Margaret Atwood

by Shannon Hengen

  2813. FIAMENGO, Janice. “‘A Last Time for This Also’: Margaret Atwood’s Texts of Mourning.” Canadian Literature 166 (2000): 145-164. Atwood’s poetry, focusing on Morning in the Burned House, ©1995.

  2814. FORSTER, Russell. A Student’s Guide to Cat’s Eye by Margaret Atwood. Balla-rat, Australia: Wizard Books, 2000. 48 pp.

  2815. FOWLER, Karen Joy. “Margaret Atwood.” The Salon.Com Reader’s Guide to Contemporary Authors. Ed. Laura Miller with Adam Begley. New York: Penguin, 2000. 16-19.

  2816. FU, Xinyu. “Magelite Aitewude de zuo pin ‘Fu xian’ zhu ti fen xi = Analysis of the themes in Margaet [sic] Atwood’s Surfacing.” MA thesis. Lanzhou da xue, 2000. 64 pp. Title in Chinese and English; text in English only with bibliographical references in English and Chinese. Chinese title romanized.

  2817. GERIG, Karin. Fragmentarität: Identität und Textualität bei Margaret Atwood, Iris Murdoch und Doris Lessing. Tübingen: Narr, 2000.

  2818. GHOSH, Nabanita. “The Unbreakable Bond: Absent/Present Mothers and Daughters in the Fiction of Margaret Atwood, Toni Morrison, Amy Tan and Daphne Merkin.” PhD thesis. State University of New York at Binghamton, 2000. 225 pp. “My analysis is feminist in nature; it aims to uncover the complexity and ambiguity in the mother-daughter bond through the motif of absence and presence. The mothers I examine are complex, contradictory and vulnerable, like their daughters. The troubles between absent and present mothers and daughters in these novels ironically reinforce the continuity and connection between these women; this intricate link continues to animate the contours of their lives in intricate ways. Margaret Atwood’s Cat’s Eye and Daphne Merkin’s Enchantment are written primarily from the daughter’s point of view; Toni Morrison’s Beloved and Amy Tan’s The Kitchen God’s Wife foreground the voice of the mother.” (Author). For more see DAI-A 61.05 (November 2000): 1834.

  2819. GIACOPPE, Monika Frances. “Creating a Usable Past: History in Contemporary Inter-American Women’s Fiction.” PhD thesis. Pennsylvania State University, 2000. 220 pp. Includes discussion of Alias Grace. “Due to the violent establishment of ‘New World’ nations and the exclusion of women from most written histories, women in the Americas have inherited a doubly ruptured past. Through the use of historiographic metafictions (in Linda Hutcheon’s terms), writers such as Margaret Atwood (English Canada), Maryse Conde (Guadeloupe), Rosario Ferre (Puerto Rico), Anne Hebert (Quebec), Nelida Piñon (Brazil), and Leslie Marmon Silko (US Native American) combat this cultural amnesia and work toward establishing a sense of tradition and continuity for Inter-American women.” (Author). For more see DAI-A 61.08 (February 2001): 3129.

  2820. GOETSCH, Paul. “Margaret Atwood: A Canadian Nationalist.” Margaret At-wood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 166-179.

  2821. GRIBBLE, Jill. “Motifs of Transformation in Four Novels of Margaret Atwood” MA thesis. University of Cape Town, 2000.

  2822. HAAG, Stefan. “Ecological Aurality and Silence in Margaret Atwood.” Canadian Poetry: Studies, Documents, Reviews 47 (2000): 14-39.

  2823. HARGER-GRINLING, Virginia, and Tony CHADWICK. “Anne Hébert’s Ka-mouraska and Margaret Atwood’s Alias Grace: Individuals in History.” Etudes canadiennes / Canadian Studies: Revue interdisciplinaire des études canadiennes en France 49 (2000): 51-57.

  2824. HATCH, Ronald B. “Margaret Atwood, the Land, and Ecology.” Margaret At-wood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 180-201.

  2825. HENDERSON, Margaret Kathryn. “Mothering the Nation [Manuscript]: Representations of [The] Mother in the Poetry of Judith Wright and Margaret Atwood.” PhD thesis. Monash University, 2000. 251 pp. Available in microfiche format (5 microfiches: negative).

  2826. HERST, B. “Quiet Apocalypses: The Textual Theatre of Clare Coulter in Margaret Atwood’s ‘Good Bones.’” PAJ: A Journal of Performance and Art 64 (2000): 65-71.

  2827. HITE, Molly. “Optics and Autobiography in Margaret Atwood’s Cat’s Eye.” Margaret Atwood. Ed. Harold Bloom. Philadelphia: Chelsea House, 2000. 131-150. Reprinted from Twentieth Century Literature 41.2 (Summer 1995): 135-155.

  2828. HÖNNIGHAUSEN, Lothar. “Margaret Atwood’s Poetry 1966-1995.” Margaret Atwood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 97-119.

  2829. HORVITZ, Deborah M. Literary Trauma: Sadism, Memory, and Sexual Violence in American Women’s Fiction. Albany: State University of New York Press, 2000. This book examines portrayals of political and psychological trauma, particularly sexual trauma, in the work of seven American women writers. See especially “Intertexuality and Poststructural Realism in Margaret Atwood’s Alias Grace and Charlotte Perkins Gilman’s ‘The Yellow Wallpaper.’” 99-129.

  2830. HORWOOD, Harold. Among the Lions: A Lamb in the Literary Jungle. St. John’s [NF]: Killick Press, 2000. The co-founder of the Writers’ Union of Canada comments on his colleagues, including Atwood: “Compassionate, working for human liberation, not tough, cruel, or ‘going for the jugular’ as some critics liked to say.” No index.

  2831. HOSSNE, Andrea Saad. Bovarismo e romance: Madame Bovary e Lady Oracle. Cotia: Ateliê Editorial, 2000. 300. In Portuguese.

  2832. HOWELLS, Coral Ann. “Cat’s Eye: Creating a Symbolic Space out of Lost Time.” Margaret Atwood. Ed. Harold Bloom. Philadelphia: Chelsea House, 2000. 173-189. Reprinted from Modern Novelists: Margaret Atwood (1996). [Ed. note: Those who check Bloom’s book will discover that this reference has been transcribed correctly. The problem is that Bloom himself failed to correctly transcribe his sources. The book title is correctly attributed to Howells, but the article is incorrect (the Howells article is attributed to Staels [see 2886], and the Staels article is attributed to Howells). Equally disturbing, Bloom did not receive permission from either author to reproduce their work.]

  2833. ______. “Transgressing Genre: A Generic Approach to Margaret Atwood’s Novels.” Margaret Atwood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 139-156.

  2834. IRVINE, Lorna. “Recycling Culture: Kitsch, Camp, and Trash in Margaret At-wood’s Fiction.” Margaret Atwood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 202-214.

  2835. JAIDKA, Manju. From Slant to Straight: Recent Trends in Women’s Poetry— Anne Sexton (America), Margaret Atwood (Canada), Stevie Smith (England), Ka-mala Das (India), Anna Akhmatova (Russia). New Delhi: Prestige Books, 2000. See especially “Imperialist Designs and Gender Wars: Margaret Atwood’s Power Politics.” [47]-65.

  2836. JONES, Raymond E., and Jon C. STOTT. Canadian Children’s Books: A Critical Guide to Authors and Illustrators. Don Mills [ON]: Oxford UP, 2000. Entry on Atwood (8-10) lists works for children, citations to some reviews of each, followed by a short essay commenting on each of the titles.

  2837. KAARTO, Tomi, and Lasse KEKKI. Subjektia rakentamassa: Tutkielmia minuudesta teksteissä. [Turku, Finland]: Turun yliopisto, 2000. Includes discussion of The Edible Woman.

  2838. KING, Nicola. Memory, Narrative, Identity: Remembering the Self. Edinburgh: Edinburgh UP, 2000. See especially Chapter 3: “‘A Life Entire’: Narrative Reconstruction in Sylvia Fraser’s My Father’s House and Margaret Atwood’s Cat’s Eye.” 61-92.

  2839. KIRTZ, Mary K. “English-Canadian Literary Cultures Observed: Shields’s Small Ceremonies and Atwood’s Lady Oracle.” Canada Observed: Perspectives from Abroad and from Within. Ed. Jurgen Kleist and Shawn Huffman. New York: Lang, 2000. 175-183.

  2840. KNIGHT, Brenda. Women Who Love Books Too Much: Bibliophiles, Bluestockings & Prolific Pens from the Algonquin Hotel to The Ya-Ya Sisterhood. Berkeley: Conari Press, 2000. See especially 153-154. Book on women writers...and women readers.

  2841. KNOWLES, Nancy Anne. “From Protest to Process: Pacifism and Post-1970 Women’s Novels Written in English.” PhD thesis. University of Connecticut, 2000. 275 pp. “Battlefront novels are frequently pacifist, teaching pacifism by showing war’s horrors. However, ano
ther approach to pacifism occurs in novels that invite inductive analysis of the causes of and solutions to war. These novels can be classified as pacifist based on feminist pacifism, which recognizes violence not only at the battlefront but also in otherwise peaceful oppressive relationships. Such pacifist novels posit a reciprocal relationship between battlefront violence and homefront oppression by reversing the setting typical to war literature.” (Author). Atwood’s Surfacing used as an example. For more see DAI-A 61.08 (February 2001): 3166.

  2842. KOLODNY, Annette. “Margaret Atwood and the Politics of Narrative.” Margaret Atwood. Ed. Harold Bloom. Philadelphia: Chelsea House, 2000. 29-48. Reprinted from Studies on Canadian Literature: Introductory and Critical Essays (1990).

  2843. KREUITER, Allyson. “The Representation of Madness in Margaret Atwood’s Alias Grace.” MA thesis. University of South Africa, 2000.

  2844. LILBURN, Jeffrey M. Margaret Atwood’s The Edible Woman. Piscataway, NJ: Research and Education Association, 2000. 110 pp. Study notes.

  2845. LJUNGBERG, Christina. “Iconic Dimensions in Margaret Atwood’s Poetry and Prose.” The Motivated Sign: Iconicity in Language and Literature. Ed. Olga Fischer and Max Nanny. Amsterdam: Benjamins, 2000. 351-366.

  2846. MacCANNELL, Juliet Flower. The Hysteric’s Guide to the Future Female Subject. Minneapolis: University of Minnesota Press, 2000. Discussion on The Handmaid’s Tale, 191-216.

  2847. MacKEY, Eva. “‘Death by Landscape’: Race, Nature, and Gender in Canadian Nationalist Mythology.” Canadian Women’s Studies 20.2 (Summer 2000): 125-130. Examines the cultural politics of race, gender, and nature in the nationalist ideas of the Canada First Movement, the Group of Seven, Margaret Atwood, and Northrop Frye.

  2848. MacMURRAUGH-KAVANAGH, M. K. (Madeleine K.) Cat’s Eye, Margaret Atwood. Harlow: Longman, 2000. 128 pp. York notes.

  2849. MacPHERSON, Heidi Slettedahl. Women’s Movement: Escape as Transgression in North American Feminist Fiction. Amsterdam: Rodopi, 2000. “The author analyzes key feminist and postfeminist novels of the last three decades, focusing on escape as transgression and the essential differences between male and female escape narratives. She argues that escape narratives by women writers reflect the changing face of feminism. She analyzes works by Canadian and US writers, including Marian Engel, Marilynne Robinson, Joan Barfoot, Margaret Atwood, Anne Tyler, and Erica Jong, among others. She finds that the most common escape in feminist fiction is the flight from restrictive gender roles; she also suggests that a woman may escape via physical flight, excessive daydreaming, or emotional paralysis. Although escape has traditionally been viewed as a negative, cowardly reaction, feminist literature reconfigures it as resistance or revolt and, therefore, a positive action.” (Publisher).

  2850. MANGUEL, Alberto, and Gianni GUADALUPI, eds. The Dictionary of Imaginary Places. New York: Harcourt Brace, 2000. Includes “Jaguar Throne, Realm of” from Murder in the Dark, 327.

  2851. MARINHEIRO, Ana Cristina Barbosa de. “Margaret Atwood [Texto policopiado]: A busca do ser em Surfacing.” MA thesis. Universidade do Minho [Portugal], 2000. 160 pp.

  2852. MARTIN, Frédéric. “L’enfer en ce jardin.” Lettres Québécoises 100 (2000): 31-32. French translations of Atwood set against translations of Trevor Ferguson and Mordecai Richler.

  2853. MATTES, Kimberly. “Margaret Atwood’s Warning to Surrogate Mothers: Beware Becoming the Handmaids of the Millennium.” MA thesis. University of West Florida, 2000. 48 pp.

  2854. McCARTHY, E. “‘Great Unexpectations’: A Study of Margaret Atwood’s The Edible Woman and Lady Oracle as Bildungsromane.” MA thesis. University College, Cork, 2000.

  2855. McCOMBS, Judith. “Atwood’s Haunted Sequences: The Circle Game, The Journals of Susanna Moodie, and Power Politics.” Margaret Atwood. Ed. Harold Bloom. Philadelphia: Chelsea House, 2000. 3-20. Reprinted from The Art of Margaret Atwood, ©1981.

  2856. McDERMOTT, Sinead. “Putting Myself in Her Place: Identity, Identification and Irishness in Nuala O’Faolain’s Are You Somebody? and Margaret Atwood’s Alias Grace.” Developing Identities: Feminist Readings in Home and Belonging. Ed. Lynne Pearce. Aldershot, UK; Burlington, VT: Ashgate, 2000. 110-127.

  2857. METZLER, G. “Margaret Atwood and Her Festschrift: A Photo Essay.” Zeitschrift fur Kanada Studien 20.2 (2000): 7-9.

  2858. MILLER, Ryan Edward. “The Gospel According to Grace: Gnostic Heresy as a Narrative Strategy in Margaret Atwood’s Alias Grace.” MA thesis. Simon Fraser University, 2000. 108 pp. Also available on microfiche from Canadian Theses Service (2002) and as .pdf file: http://www.nlc-bnc.ca/obj/s4/f2/dsk2 /ftp01/MQ61470.pdf. “Offering her novel as a parodic response to the wild-eyed ‘murderesses’ of Victorian fiction, Atwood explores Grace’s crime and confinement through a lens of Biblical/historical construction, imagining how an incarcerated woman might respond to those processes, while communicating also the privatization of ‘self’ as conceptualized by Gnostic symbol and myth. Atwood’s use of Gnostic myth brilliantly locates the potential for feminist licence in a historical crisis of faith. My reading proposes that she is using this understanding of ‘gnosis’— or self-knowledge—as a playful attempt to localize in Grace Marks the alienation and suffering of the divine feminine.” (Author). For more see MAI 40.02 (April 2002): 309.

  2859. MOGFORD, Sheilagh A. “The Murder of the Goddess in Everywomen: Mary Daly’s Sado-Ritual Syndrome and Margaret Atwood’s The Handmaid’s Tale.” Feminist Interpretations of Mary Daly. Ed. Sarah Lucia Hoagland and Marilyn Frye. University Park: Pennsylvania State UP, 2000. 132-163.

  2860. MOREY, Ann-Janine. “Margaret Atwood and Toni Morrison: Reflections on Postmodernism and the Study of Religion and Literature.” Toni Morrison’s Fiction: Contemporary Criticism. Ed. David L. Middleton. New York; London: Garland, 2000. 247-268. Surfacing and Beloved. Reprinted from Journal of the American Academy of Religion 60.3 (1992): 493-513.

  2861. MORRISON, Sarah R. “Mothering Desire: A Romance Plot in Margaret Atwood’s The Handmaid’s Tale and Susan Fromberg Schaeffer’s The Madness of a Seduced Women.” Tulsa Studies in Women’s Literature 19.2 (2000): 315-356.

  2862. MOYLAN, T. Scraps of the Untainted Sky. Boulder, CO: Westview Press, 2000. See especially Chapter 5, “The Dystopian Turn,” 147-182. About science fiction and dystopias in various works, including Atwood’s The Handmaid’s Tale.

  2863. MÜLLER, Klaus Peter. “Re-Constructions of Reality in Margaret Atwood’s Literature: A Constructionalist Approach.” Margaret Atwood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 229-258.

  2864. MURRAY, Jennifer. “Perspectives paradoxales: Le sens de l’histoire chez Margaret Atwood.” These de doctorat. Université de Franche-Comté, 2000. 454 pp. The Journals of Susanna Moodie, The Robber Bride, and Alias Grace are examined.

  2865. NIEDERHOFF, Burkhard. “How to Do Things with History: Researching Lives in Carol Shields’s Swann and Margaret Atwood’s Alias Grace.” Journal of Commonwealth Literature 35.2 (2000): 71-85. Examines the literary approach to the reconstruction of the past in both books.

  2866. NIKOLAI, Jennifer. “Dance/Theatre Performance: Text, Object, Voice and Movement: ‘Half-Hanged Mary.’” MFA thesis. Simon Fraser University, 2000. Thesis inspired by Atwood poem.

  2867. NISCHIK, Reingard M., ed. Margaret Atwood: Works and Impact. Rochester, NY: Camden House, 2000. Individual articles indexed in this section. Also includes photographs of Atwood (59-70), statements about her from fellow writers (305-310), cartoons by and of the author (313-318), as well as bibliographies of books (only) by and on Atwood. Winner of the Atwood Society’s award for best book, 2000.

  2868. PACHE, Walter. “‘A Certain Frivolity’: Margaret Atwood’s Literary Criticism.” Margaret Atwood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 120-135.

  2869. PALUMBO, Alice M. “On the Border: Margaret Atwood’s Novels.” Margaret Atwood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000
. 73-85.

  2870. PARKER, Emma. “You Are What You Eat: The Politics of Eating in the Novels of Margaret Atwood.” Margaret Atwood. Ed. Harold Bloom. Philadelphia: Chelsea House, 2000. 113-130. Reprinted from Twentieth Century Literature 41.3 (Fall 1995): 349-367.

  2871. PARKER, Janice. Writers. Calgary: Weigl, 2000. Intended for younger readers, Chapter 1 (6-11) is on Atwood.

  2872. PERRAKIS, Phyllis Sternberg. “Atwood’s The Robber Bride: The Vampire as Intersubjective Catalyst.” Margaret Atwood. Ed. Harold Bloom. Philadelphia: Chelsea House, 2000. 205-221. Reprinted from Mosaic 30.3 (September 1997): 151-168.

  2873. REICHENBÄCHER, Helmut. “Challenging the Reader: An Analysis of Margaret Atwood’s Creative Technique in Her First Published Novel.” Margaret Atwood: Works and Impact. Ed. Reingard M. Nischik. Rochester, NY: Camden House, 2000. 261-276. The origins of The Edible Woman.

  2874. RESTUCCIA, Frances L. Melancholics in Love: Representing Women’s Depression and Domestic Abuse. Lanham, MD; New York; Oxford: Rowman & Little-field, 2001. See especially Chapter 3, “Tales of Beauty: Brookner’s, Atwood’s, and Drabble’s ‘Feminine Symbolic,’” 35-56. Includes analysis of Lady Oracle. “This chapter is a reprint of Frances L. Restuccia, ‘Tales of Beauty: Aestheticizing Female Melancholia,’ American Imago, vol. 53, no. 4 (Winter 1996), 353-383.”

  2875. RIDER, Janine. “Alias Grace.” Masterplots II: Modern Fiction Series. Rev. ed. Ed. Steven G. Kellman. Vol. 1. Pasadena, CA: Salem Press, 2000. 29-33. Main characters; summary of novel plus comments on characters, themes, and meanings, and the critical context. Short, non-specialist bibliography.

  2876. RIDOUT, Alice. “Temporality and Margaret Atwood.” University of Toronto Quarterly 69.4 (2000): 849-870. Atwood’s attempt to define “What’s Canadian about Canadian Literature” in Survival is a helpful starting point for considering the way the stories in Dancing Girls, Bluebeard’s Egg, and Wilderness Tips relate to the short-story genre and Canadian literature as broad, limiting categories.