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Margaret Atwood, whose work has been published in thirty-five countries, is the author of more than forty books of fiction, poetry, and critical essays. In addition to The Handmaid's Tale, her novels include Cat's Eye, short-listed for the 1989 Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; The Blind Assassin, winner of the 2000 Booker Prize; Oryx and Crake, short-listed for the 2003 Man Booker Prize; The Year of the Flood; and her most recent, MaddAddam. She is the recipient of the Los Angeles Times Innovator's Award, and lives in Toronto with the writer Graeme Gibson. www.margaretatwood.ca
Family secrets, sibling rivalry, political chicanery and social unrest, promises and betrayals, "loss and regret and memory and yearning" are the themes of Atwood's brilliant new novel, whose subtitle might read: The Fall of the House of Chase. Justly praised for her ability to suggest the complexity of individual lives against the backdrop of Canadian history, Atwood here plays out a spellbinding family saga intimately affected by WWI, the Depression and Communist witch-hunts, but the final tragedy is equally the result of human frailty, greed and passion. Octogenarian narrator Iris Chase Griffen is moribund from a heart ailment as she reflects on the events following the suicide in 1945 of her fey, unworldly 25-year-old sister, Laura, and of the posthumous publication of Laura's novel, called "The Blind Assassin." Iris's voiceDacerbic, irreverent, witty and cynicalDis mesmerizingly immediate. When her narration gives way to conversations between two people collaborating on a science fiction novel, we assume that we are reading the genesis of Laura's tale. The voices are those of an unidentified young woman from a wealthy family and her lover, a hack writer and socialist agitator on the run from the law; the lurid fantasy they concoct between bouts of lovemaking constitutes a novel-within-a-novel. Issues of sexual obsession, political tyranny, social justice and class disparity are addressed within the potboiler SF, which features gruesome sacrifices, mutilated body parts and corrupt, barbaric leaders. Despite subtle clues, the reader is more than halfway through Atwood's tour de force before it becomes clear that things are not what they seem. Meanwhile, flashbacks illuminate the Chase family history. In addition to being psychically burdened at age nine by her mother's deathbed adjuration to take care of her younger sibling, nave Iris at age 18 is literally sold into marriage to a ruthless 35-year-old industrialist by her father, a woolly-minded idealist who thinks more about saving the family name and protecting the workers in his button factories than his daughter's happiness. Atwood's pungent social commentary rings chords on the ways women are used by men, and how the power that wealth confers can be used as a deadly weapon. Her microscopic observation transforms details into arresting metaphors, often infused with wry, pithy humor. As she adroitly juggles three plot lines, Atwood's inventiveness achieves a tensile energy. The alternating stories never slacken the pace; on the contrary, one reads each segment breathlessly, eager to get back to the other. In sheer storytelling bravado, Atwood here surpasses even The Handmaid's Tale and Alias Grace. BOMC main selection; author tour. (Sept.) Copyright 2000 Cahners Business Information.
Once again, Atwood (Wilderness Tips) has written a compelling novel with many different layers of interpretation. At first glance, these tales are a collection of disjointed short stories; yet upon further examination, they are the reminiscences of an old woman named Iris, with death appearing to be the unifying thread connecting them. At the same time, these stories comprise the Chase family history, and Iris uses them to describe her life, beginning with her parents' marriage and ending with the deaths of various relatives. Margot Dionne renders an acceptable reading, but it is far from outstanding. The story-within-a-story format permits the listener to stop and start without losing his or her train of thought. The sound volume is consistent. This program will be in demand by Atwood fans; recommended for public libraries.DLaurie Selwyn, San Antonio P.L. Copyright 2000 Cahners Business Information.
"The first great novel of the new millennium." --Newsday "Absorbing... expertly rendered... Virtuosic storytelling [is] on display." --The New York Times "Brilliant... Opulent... Atwood is a poet.... as well as a contriver of fiction, and scarcely a sentence of her quick, dry yet avid prose fails to do useful work, adding to a picture that becomes enormous." --John Updike, The New Yorker "Chilling... Lyrical... [Atwood's] most ambitious work to date." --The Boston Globe "Hauntingly powerful.... A novel of luminous prose, scalpel-precise insights and fierce characters... Atwood's new work is so assured, so elegant and so incandescently intelligent, she casts her contemporaries in the shade." --The Atlanta Journal--Constitution "Grand storytelling on a grand scale... Sheerly enjoyable." --The Washington Post Book World "Bewitching... A killer novel.... Atwood's crisp wit and steely realism are reminiscent of Edith Wharton... A wonderfully complex narrative." --The Christian Science Monitor "A tour de force." --Chicago Tribune