Amazon.co.uk
Margaret Atwood charts the psychological process of memory as compulsion and memory as a healing act through the character of Elaine Risley, an artist who returns to her home town of Toronto for a retrospective of her work. Elaine's visit triggers thoughts of her childhood with all the urgency of a bad rash. Dominating her reflections are her childhood "friends", three girls who wreak havoc on Elaine's self-esteem. Having spent her early childhood on the road with an entomologist father, a less than traditional mother and a brother more concerned with snot and snakes than the intricate behaviour codes of girls, the young Elaine is vulnerable to the indirect aggression of Cordelia, the ringleader of the group who seeks to improve her. Through Elaine's experiences, Margaret Atwood turns a keen and ironic eye on the training of females in North American culture: "All I have to do is sit on the floor and cut frying pans out of the Eaton's Catalogue with embroidery scissors, and say I've done it badly." The self-effacement of these girl-children barely masks a need for power that erupts all too often in cruel forms of play. This is a story in which the lines between victims and oppressors blur, in which forgiveness becomes an act of gaining power. Through humour, pain and insight, she makes us see, with surprise and recognition, details from childhood we may well have forgotten. --Chris Kellett, From 500 Great Books by Women
--Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
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. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright 1989 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
