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by Margaret Atwood
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Editorial Reviews
From Publishers Weekly
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.
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From School Library Journal
YA-- When Elaine Risley returns to her hometown, Toronto, for a retrospective show of her paintings, she finds more than critical acclaim. Local streets, long-gone landmarks, and elements in the paintings themselves trigger memories of her transient childhood traveling across Canada with her entomologist father; of adolescence marred by the cruel teasing of three friends; and of love affairs with her first art teacher and mentor, and with Jon, her first husband. In addition, Elaine is haunted by thoughts of her chief tormentor/best friend, Cordelia, whom she last saw years ago in a mental institution. Atwood's focus on the inner landscape of Elaine's youth and early adult years will appeal to older teenagers.
- Alice Conlon, University of Houston
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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.
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From School Library Journal
YA-- When Elaine Risley returns to her hometown, Toronto, for a retrospective show of her paintings, she finds more than critical acclaim. Local streets, long-gone landmarks, and elements in the paintings themselves trigger memories of her transient childhood traveling across Canada with her entomologist father; of adolescence marred by the cruel teasing of three friends; and of love affairs with her first art teacher and mentor, and with Jon, her first husband. In addition, Elaine is haunted by thoughts of her chief tormentor/best friend, Cordelia, whom she last saw years ago in a mental institution. Atwood's focus on the inner landscape of Elaine's youth and early adult years will appeal to older teenagers.
- Alice Conlon, University of Houston
Copyright 1989 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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18
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- Contemporary Canadian Women's Fiction: Refiguring Identities by Coral Ann Howells on page 34, Back Matter (1), and Back Matter (2)
- The Predicament of Postmodern Theology by Hyman in Back Matter (1), and Back Matter (2)
- Writing with Intent: Essays, Reviews, Personal Prose--1983-2005 by Margaret Atwood in Front Matter, and Back Matter
- Japan in Print: Information and Nation in the Early Modern Period (Asia: Local Studies / Global Themes) by Mary Elizabeth Berry on page 145, and Back Matter
- Civilized Assertiveness for Women: Communication with Backbone...not Bite by Judith Selee McClure in Back Matter (1), and Back Matter (2)
See all 18 books citing this book
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