3052. DEER, Glenn. “The Handmaid’s Tale: Dystopia and the Paradoxes of Power.” Margaret Atwood’s The Handmaid’s Tale. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. 93-112. Reprinted from Postmodern Canadian Fiction and the Rise of Rhetoric, 1994.
3053. DiMARCO, Danette. “‘A Woman Was a Kind / of Joke’: Humor as Strategy in Morning in the Burned House.” Newsletter of the Margaret Atwood Society 26-27 (Fall-Winter 2001): 12, 35.
3054. DVORAK, Marta. “Margaret Atwood’s Cat’s Eye: Or the Trembling Canvas.” Études Anglaises: Grande Bretagne, États-Unis 54.3 (2001): 299-310.
3055. ______. “What Is Real/Reel? Margaret Atwood’s ‘Rearrangement of Shapes on a Flat Surface,’ or Narrative as Collage.” Margaret Atwood’s The Handmaid’s Tale. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. 141-153. Reprinted from Études anglaises 51.4 (October-December 1998).
3056. FISHER, Susan. “Animalia.” Canadian Literature 170-171 (Fall-Winter 2001): 256-261. Article discusses several publications that feature animal imagery and specifically Canadian concern for the animal kingdom. Atwood’s Survival among books analyzed.
3057. FONTAINE, Dorothy-Ann. “‘Going Native’ in the Twentieth Century (Grey Owl, Margaret Atwood, Dian Fossey, Randy Borman).” PhD thesis. Rice University, 2001. 170 pp. “Originally a pejorative label assigned to someone who has left a structured, civilized, sophisticated society for one (presumably) less responsible, less structured, and less industrious than the original, going native seems deceptively simple to define in its implications. However, it raises critical questions about one’s sense of self within a group or nationality, opening up new categories within old oppositions. As the term’s pejorative nature seems to continue to moderate, this text seeks to find the spaces in which the term ‘going native’ places itself in the writing and film of the 1900’s….The final chapter looks at an extreme of going native—going feral—(where the new native joins another species rather than another culture) through Margaret Atwood’s Surfacing and the story of Dian Fossey.” (Author). For more see DAI-A 62.07 (January 2002): 2416.
3058. GODARD, Barbara. “My (m)Other, My Self: Strategies for Subversion in Atwood and Hébert.” The Art and Genius of Anne Hébert: Essays on Her Works: Night and Day Are One. Ed. Janis L. Pallister. Madison: Fairleigh Dickinson UP, 2001. 316-334.
3059. GOLDMAN, Marlene. “Margaret Atwood’s Wilderness Tips: Apocalyptic Cannibal Fiction.” Eating Their Words: Cannibalism and The Boundaries of Cultural Identity. Ed. Kristen Guest. Albany: State University of New York Press, 2001. 167-185.
3060. GOTTLEIB, Erika. Dystopian Fiction East and West: Universe of Terror and Trial. Montreal; Kingston, ON; London; Ithaca, NY: McGill-Queen’s UP, 2001. See especially Chapter 4, “Dictatorship without a Mask: Bradbury’s Fahrenheit 451, Vonnegut’s Player Piano, and Atwood’s The Handmaid’s Tale,” 88-112, and more, particularly, 103-111.
3061. GRACE, Dominick M. “The Handmaid’s Tale: ‘Historical Notes’ and Documentary Subversion.” Margaret Atwood’s The Handmaid’s Tale. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. 155-166. Reprinted from “Science-Fiction Studies 25 part 3 (November 1998).”
3062. HERMANSSON, Casie. Reading Feminist Intertextuality through Bluebeard Stories. Lewiston, NY: Edwin Mellen Press, ©2001. Based on author’s 1998 thesis. Incorporates some references to The Robber Bride.
3063. HOLZNER, Judith. “The Taboo against Female Aggression in Moll Flanders, Lady Audrey’s Secret, and Alias Grace.” MA thesis. University of Alabama in Huntsville, 2001. “In her book When She Was Bad: How Women Get Away with Murder, Patricia Pearson describes the tendency of society to only ascribe men with aggression….Using this theory, it is interesting to look at Daniel Defoe’s Moll Flanders (1722), Mary Elizabeth Braddon’s Lady Audley’s Secret (1861), and Margaret Atwood’s Alias Grace (1996)….Each of the three female criminals is not seen as the individual person that she is, but it is attempted to force her into the ideal image of a woman. Since the women who do not conform to society’s rules pose a threat to the patriarchy, they need to be controlled.” (Author). For more see MAI 39.04 (August 2001): 996. [Ed. note: Lady Audrey’s Secret, by Mary Elizabeth Braddon (1837–1913), was originally published by S. H. Goetzel in Mobile, AL, in 1864, not 1861.]
3064. HUGGAN, Graham. The Postcolonial Exotic: Marketing the Margins. New York: Routledge, 2001. See especially Chapter 8, “Margaret Atwood, Inc. or, Some Thoughts on Literary Celebrity,” 209-227.
3065. INGERSOLL, Earl G. “Engendering Metafiction: Textuality and Closure in Margaret Atwood’s Alias Grace.” American Review of Canadian Studies 31.3 (2001): 385-401. Examines the gender issues in the history of women’s crime and punishment in mid-19th-century Canada.
3066. JAMIESON, Sara. “Mourning in the Burned House: Margaret Atwood and the Modern Elegy.” Canadian Poetry 48 (Spring-Summer 2001): 38-68.
3067. JOANNOU, Maroula. “‘Finding New Words and Creating New Methods’: Three Guineas and The Handmaid’s Tale.” Virginia Woolf and Fascism: Resisting the Dictators’ Seduction. Ed. Merry M. Pawlowski and Jane Marcus. Basingstoke, UK: Palgrave, 2001. 139-155.
3068. KACZVINSKY, Donald P. “Surfacing and The Kyklopes: Atwood’s Odyssean Escape.” Notes on Contemporary Literature 31.4 (September 2001): 8-10.
3069. KIM, Bong Eun. “Simulations of America in Mark Twain’s Extract from Captain Stormfield’s Visit to Heaven.” Journal of English Language and Literature / Yongo Yongmunhak 47.4 (Winter 2001): 1211-1225. Twain’s treatment of America compared to Atwood’s Surfacing. Korean summary.
3070. KROLL, Jeri. “‘I Am a Desert Island’: Postmodern Landscapes in Margaret At-wood’s ‘Circe/Mud Poems.’” AUMLA: Journals of the Australasian Universities Language and Literature Association 96 (November 2001): 114-134.
3071. KUHN, Cynthia Guerrera. “Style and Textile: The Performance of Dress in Margaret Atwood’s Fiction.” PhD thesis. University of Denver, 2001. 236 pp. “Clothing is inherently linked to voice and narrative—we say someone makes a fashion ‘statement’ or we discuss the ‘lines’ of a dress. Dressing and storytelling both provide a means for creating identities, and in Margaret Atwood’s work, this association is made explicit….The clothed body often becomes a battleground in At-wood’s fiction as female protagonists respond to divisive cultural scripts through self fashioning; thus, styling the self becomes a survivalist act. Atwood also seems to collapse the opposition between the material and the spiritual through clothing, to consider dress a fitting metaphor for the space between the natural and the supernatural. While the connections among dress, body, and story are visible from Atwood’s earliest novel forward, I contend that they achieve their most unified and powerful effect in The Robber Bride (1993) and Alias Grace (1996), where At-wood’s reconception of the classical idea that the body clothes the soul creates a postmodern frame for the complex relationships among subjectivity, representation, voice, gender, and culture.” (Author). For more see DAI-A 62.11 (May 2002): 3780.
3072. LEVY, Patricia. A Guide to The Handmaid’s Tale. London: Hodder & Stoughton, 2001. 105 pp. Teach yourself guides. Advanced.
3073. LJUNGBERG, Christina. “Iconic Dimensions in Margaret Atwood’s Poetry and Prose.” The Motivated Sign: Iconicity in Language and Literature 2. Ed. Olga Fischer and Max Nänny. Amsterdam; Philadelphia: John Benjamins Publishing Company, 2001. [351]-366.
3074. LOSCHNIGG, Maria, and Christina LJUNGBERG. “Buchbesprechungen: To Join, To Fit, and To Make: The Creative Art of Margaret Atwood’s Fiction.” Ar-beiten aus Anglistik und Amerikanistik 26.2 (2001): 251-255.
3075. LOWERY, Adrien Jeanette. “The Unconvincing Truth: The Diabolical Politics of Identity Creation in the Novels of Atwood, Munro, and Gilchrist (Alice Munro, Ellen Gilchrist).” PhD thesis. University of Southern California, 2001. 262 pp. “Specific novels of Margaret Atwood, Alice Munro, and Ellen Gilchrist feature narrator/protagonists who, in their development as artists, discover their own dial
ogi-cally constructed identities. As children during World War II who come of age as women during the feminist revolution of the ’60s/’70s, these women are caught in the dialogical dyad between traditionally modeled feminine roles and their developing career paths as artists. Social interactionist theory uncovers their social communities’ influences on them. These daughters become aware of the behavioral and linguistic constructs formed in relationship with their families, their lovers, and their peers—constructs which they have allowed to shape their self images.” (Author). For more see DAI-A 63.09 (March 2003): 3195.
3076. MacFARLANE, Karen. “Through the Glass Darkly: Humor in Margaret Atwood’s Essays.” Newsletter of the Margaret Atwood Society 26-27 (Fall-Winter 2001): 11-12.
3077. MAK, Elaine Ngah Lam. “Eugenics in Dystopian Novels.” MPhil thesis. University of Hong Kong, 2001.
3078. MALAK, Amin. “Margaret Atwood’s The Handmaid’s Tale and the Dystopian Tradition.” Margaret Atwood’s The Handmaid’s Tale. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. 3-10. Reprinted from Canadian Literature 112 (Spring 1987).
3079. MARSHALL, Ian. “Forget The Phallic Symbolism, Consider the Snake: Biocen-trism and Language in Margaret Atwood’s ‘Snake Poems.’” Mapping the Ethical Turn: A Reader in Ethics, Culture, and Literary Theory. Ed. Todd F. Davis and Kenneth Womack. Charlottesville: UP of Virginia, 2001. 195-208.
3080. MASSOURA, Kiriaki. “The Politics of Body and Language in the Writing of Margaret Atwood.” PhD thesis. University of York [UK], 2001. “This dissertation explores the themes of body and language in relation to male and female power politics throughout Atwood’s poetry, short stories and novels. Other issues related to body and language such as pregnancy, maternity, disease, pornography and split personality are also discussed and analysed.” (Author).
3081. McDOWELL, John N. “Naturalism, Canadian Literature, and Atwood’s ‘Polarities.’” Excavatio: Nouvelle revue Emile Zola et le naturalisme international 15.3-4 (2001): 253-264. Study of Atwood’s well-known short story.
3082. MEYERS, Helene. Femicidal Fears: Narratives of the Female Gothic Experience. Albany, NY: State University of New York Press, 2001. See especially Chapter 7, “Beyond Postfeminism: Revaluing the Female Body and the Body Politic,” 133-152, which contains an extensive analysis of Bodily Harm.
3083. MICHAEL, Magali Cornier. “Rethinking History as Patchwork: The Case of At-wood’s Alias Grace.” MFS: Modern Fiction Studies 47.2 (Summer 2001): 421-447.
3084. MILFULL, Alison. “Songs of the Siren: Women Writers and the Femme Fatale.” PhD thesis. University of New South Wales (Australia), 2001. “I became interested in foregrounding the responses of women writers to this particular representation of femininity and examining the reception, analysis and attempted resignifi-cation of the figure in their work. Drawing upon various theoretical matrices— including feminist theory, psychoanalysis and post-structuralism—I discuss the themes and issues raised by these women writers in regard to conventional representations of the femme fatale, explore the varied techniques deployed by these authors in responding to such a prevalent stereotype of femininity, and consider the implications of revisionary feminist mythopoesis. Whilst clear differences arise between their treatments of the myth, the work of Rachilde, [Vernon] Lee, [Angela] Carter, Atwood and [Alina] Reyes will indicate a common interest within English, French and North American feminisms spanning two centuries. The representation of the femme fatale, moreover, emerges as a fascinating field of enquiry which raises critical questions about subjectivity, power, desire, male masochism and sexual difference.” (Author). For more see DAI-A 64.02 (August 2003): 493.
3085. MINER, Madonne. “‘Trust Me’: Reading the Romance Plot in Margaret Atwood’s The Handmaid’s Tale.” Margaret Atwood’s The Handmaid’s Tale. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. 21-39. Reprinted from Twentieth Century Literature 37, no. 2 (Summer 1991).
3086. MINGAY, Philip Frederick James. “Vivisectors and the Vivisected: The Painter Figure in the Postcolonial Novel (Margaret Atwood, George Lamming, V. S. Nai-pal, Patrick White).” PhD thesis. University of Alberta, 2001. Also available on microfiche from Canadian Theses Service (2002) and as .pdf file: http://www.nlc-bnc.ca/obj/s4/f2/dsk3/ftp04/NQ60328.pdf. Cat’s Eye plus George Lamming’s Water with Berries, V. S. Naipaul’s Enigma of Arrival, and Patrick White’s Vivisec-tor. See especially Chapter Three, “A Career Not Exactly Real: Margaret At-wood’s Cat’s Eye,” which examines the history of the terms “artist” and “painter” and this history’s role in the formation of the asocial painter figure. It also explores the effects of education and landscape on painter Elaine Risley’s struggle to create “authentic” art. For more see DAI-A 62.05 (November 2001): 1826.
3087. MURRAY, Jennifer. “Historical Figures and Paradoxical Patterns: The Quilting Metaphor in Margaret Atwood’s Alias Grace.” Studies in Canadian Literature 26.1 (March 2001): 65-83.
3088. ______. “‘The Past, Its Density and Drowned Events’: La rivière Moira dans ‘Death of a Young Son by Drowning,’ poème de Margaret Atwood.” Études cana-diennes / Canadian Studies: Revue interdisciplinaire des études canadiennes en France 50 (June 2001): 211-219.
3089. NEALE, Emma. “Touchpapers: The Poetics of the House Fire.” Landfall [New Zealand Arts and Letters] 201 (2001): 134-142. Treatment of fire in the poetry of Louise Glück, Atwood, and Cilla McQueen.
3090. PAPINCHAK, Robert Allan. “Judgement Calls.” Writer 114.4 (April 2001): 40-42. Author discusses the requirements for writing a book review and uses as an example his own review of Atwood’s The Blind Assassin originally published in Seattle Times.
3091. PORDZIK, Ralph. The Quest for Postcolonial Utopia: A Comparative Introduction to the Utopian Novel in the New English Literatures. New York; Frankfurt am Main: Peter Lang, 2001. See especially Chapter 5, “Women of the Future: Feminist Issues in Postcolonial Utopia,” 89-106. Includes study of The Handmaid’s Tale, which is set against other contemporary novels.
3092. POSH, Dorothy Ellen Kimock. “Struggling to Survive: The Violent Bildungs-roman of Atwood, Kosinski and McCabe (Jerzy Kosinski, Patrick McCabe).” PhD thesis. Lehigh University, 2001. “The three novels in this study—Margaret At-wood’s Cat’s Eye, Jerzy Kosinski’s The Painted Bird, and Patrick McCabe’s The Butcher Boy—seem an unlikely trio, but the similarities among the protagonists Elaine Risley, the Boy, and Francie Brady and situations depicted in the three novels far exceed differences in time, place, or gender. Each protagonist endures the same harrowing experience of growing up in a violent world….The characters struggle to remain connected with their humanity; they do this primarily by using language to tell their own stories and to try to make meaning of their experience. This study considers the role of violence; the child’s reaction to it; the family, especially the mother, whose relationship with the child is a crucial to well-being; the role of animals, who act as mirrors for the child in the continuum of violence; and the ways in which characters and authors use language to create and convey meaning.” (Author). For more see DAI-A 62.12 (June 2002): 4146.
3093. ROGERS, Jane, ed. Good Fiction Guide. New York: Oxford UP, 2001. Atwood biography (151) plus references to her in articles on Canada (19-22), science fiction (90-93), sexual politics (98-101), and short stories (102-105).
3094. RUBENSTEIN, Roberta. “Nature and Nurture in Dystopia: The Handmaid’s Tale.” Margaret Atwood’s The Handmaid’s Tale. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. 11-20. Reprinted from Margaret Atwood: Vision and Forms, 1988.
3095. SAJIC, Emma Louise. “Critical Readings of the Female Body in the Novels of Margaret Atwood: Feminist, Postmodern and Postmodern Feminine Perspectives.” MPhil thesis. University of Birmingham, 2001.
3096. SATO, Ayako. “Akuju Wa Toritkusta: Magareto Atouddo Ga Kataru Akujo No Hanashi.” Eigo Seinen / Rising Generation 147.7 (October 2001): 430-434. In Japanese; titles romanized. Women as villains in The Robber Bride.
3098. SHECKELS, Theodore F., and Kathleen M. SWEENEY. “Scene, Symbol, Subversion: The Evolving Uses of Mapping in Margaret Atwood’s Fiction.” American Review of Canadian Studies 31.3 (2001): 403-421. Atwood’s literal—and metaphorical—use of mapped places in The Edible Woman (1969), Lady Oracle (1976), Life Before Man (1979), Cat’s Eye (1989), and The Robber Bride (1989).
3099. SIEMERLING, Winfried. “Other Canons: Margaret Atwood and the Québecois Reception of English Canadian Literature.” Journal of Indo-American Studies 1.1 (January 2001): 48-59.
3100. SOKOLOV, Rachel Anne. “Confession, Power and Gender in The French Lieutenant’s Women and Alias Grace (John Fowles, Margaret Atwood).” MA thesis. Truman State University, 2001. 91 pp. “Margaret Atwood’s Alias Grace and John Fowles’s The French Lieutenant’s Woman are modern novels that highlight the dynamics between two fictional 19th-century working class female social pariahs and their scientific gentleman saviors. The power differences between these ‘mad’ women and the men authorized to cure them illustrate that their cross-talk is what allows these ‘powerless’ women to subvert the traditional hierarchy of the therapeutic relationship…In Atwood’s novel, accused murderess Grace Marks controls her confession to Dr. Simon Jordan in a way that brings into question the ways we construct our personalities and see the world.” (Author). For more see MAI 39.05 (October 2001): 1292.
3101. STAELS, Hilde. “Margaret Atwood’s The Handmaid’s Tale: Resistance through Narrating.” Margaret Atwood’s The Handmaid’s Tale. Ed. Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. 113-126. Reprinted from “English Studies 76.5 (September 1995).”
Margaret Atwood Page 49