January 1, 1989
Herself the daughter of a Canadian forest entomologist, Atwood writes in an autobiographical vein about Elaine Risley, a middle-aged Canadian painter (and daughter of a forest entomologist) who is thrust into an extended reconsideration of her past while attending a retrospective show of her work in Toronto, a city she had fled years earlier in order to leave behind painful memories. Most pointedly, Risley reflects on the strangeness of her long relations with Cordelia, a childhood friend whose cruelties, dealt lavishly to Risley, helped hone her awareness of our inveterate appetite for destruction even while we love, and are understood as characteristically femininea betrayal of other women that masks a ferocious betrayal of oneself. Atwood's portrayal of the friendship gives the novel its fraught and mysterious center, but her critical assessment of Cordelia and the ``whole world of girls and their doings'' also takes the measure of a coercive, conformist society (not quite as extreme as in the futuristic The Handmaid's Tale ). Emerging ``the stronger'' for her latecoming understanding of herself, Risley in the final pages rises above the ties that bound her, transcendently alive to the possibilities of ``light, shining out in the midst of nothing.'' BOMC main selection.
November 1, 1989
Atwood writes in an autobiographical vein about a middle-aged Canadian painter who is thrust into an extended reconsideration of her past, including one particularly strange friendship, while attending a retrospective of her work in Toronto. PW praised Atwood's incisiveness, saying that she ``takes the measure of a coercive, conformist society.''