From the #1 New York Times bestselling author of The Handmaid's Tale One of Margaret Atwood’s most unforgettable characters lurks at the center of this intricate novel like a spider in a web. The glamorous, irresistible, unscrupulous Zenia is nothing less than a fairy-tale villain in the memories of her former friends. Roz, Charis, and Tony—university classmates decades ago—were reunited at Zenia’s funeral and have met monthly for lunch ever since, obsessively retracing the destructive swath she once cut through their lives. A brilliantly inventive fabulist, Zenia had a talent for exploiting her friends’ weaknesses, wielding intimacy as a weapon and cheating them of money, time, sympathy, and men. But one day, five years after her funeral, they are shocked to catch sight of Zenia: even her death appears to have been yet another fiction. As the three women plot to confront their larger-than-life nemesis, Atwood proves herself a gleefully acute observer of the treacherous shoals of friendship, trust, desire, and power.
Daring Debutantes, Book 1... When Victoria Barclay, privileged daughter of the Viscount Grantham, has a life-altering experience as a young girl, it sets the course for the rest of her life. She is determined to make a difference in the world, no matter the consequence, and becomes a highwayman-or woman, as it were-robbing the rich and donating her pilfered gains to the poor. Life-long friend and neighbor, Phineas Dartwell, Earl of Leyburn, suspects his dear friend is up to no good. She's become evasive, and even worse, he cares that she's become evasive. When she refuses to confide in him, claiming it's for his own good, he severs the friendship out of wounded pride and a wounded heart. But when Victoria's activities are brought to light in the eyes of the magistrate, Phineas must find a way to acquit his friend-and dare he hope, future wife?-of the charges.
Essay from the year 2018 in the subject Literature - Comparative Literature, , language: English, abstract: In her intertextual title with the German fairy tale number 40 collected by the Brothers Grimm under the title "The robber bridegroom", Margaret Atwood’s dystopian novel "The Robber Bride" presents the story of three Protagonists: Tony, Charis, and Roz. Through these three voices, Atwood discusses the problematic of the collective Gender Identity within the feminist discourse.
In my thesis, I focus on the role of feminism and the evil woman in Margaret Atwood's The Robber Bride. In the beginning, I briefly introduce second wave feminism and Atwood's relationship to it. In the next chapters, I analyze the novel's storyline and the narrative structure of the novel and how that impacts its interpretation. This overview is followed by a more in-depth analysis of all the main characters as well as the minor ones, where I focus on the effect of evil and the feminist aspects of their actions. Then I look into the supernatural elements of the novel. I also discuss the continuation of the novel in Atwood's subsequent short story "I Dream of Zenia with the Bright Red Teeth." In the conclusion, I summarize and present a comment on my previous analyses.
Examining Margaret Atwood's work in the context of the complex history of the Bildungsroman, Ellen McWilliams explores how the genre has been appropriated by women writers in the second half of the twentieth century. She demonstrates that Atwood's early work - her own 'coming of age' fiction, including unpublished works as well as The Edible Woman, Surfacing, and Lady Oracle - both engages with and works against the paradigms of identity which are traditionally associated with the genre. Making extensive use of unpublished manuscripts in the Atwood Collection at the University of Toronto, McWilliams uncovers influences that shaped Atwood's fashioning of identity in her early novels, paying particular attention to Atwood's preoccupation with survival as a key symbol of Canadian literature, culture, and identity. She also considers the genre's afterlife on display in Cat's Eye, The Robber Bride, Alias Grace, The Blind Assassin, and Moral Disorder, in which the formulations of selfhood and identity in Atwood's early fiction are revisited and developed. Atwood emerges as a writer who self-consciously invokes and then undercuts the traditions of the Bildungsroman, a turn that may be read as a means of at once interrogating and perpetuating the form. McWilliams's book furthers our understanding of subjectivity in Atwood's fiction and contributes to ongoing conversations about the role gender and cultural contexts play in reframing generic boundaries.
Looks at the dynamics of identification, envy, and idealization in fictional narratives by Margaret Atwood, Angela Carter, Sandra Cisneros, Toni Morrison, and others, as well as in nonfictional accounts of cross-race relations by white feminists and feminists of color.