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By Fiona Tolan

Margaret Atwood: Feminism and Fiction takes a brand new examine the complicated courting among Margaret Atwood's fiction and feminist politics. studying intimately the worries and offerings of an writer who has usually been termed feminist yet has famously rejected the label on many events, this publication strains the affects of feminism in Atwood's paintings and at the same time plots moments of dissent or debate. Fiona Tolan offers a transparent and special examine of the 1st 11 novels of 1 of Canada's so much trendy authors. every one bankruptcy might be learn as someone textual research, when the chronological constitution presents a desirable perception into the moving issues of a favored and influential writer over a interval of approximately thirty-five years.

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Extra resources for Margaret Atwood: Feminism and Fiction.

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Davidson and Cathy N. Davidson, Toronto, 1981, 131. 60 The Edible Woman 33 latter role culminates in the journey he and Marian take into the ravine, where Marian finally comes to understand what has been happening to her: What she really wanted, she realized, had been reduced to simple safety. She thought she had been heading towards it all these months but actually she hadn’t been getting anywhere. (263) In this scene Atwood unites the figures of the underworld guide and the psychoanalyst, but crucially, once Marian achieves her moment of insight, she also finds that she no longer needs either, and separates from Duncan: “Now that I was thinking of myself in the first person singular again, I found my own situation much more interesting than his” (278).

Early feminist readings of Freud were varied but largely negative. 32 Juliet Mitchell, however, made an important move towards reclaiming Freud for feminism with her book, Woman’s Estate (1971), in which she argued that feminists should not dismiss Freud because of the conservative direction in which his work had later been taken: “It is post-Freudian empiricism 30 Elaine Showalter, The Female Malady: Women, Madness and English Culture, 1830-1980, London, 1987, 129. 31 Kate Millett, Sexual Politics, London, 1971, 178.

This is the position from which the narrator of Surfacing begins her retreat into the forest. When she comes to believe that the friends she has brought with her to the island are perpetuating the corruption she fears, she hides from them until they eventually return to the mainland: “I am by myself; this is what I wanted: to stay here alone” (163). ”23 As she retreats from society, the narrator believes that, alone, she can overcome the alienation from her true self, symbolised by her lost memories, and recover her authenticity.

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