writers are accused of doing when they write science fiction or detective stories? The human heart is inscrutable. from Milton'sParadise Lost: "then wilt thou not be loth / To leave this Paradise. In addition to being.") The writing of The Handmaid's Tale gave me a strange feeling. the one every writer asks him.) . happier far. and slipstream fiction: all of them might be placed under the same large "wonder tale" umbrella. I began the book – after a few dry runs – in Berlin in the spring of 1984. each contains a latent version of the other. How did I come to create my own Ustopias – these not-exactly places. because if you've studied a form and read extensively in it. there must we ever be. Tackling a Ustopia was a risk. as the city was at that time encircled by the Berlin Wall and its inhabitants felt understandably claustrophobic. but one with quite a few constraining social customs and attitudes. but let me try to remember what I thought I was up to at the time. During our stay we also visited East Berlin. but every state of mind can also be portrayed by a landscape. I wrote more of the book once I was back in Toronto. in another dimension. But it was also a challenge and a temptation. in my view. I had a fellowship." I was told. ("Don't ride a bicycle.But surely all draw from the same deep well: those imagined other worlds located somewhere apart from our everyday one: in another time. through a doorway into the spirit world." he says. as is every place in literature of whatever kind. "find the story compelling and plausible enough to go along for the ride". Hell is not only a physical space." Or. First. one need search no further than Emile Zola's Germinal. The Handmaid's Tale was published in Canada in the fall of 1985. would not have found them so unusual. How thin is the ice on which supposedly "liberated" modern western women stand? How far can they go? How much trouble are they in? What's down there if they fall? And further: if you were attempting a totalitarian takeover of the United States. during their Dionysian celebrations. In the UK. no one individual is responsible. The truth is that these outfits are not aimed at any one religion. with their concealing bonnets and veils to keep strange men from leering at their faces. tear him apart and parade his genitalia through town on a pole. more general questions. Their actual design was inspired by the figure on the Old Dutch Cleanser boxes of my childhood. shortly after it came out. or more of it. sometime. specifying who can marry whom and who owns the kids – how would that play out for women? And what about the outfits? Ustopias are always interested in clothing – either less of it compared to what we wear now. The clothing concerns usually centre on women: societies are always uncovering parts of women's bodies and then covering them up again. Mid-Victorians. The first is from the Bible.) For a literary precedent. The third – "In the desert there is no sign that says. since most totalitarianisms we know about have attempted to control reproduction in one way or another – limiting births. Looking further back. and in the US and the UK in the spring of 1986. My rules for The Handmaid's Tale were simple: I would not put into this book anything that humankind had not already done. the Maenads. The coverups worn by the women in The Handmaid's Tale have been variously interpreted as Catholic (as in nuns) or Muslim (as in burqas). the passage in which the two wives of Jacob use their female slaves as baby-producers for themselves. 'thou shalt not eat stones'" – is a Sufi proverb stating a simple human truth: we don't prohibit things that nobody would ever want to do anyway. how would you do it? What form would such a government assume. and there are still group stonings in some countries. I prefaced the novel with three quotations. A less raw but still shocking precedent is Shirley Jackson's short story "The Lottery" (which I read as a teenager. Even the group hangings had precedents: there were group hangings in earlier England. or for which it did not already have the tools. who have been sexually exploited by the shopkeeper. demanding births.These writerly questions were reflections of other. which contains an episode in which the town's coal-mining women. and what flag would it fly? How much social instability would it take before people renounced their hardwon civil liberties in a trade-off for "safety"? And. were said to go into frenzies during which they dismembered people with their hands. but they are also simply old. This ought to warn the reader against the dangers inherent in applying every word in that extremely varied document literally. The second is from Jonathan Swift's "A Modest Proposal": it alerts us to the fact that a straightfaced but satirical account – such as Swift's suggestion that the grinding Irish poverty of his times could be alleviated by selling and eating Irish babies – is not a recipe. Genesis 30. since all prohibitions are founded upon a denial of our desires. somewhere. its first reviewers treated it as a yarn rather than a warning: Britain had already been through Oliver Cromwell and his Puritan . (If everyone participates. and which made a chilling impression on me). Approximately five years after The Handmaid's Tale was published. which describes a future in which Gilead – the tyrannical republic ofThe Handmaid's Tale – has ended and has thus become a subject for conferences and academic papers. But now I'm wondering again. But anyone who engages in such design – as we are now doing – has to ask: how far can humans go in the . It looked as if. Mary McCarthy. there is a little attempt at utopia in it as well: a group of quasi-humans who have been genetically engineered so that they will never suffer from the ills that plague Homo sapiens sapiens. is the little utopia concealed in the dystopic world of The Handmaid's Tale? There are two: one is in the past (the past that is our own present). but then came Oryx and Crake in 2003. I suppose that's what happens to ustopian societies when they die: they don't go to Heaven. They are designer people. The Soviet Union was a large. and in Britain citizens have accepted a degree of state supervision that would once have been unthinkable. before which it has split into two parts: a technocracy and an anarchy. people asked. When colonies were the coming thing. the Patriot Act passed with barely a cough. and anyway it was unlikely ever to take place. bureaucratic. Atom bombs in the United States created the desire for some in the USSR. and vice versa. Oryx and Crake is dystopic in that almost the entire human race is annihilated. It's a truism that enemy states tend to mirror one another in organisation and methods. What. in anxious Canadian fashion: "could it happen here?" In the US. and America appears to be losing faith in the basic premises of liberal democracy. After 9/11. In Canada. and the world of The Handmaid's Taleappeared to recede. at least not in the secular society she perceived as the American reality. The second is placed in a future beyond the main story by the afterword at the end of the book. true to form. American society has moved much closer to the conditions necessary for a takeover of its own power structures by an anti-democratic and repressive government. not quite. centralised state. And. so attuned to earthquake tremors. In recent years. returning it to its origins as a Puritan theocracy and giving us The Handmaid's Tale in everything but the outfits? I've said earlier that dystopia contains within itself a little utopia. But now we see a United States weakened by two draining wars and a financial meltdown. What form will the United States assume now that it's opposed by unrelenting religious fanaticisms? Will it soon produce rule by the same kind of religious fanaticism. gave the book a largely negative review on the grounds that it lacked imagination. not then. and pundits proclaimed the end of history. the Soviet Union disintegrated. and so was the America of those times. in the race between Nineteen Eighty-Four andBrave New World – control by terror versus control through conditioning and consumption – the latter had won. only of a different sect? Will the more repressive elements within it triumph.republic and there seemed to be no fear of re-enacting that scenario. But on the west coast. I thought for a while in the 1990s that maybe it never would be. everyone wanted one. then. switchboards on talk shows lit up like Las Vegas. they become thesis topics. and someone graffitied on the Venice Beach seawall: "The Handmaid's Tale is already here!" It wasn't already here. After The Handmaid's Tale there was a period of approximately 18 years during which I did not write ustopian novels. the west slapped itself on the back and went shopping. writing in the New York Times. but although this was perfectly acceptable to the British publisher. and "Edencliff. leaving them to criminal gangs and anarchic violence. at the very bottom of the social heap. though many of us wouldn't like them. and the ability. "no Brain. However. Oryx and Crake and The Year of the Flood cover the same time period. but The Year of the Flood takes place in the space outside such enclaves. the protagonist of Oryx and Crake. (Since Oryx and Crake was published. Book titles are either immediately obvious. which goes to show how thoroughly the word "God" has been hijacked.alteration department before those altered cease to be human? Which of our features are at the core of our being? What a piece of work is man. likeThe Edible Woman. certain parts of the body turn blue. the American publisher and the Canadian publisher objected to it on the grounds that people would think the book was a far-right extremist tract. Its original title was God's Gardeners. no Pain". and avoid hi-tech communications devices such as cellphones and computers on the grounds that they can be used to spy on you – which is entirely true. this book. though it is probably not in your sausages yet. Many other titles were proposed. the chickie nob solution has made giant strides: lab-grown meat is now a reality. which the Canadian publisher liked but the US felt suggested a new age cult. sing sacrednature hymns. they are more like chapters of the same book. what pieces of this work shall we chop off? The designer people have some accessories I wouldn't mind having myself: built-in insect repellant. Its predisaster plot unfolds in neighbourhoods that the security forces – now melded with corporations – don't even bother to patrol. whereas in these two books the only element that's annihilated is the human race. has grown up within a privileged though barricaded enclave. so there is no more romantic rejection or date rape. including "Serpent Wisdom". Jimmy/ Snowman. The Year of the Flood explores the world of Oryx and Crake from a different perspective. For instance. and The Year of the Flood was the second kind. like rabbits. to digest leaves. The Year of the Flood. has a utopia embedded within a dystopia. or most of it. There are other genetically engineered creatures in the book as well: chickie nobs. And they can't read. so a lot of harmful ideologies will never trouble them. automatic sunblock. too. wings and breasts. but in a true apocalypse everything on Earth is destroyed. or very hard to decide on. it's represented by the God's Gardeners. and thus are not sequels or prequels. thus solving a problem for animal rights workers: as their creators say. They have no heads. What survives after the cataclysmic event is not a "dystopia".) A sibling book. a small environmental religious cult dedicated to the sacred element in all creation. mating is seasonal: in season. just a nutriment orifice at the top. They have sometimes been described as "apocalyptic". They also have several traits that would indeed be improvements of a sort. Its members grow vegetables on slum rooftops. and now that we ourselves can be the workmen. because many more people would be required for that – enough to . as with baboons. for instance. was published in 2009." which the British thought sounded like "a retirement home in Bournemouth". which are chicken objects modified so they grow multiple legs. They can't choose otherwise. we will be able to rid ourselves of inherited diseases. for that path leads to mass graves. And this seems to be where Ustopia is moving in real life as well: through genetic engineering. We're stuck with us. about the "inspiration" for these two books and their world. But we should probably not try to make things perfect. The surviving stragglers do. and although in both there are some of what Huckleberry Finn would call "stretchers". however. Which is about as far as I myself am prepared to go. Utnapishtim in the Gilgamesh epic) or a small group. insofar as it lies within our power. Does that mean we should never try to rectify our mistakes. http://m. but we should make the most of us. but its other twin is "Better". I accumulated many file folders of research. a newspaper clipping. Ustopia has not been a happy story. many times. but those kinds of things are not really what drive the storytelling impulse.uk/ms/p/gnm/op/skEVHz_QJnE24SmErqRBvRQ/view. may always have a "Bad" twin. As with The Handmaid's Tale. have mythic precedents: a number of myths tell of an annihilating flood survived by one man (Deucalion in Greek myth.comprise a society. Do the surviving human beings in Oryx and Crake andThe Year of the Flood represent a dystopic threat to the tiny utopia of genetically modified.guardian. there is nothing that's entirely without foundation. Of course there are proximate causes for all novels – a family story. when the Club of Rome accurately predicted what now appears to be happening. this or that actual event. and … who knows? The sky's the limit. peaceful and sexually harmonious new humans that is set to replace them? People have asked. and ageing. and mental illness. an event in one's personal history – and for Oryx and Crake and The Year of the Flood there are such causes as well. "Good". I'm more inclined to think that it's unfinished business. What is the little dystopia concealed within such utopian visions of the perfected human body – and mind? Time will tell. in real life. this or that newspaper story. Historically. High hopes have been dashed. The Crakers are well behaved from the inside out not because of their legal system or their government or some form of intimidation but because they have been designed to be so. imperfect as we are. and ugliness. So I could point to this or that scientific paper. though they were not front-page stories in the spring of 2001 when I began Oryx and Crake. for us. So of course we should try to make things better. so those worries had long been with me. Or so we are being told. reverse our disaster-bent courses. along the road to Ustopia. such as Noah and his family. of the kind represented by the questions people are increasingly asking themselves: how badly have we messed up the planet? Can we dig ourselves out? what would a species-wide self-rescue effort look like if played out in actuality? And also: where has utopian thinking gone? Because it never totally disappears: we're too hopeful a species for that. especially not ourselves. things will go downhill very fast.m?id=15&gid=books/201 1/oct/14/margaret-atwood-road-to-ustop . Worries about the effects of climate change can be found as far back as 1972. It's interesting to me that I situated the utopia-facilitating element in Oryx and Crake not in a new kind of social organisation or a mass brainwashing or soulengineering programme but inside the human body.co. clean up our cesspools or ameliorate the many miseries of many lives? Surely not: if we don't do maintenance work and minor improvements on whatever we actually have. The best intentions have indeed paved many roads to Hell. time and time again. both as reader and as writer. (p. The first words of In Other Worlds: SF And The Human Imagination are "for Ursula K Le Guin." There then follows an epigram from Octavia Butler after which Atwood begins the book by stating: In Other Worlds is not a catalogue of science fiction.1) . it is an exploration of my own lifelong relationship to a literary form. (p. it is not definitive." as if I've sold my children to the salt mines. hats off to the science fiction community. Rather. why I have forsworn the term "science fiction.In Other Worlds: SF and the Human Imagination by Margaret Atwood Reviewed by Martin Lewis 14 October 2011 Scarcely a question period goes by at my public readings without someone asking.5) Well. it is not exhaustive. It is not the work of a practicing academic or an official guardian of a body of knowledge. usually in injured tones. or sub-forms. you have successfully goaded Margaret Atwood into producing a volume of SF criticism. or forms. This is a frankly bizarre state of affairs. a grand theory about it. it is not canonical. It is not a treatise. or a literary history of it. but Atwood's introduction makes very clear that this is not an exaggeration. something that just a couple of years ago I would have found impossible to believe. Let's start at the beginning. 7) At this point. Rather it is likely to appeal to the type of science fiction reader who is. I can't escape from this sentence. simply a reader because Atwood—unrepentantly idiosyncratic views about literary taxonomy and all—is a writer who demands to be read. and random rumination. Take. dryly infused with humour. and." It was only when she joined Le Guin for a public debate in 2010 that she finally had an epiphany and discovered what everyone else used it to mean: What Le Guin means by "science fiction" is what I mean by "speculative fiction. (p. she even coins the phrase "wonder tales" to perform the same function as John Clute's "fantastic. there is little here to persuade her salt mine critics to revise their opinion (not that they are likely to read the book in the first place). or else on your system of literary taxonomy" (p. Then. It is hard not to love the wilful writer of those words. in the first essay.This is a gauntlet being picked up and firmly thrown back in the face of a sniping genre community. Why on Earth should the science fiction reader continue? Many won't.2). Forget the concept of science fiction entirely and treat it as you are advised. She has invented everything from first principles. as an exploration by a reader and a writer—someone interested in "all three types of brow" (p." So that clears it all up. lifelong SF fan Margaret Atwood was seventy years old.2). it perfectly captures the schism in all its idiocy whilst being simultaneously wordy and succinct and.40)—of what they've read and written. Namely. (p. is a book about science fiction written by someone who doesn't know much about it for an audience that presumably knows nothing about it. we move from her own early fictional creations (the "Flying Rabbits" which give the chapter its title) to superheroes (including her own foray into the field with Kidney Boy) to Mesopotamian literature." and what she means by "fantasy" would include some of what I mean by "science fiction." it is back to her childhood . The fresh meat of the book is the first section. A rebuttal of Le Guin's complaints is included in the introduction alongside some of Atwood's other thoughts about science fiction as a genre and together they reveal something strange. Actually.4) Reading this anecdote isn't likely to enrich your understanding of SF but it is likely to enrich your life. Did she never ask? Atwood acknowledges this root problem with her previous pronouncements on the genre with a wonderfully dismissive phrase: "Much depends on your nomenclatural allegiances. The book is dedicated to Le Guin because she is its "proximate cause. this one obviously stung the most. literary criticism. In this. it keeps pulling me back. I should be much more precise: Atwood knows exactly what science fiction is but. then. this early aside: Thus it was that The Robber Bride appeared in a number of Soviet-bloc countries with covers that might be described as—at best—deceptive and—at worst—as a Eurotrash slutfest in flagranto." specifically her 2009 Guardian review ofThe Year of the Flood. more or less. at heart. So. for example. composed of three essays that started life as the Richard Ellmann Lectures in Modern Literature that Atwood delivered at Emory University in 2010 and are published here for the first time. of all the voices raised against Atwood. In Other Worlds is really two books." she means something entirely different to everyone else. those who have labelled her "a silly nit or snob or genre traitor" (p. by "science fiction. it seems to me. They are a blend of autobiography. in "Burning Bushes. that Atwood doesn’t know what science fiction is. But still: seventy years! In Other Worlds. that is not correct. Well. and much more waffle about the taxonomy of SF but never explains why we might want to return to nineteenth century definitions from mid twentieth century consensus. Apart from such intermittent gems. The Da Vinci Code by Dan Brown (2003). the thought is not fully formed. (p. but a romance could deal with the long ago and the far away. each contains a latent version of the other. and The Time Traveler's Wife by Audrey Niffenegger (2003)). particularly Oryx And Crake (2003) and The Year of The Flood. realistically described social milieus. a back alley. We can't say Atwood didn't warn us about her eccentric tendencies with her talk of "nomenclatural allegiances" earlier on and the painful neologisms in The Year of the Flood similarly set of alarm bells but still.57)) and the romance (modern examples of which she gives as Life Of Pi by Yann Martel (2001). the connection exists but it is by no means as direct as she . It is as if she is claiming Marxism is inherently Stalinist because of the bloody failure of the Russian Revolution. not quite actually because she immediately drops this bombshell on us: Ustopia is a word I made up by combining utopia and dystopia—the imagined perfect society and the opposite—because. For those like me who have butted their heads against Atwood's science fiction in frustrated admiration it provides a vital but confounding insight. Why Heaven And Hell Went To Planet X").before moving onto examining myths with particular reference to Northrop Fry and Christianity (it is subtitled "Or. This is because it discusses utopias and dystopias. burst up from the page: There is something to be said for a greatcoat or trenchcoat. As with so much on In Other Worlds.157) Atwood skirts around the distinction for half a dozen pages.39) Atwood must be a hell of a speaker and I wish I had heard her deliver these at Emory University itself. we are also casually given the key to understanding her own science fiction. Atwood's thinking on utopias containing dystopias seems to be strongly informed by the catastrophic failure of real world utopian projects. and a clenched jaw. This comes in the form of a distinction between the novel (as "we got into the habit of calling all examples of long prose" in "the mid-twentieth century" (p. "Dire Cartographies. (p. despite their deadpan delivery. (p. this is a bloody awful coinage. The second key insight into her fiction comes in the third chapter. she touches on depth of characterisation. The novel dealt with known social life. Vital because Atwood clearly sees SF as an anti-realist mode which explains so much about her own work and confounding because her own work so obviously straddles the novel/romance divide that she sets out. is what happens on Valentine's Day. and that none of these men au fond had much respect for women did not bother me a whit: the blonde usually did it. As for the contentious claim itself. Once again we are treated to various effervescent plumes of wit that. It is a distinction she returns to in a later piece self-explanatorily entitled "Ten Ways Of Looking At The Island Of Doctor Moreau": "Romance. and I was not a blonde. Twilight by Stephenie Meyer (2005). No shit." in today’s general usage.66) Ustopia is a word she made up." and this is also the part that is likely to be of most interest to the SF scholar. in my view. As a literary term it has slipped in rank somewhat—being now applied to such things as Harlequin Romances—but it was otherwise understood in the nineteenth century when it was used in opposition to the term novel. This is the period where Atwood has been particularly engaged with science fiction and it would have been nice if she used In Other Worlds as an opportunity to review and consolidate her . Atwood allows herself some wiggle room with that "minimally" but. So we have "sparkly vampires can be found in the Twilight series by Stephenie Meyer. For example. are we really expected to believe that these snatched moments of grace count as utopia? It is in this same context that Atwood goes on to discuss her own work. for example.99)." If this is not fatuous enough. that we have specific pieces on Nineteen Eighty Four and Brave New World by Aldous Huxley but notWe by Yevgeny Zamyatin (although it is referred to frequently). How much stronger would the book have been if it contained a specific chapter of dystopias? Or two—one for this triumvirate and one for her own. that "'The Wall' is the Berlin Wall. informed by the myriad vagaries of the various branches of the publishing industry. Similarly. I hope someone comes to their senses and removes these before the book sees print.85). She quotes Le Guin on SF—"In a story so conceived. footnotes helpfully inform us of "Star Trek: a long-running space serial" or. And what a jumbled pile of bones it is.) This brings us to the second half of the book which is divided into Atwood's previously published work. It is these pieces that Atwood has cannibalised for her three lectures and it is impossible to read them outside of the shadow cast by this fact. her 2002 New Yorker review of Le Guin's The Birthday of the World and Other Stories provides a dress rehearsal for the first section of this book: the clumsy taxonomy. It is a discursive rather than particularly scholarly piece of writing so doesn’t really need the textual references. reviewing is inherently a slapdash affair. Atwood has not revised these "other deliberations" in light of her belated understanding of what is generally meant by science fiction which leaves In Other Worlds as something of a compendium of her earlier ignorance. the linking of SF with theological speculation. The opposite proposition is even more unpersuasive. the idea that the Soviet Union put the nail in the coffin for utopia. my personal favourite. though minimally. in the form of an antique glass paperweight and a little woodland glade beside a stream" (p. As an example of dystopias containing utopias she proposes George Orwell's Nineteen Eighty Four: "utopia is present. especially since Atwood makes the work under discussion clear from context. repetition still abounds. At the same time. If the first half is the meat then the second half is the bones. With the exception of one piece. On the other hand. I feel I have to mention that this part of the book is ill-served by some of the worst footnotes I’ve ever seen. there is clearly a need for a chapter—several. even so. criticism.suggests. She describes the epilogue to The Handmaid's Tale (1985) in the same terms and it is s(Before moving onto the next section. pulled and pawed at and cracked open for marrow. And it wouldn't have been too hard. after all." Oh dear. and fiction. it continues to reveal how half-formed some of her views are. these articles are all from the last ten years. the book also assumes you are a moron. from the film of the same name. the moral complexity of the modern novel need not be sacrificed" (p. Still." Or a reference to Bob and Carol and Ted and Alice that leads to a footnote that states: "Bob and Carol and Ted and Alice. this may be extraneous but it is also inoffensive. Nor is this repetition the by-product of a book that is at least comprehensive. although she does state that she has "done some light editing to remove some overlaps and repetitions" (p.123)—but does not explore how this links to her own novel/romance dichotomy. in fact—on the Victorian novels of the fantastic that pepper the book. Far worse is the fact that all her asides and allusions are clinically unpacked. Crucially. This means. Atwood always gives off the air of been intensely relaxed. It is also constantly curious. (p. Atwood comes back to the sexual mores and "skin tight clothing" of science fiction again and again. Oryx And Crake.previously published thoughts.strangehorizons." an extract from the pulp story-within-a-story in her Booker Prizewinning The Blind Assassin (2000). It is hard to sum up: it is chatty. and this beguiling and bemusing book. So it is fitting that she ends the book with an "appendix" that consists of a forthcoming Playboy article about the chainmail bikinis of Pulp covers. for instance. there were several times I had the urge to scrawl "show your working" in the margins as if on the work of a brilliant but lazy student.com/reviews/2011/10/in_other_worlds. Atwood can always surprise with a devastating shift of tone such as when she breaks off immediately after the bleakly depressing words of Winston Smith inNineteen Eighty Four—"Don't do it to me. Instead she expects us to play Frankenstein and assemble and animate the book from these dead limbs. This playfulness manifests itself right up to the final In Other Worlds piece. the rotten pun of the title). for example.215) and breadcrumbs is right. and it is noticeable that her most sustained treatment of genre is the least serious. Do we mind this task? It is certainly irksome. Poor Julia—how hard we would make her life if she actually existed. Instead. almost corny. her exquisite contrariness. do it to Julia"—to quip: This sentence has become shorthand in our household for the avoidance of onerous duties. the five "tributes" to science fiction collected here do little to demonstrate this. unfortunately. often lulling you into thinking it is "readable" (the ultimate backhanded compliment) and a deep sense of humour is sometimes hidden under a love of cheesy gags (take. as her only real engagement with science fiction. they are hardly pearls: "Cryogenics: A Symposium" is an easily dismissible dinner party joke. She'd have to be on a lot of panel discussions. "Time Capsule Found On A Dead Planet" is a two-page elegy for an Earth destroyed by capitalism. wiggling off and following even simple words like "more" and "we" in what ever direction they take her. we have to find consolation in her rather different nonfiction writing style. "Cold-Blooded" retreads (presumably unknowingly) Terry Bisson's classic story "Meat". Earlier. she describes Victorian writers as being obsessed with clothes and sex.shtml . and The Year of the Flood. Pot meet kettle. We see only the faintest hint of the author of The Handmaid's Tale.145) Literature is a serious business but it isn't that serious. This brilliance is what gets Atwood some slack. The longest piece is "The Peach Women Of Aa'A. This leaves "Homelanding." recently collected by James Patrick Kelly and John Kessel in The Secret History Of Science Fiction (2009). I think that sums up everything you need to know about Atwood. urely not unrelated that this is the one artistic misstep within that novel. like breadcrumbs in the tangled wood" (p. even in the face of the harshest circumstances. Atwood describes them as being "sprinkled here and there throughout my work. It is showcased again and again throughout her career by her fiction but. http://www. noć je prošla. sugerišući da to što upoznajemo nekoga u odreĊenoj situaciji i dalje ne znaĉi da ga zaista poznajemo. mlada žena i majka. Na primer. kvarnim zubima. Nešto od obe karakteristike prisutno je i u gorenavedenom pasusu. na mene“. u kom se kroz blagu ironiju i jednostavno. feministkinje. pripovetke ne srastaju u roman već zadržavaju relativnu ili potpunu samostalnost. ljubavnika. Uprkos toj tematskoj srodnosti i likovima koji se ponavljaju. noseći korpu pokvarenih jaja i dobro znajući . s krilima vrane i likom moje uĉiteljice iz ĉetvrtog razreda. dok se krug ne zatvori i stigne do polazne taĉke . Ĉak i kada smo veoma stari. stisnutim ustima i svim što ide uz to. Navedeni pasus otvara zbirku priĉa Moralni poremećaj Margaret Atvud . Zasad. s retkom kosom skupljenom u punĊu. ulazi duboko u prirodu odnosa izmeĊu roditelja i dece. u kojima je njen otac entomolog prouĉavao insekte. Uspomene na taj period zabeležene su u . ni tad ne znamo šta još leži pred nama. ĉije knjige odlikuje vrcavi ali pitki pripovedni stil koji može biti kapacitet za Lagunin bestseler. pesnikinje. u zbirci otkrivamo obilje autobiografskih motiva. politiĉke i ekološke aktivistkinje. Autorka se dugo zadržava na odreĊenim prelomnim momentima. kao što je detinjstvo provedeno u šumama severnog Kvebeka. pa devojka. radujući se što donosi zle novosti.svetski priznate kanadske književnice. koju je na srpski uspešno prevela Aleksandra Ĉabraja. podupire fantastiĉno maštovita slika kojom autorka vizualizuje svoj doživljaj primanja loših vesti. sestara. Vreme je za loše vesti. Loše vesti zamišljam kao ogromnu pticu. supružnika. zakljuĉuje junakinja. efektno pripovedanje. Jedanaest priĉa koje ĉine ovu zbirku povezuje ista ženska osoba predstavljena u raznim životnim dobima: na poĉetku je stara žena. provocirajući ĉitaoĉevu potrebu da razlomljene epizode poveže u celinu. izboranim i namrštenim licem. kako leti svetom pod okriljem tame. Razmišljanje u slikama ostaje jedna od glavnih odlika zbirke Moralni poremećaj.MORALNI POREMEĆAAAAAAAAAAAAAAAj „Jutro je. ali i dubina uvida i slojevitost koju imaju najveći pisci. potom devojĉica. ali pri tom neprestano varira stepen distance prema likovima. kritiĉarke. Zavirivši u životnu priĉu Margaret Atvud.starosti.dok se sunce raĊa gde treba da ih baci. i dobitnica Bukerove nagrade i nekoliko znaĉajnih nagrada za nauĉnu fantastiku. Antilopa i kosac. a isti motiv odzvanja u još jednoj izuzetnoj priĉi . a zanimljiv izbor tekstova o problemu nacionalne književnosti Autor: Izvor: Danas http://www. koja je. One ĉesto ispituju nametnute modele ponašanja. u Geopoetikinoj ediciji Mitovi pojavila se njena Penelopijada. odvija uporedo sa oĉevim gubljenjem veze sa realnošću usled moždanog udara.laguna.jednoj od najboljih priĉa. introvertnog. kako bi umanjila sopstveni strah od majĉine preobražavajuće trudnoće. povremeno i samoironiĉnosti kojom opisuju svoje pokušaje da pomire društvenu prihvatljivost (simbolizovanu. zavesama sa karnerima koje su kao devojĉice zamišljale da će imati) i položaj samostalne žene.html može se naći Tijana i na sajtu Pešĉanika. uzgred. ali i kontemplativnog. ne nudeći nikakve gotove obrasce ili uputstva za ponašanje. u kojoj jedanaestogodišnja junakinja opsesivno štrika odeću za svog budućeg brata ili sestru. pa i kanadski identitet. presudno obeleženi borbom sa prirodom. Tezu da su kanadska književnost. Spasić . Alijas Grejs i Sluškinjina priĉa).rs/zn161_zanimljivost_blizu_koliko_je_to_moguce__prikaz_knjige_moralni_poremecaj_laguna. Umetnost kuvanja i serviranja. pomalo ekscentriĉnog. zbirka Moralni poremećaj veoma suptilno razvija ovu temu. u kojoj se gubljenje borbe sa prirodom na jednoj tragiĉnoj ekspediciji na Arktik poĉetkom dvadesetog veka. Junakinje Margaret Atvud mahom su buntovnog karaktera. Kada je reĉ o odnosu prema feminizmu. novosadski Rubikon objavio je roman Izranjanje. Slepi ubica. na primer. Mogućnosti za dalje ĉitanje ima na pretek: u izdanju Lagune objavljen je ĉitav niz romana (Maĉje oko. zadržavajući ipak u tom odnosu jednu dozu ambivalencije. Knjiga Moralni poremećaj odliĉan je uvod u delo Margaret Atvud.Fijasko na Labradoru. Margaret Atvud svojevremeno je iznela u knjizi Opstanak: Tematski vodiĉ kroz kanadsku književnost. okf-cetinje.org/OKF-Ilejn-Sovolter-Ka-feministi%C4%8Dkoj-poetici-ginokritika-izenska-kultura_559_1 .http://www.