When Margaret Atwood announced to her friends that she wanted to be a writer, she was only 16 years old. It was Canada. It was the 1950s. No one knew what to think. Nonetheless, Atwood began her writing career as a poet. Published In 1964 while she was still a student at Harvard, her second poetry anthology, The Circle Game, was awarded the Governor General's Award, one of Canada's most esteemed literary prizes. Since then, Atwood has gone on to publish many more volumes of poetry (as well as literary criticism, essays, and short stories), but it is her novels for which she is best known.
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Atwood's first foray into fiction was 1966's The Edible Woman, an arresting story about a woman who stops eating because she feels her life is consuming her. Grabbing the attention of critics, who applauded its startlingly original premise, the novel explored feminist themes Atwood has revisited time and time again during her long, prolific literary career. She is famous for strong, compelling female protagonists -- from the breast cancer survivor in Bodily Harm to the rueful artist in Cat's Eye to the fatefully intertwined sisters in her Booker Prize-winning novel The Blind Asassin.
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Perhaps Atwood's most legendary character is Offred, the tragic "breeder" in what is arguably her most famous book, 1985's The Handmaid's Tale. Part fable, part science fiction, and part dystopian nightmare, this novel presented a harrowing vision of women's lives in an oppressive futuristic society. The Washington Post compared it (favorably) to George Orwell's iconic 1984.
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As if her status as a multi-award-winning, triple-threat writer (fiction, poetry, and essays) were not enough, Atwood has also produced several children's books, including Princess Prunella and the Purple Peanut (1995) and Rude Ramsay and the Roaring Radishes (2003) -- delicious alliterative delights that introduce a wealth of new vocabulary to young readers.
In Homer’s account in The Odyssey, Penelope - wife of Odysseus and cousin of the beautiful Helen of Troy - is portrayed as the quintessential faithful wife, her story a salutary lesson through the ages. Left alone for twenty years when Odysseus goes off to fight in the Trojan war after the abduction of Helen, Penelope manages, in the face of scandalous rumours, to maintain the kingdom of Ithaca, bring up her wayward son, and keep over a hundred suitors at bay, simultaneously. When Odysseus finally comes home after enduring hardships, overcoming monsters and sleeping with goddesses, he kills her suitors and - curiously - twelve of her maids.
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In a splendid contemporary twist to the ancient story, Margaret Atwood has chosen to give the telling of it to Penelope and to her twelve hanged Maids, asking: "What led to the hanging of the maids, and what was Penelope really up to?" In Atwood’s dazzling, playful retelling, the story becomes as wise and compassionate as it is haunting, and as wildly entertaining as it is disturbing. With wit and verve, drawing on the storytelling and poetic talent for which she herself is renowned, she gives Penelope new life and reality - and sets out to provide an answer to an ancient mystery.
“我已是死人,因而無所不知。”不知道是否是巧閤,近來看的書大都是以如此的敘述開頭,《珀涅羅珀記》如此,《我的名字叫紅》也是如此(“如今我已是一個死人……”)。死亡後的靈魂成瞭最樂於講故事的存在,他們在那個開滿單一色調長春花的地方,注視著我們,然後嚮我們傾...
評分 評分雖然阿特伍德以用詞洗練,如同老練的傢庭主婦切分感恩節火雞一樣,可是這本書讀著就像一個聰明無處用的主婦的無日無夜的腹黑。 重寫的佩妮洛普故事很知識分子,錶現一:綜閤瞭荷馬史詩和Robert Graves的希臘神話企鵝版中的內容,講述瞭佩妮洛普齣嫁之前的故事,暗示瞭各種謠言...
撲哧!
评分看《奧德賽》的憤憤不平在看到本書奧德修斯即使逃到天涯海角也無法擺脫復仇的結局後有所緩解。古代的英雄史詩換一個女性角色視角解讀會異常有趣。感謝我的文學教授Ellen Rentz女士。
评分看《奧德賽》的憤憤不平在看到本書奧德修斯即使逃到天涯海角也無法擺脫復仇的結局後有所緩解。古代的英雄史詩換一個女性角色視角解讀會異常有趣。感謝我的文學教授Ellen Rentz女士。
评分撲哧!
评分撲哧!
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