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Loading... The Blind Assassinby Margaret Atwood
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will love Sign up for LibraryThing to find out whether you'll like this book. I can't really describe the plot of this book, the simplest way would be 'an elderly lady looks back on her life'. But there's so much more to it than that, this book haunts be, my mind is drawn back to it again and again. (  )stephenmakin | Jul 7, 2009 |   I started this once before, several years back when it was just out in paperback, but somehow didn't manage to get more than a few chapters in. I think I found story within a story, alternating with newspaper articles and a seemingly almost unconnected narrative a bit confusing. This time I found the story compelling, told from both the end and the beginning and somewhere inbetween. She's such a good writer. ( )lnr_blair | Jul 7, 2009 | I have read a lot of MA - but for some reason this one fell off the radar. I had forgotten just how good Atwood's writing is. "Draggled celery" and hundreds of other examples. Sometimes large books by established writers, have something sticky and lazy at their core; this book may have had flaws - but I'm not asute enough to find them. At the end, you realise everything had a purpose. The interlevered sci-fi at first had me scratching my head, but at the end mostly with admiration, that someone would have found a way to mash up the genres. (  )rhondagrantham | Jul 4, 2009 | http://nwhyte.livejournal.com/1256590... A truly intriguing novel, folding together a sordid upper-class Canadian family history with pulp science fiction writing in the 1930s; layers of truth and fiction in the narrative which drew me in gradually and inexorably. Fascinating. ( )nwhyte | Jun 28, 2009 | This book was engaging and entertaining from the first word to the last. I loved entering into the world of Atwood's characters. Although the great "mystery" of the book wasn't exactly a mystery, it was still worth reading just to watch events unfold and see how the characters react and respond. A light but fun read - definitely recommended! (  )j.leigh.muller | Jun 24, 2009 | 0.048 seconds to build listing 
 Margaret Atwood poses a provocative question in her new novel, "The Blind Assassin." How much are the bad turns of one's life determined by things beyond our control, like sex and class, and how much by personal responsibility? Unlike most folks who raise this question so that they can wag their finger -- she's made her bed, and so on -- Atwood's foray into this moral terrain is complex and surprising. Far from preaching to the converted, Atwood's cunning tale assumes a like-minded reader only so that she can argue, quite persuasively, from the other side. In her tenth novel, Margaret Atwood again demonstrates that she has mastered the art of creating dense, complex fictions from carefully layered narratives, making use of an array of literary devices - flashbacks, multiple time schemes, ambiguous, indeterminate plots - and that she can hook her readers by virtue of her exceptional story-telling skills. The Blind Assassin is not a book that can easily be put to one side, in spite of its length and the fact that its twists and turns occasionally try the patience; yet it falls short of making the emotional impact that its suggestive and slippery plot at times promises.  In her ingenious new tale of love, rivalry, and deception, The Blind Assassin, Margaret Atwood interweaves several genres — a confessional memoir, a pulp fantasy novel, newspaper clippings — to tease out the secrets behind the 1945 death of 25-year-old socialite Laura Chase.  Nearly 20 years ago, in speaking of her craft, the novelist Margaret Atwood observed that ''a character in a book who is consistently well behaved probably spells disaster for the book.'' She might have asserted the more general principle that consistent anything in a character can prove tedious. If we apply the old Forsterian standard that round characters are ones ''capable of surprising in a convincing way,'' Atwood's new novel, for all its multilayered story-within-a-story-within-a-story construction, must be judged flat as a pancake. In ''The Blind Assassin,'' overlong and badly written, our first impressions of the dramatis personae prove not so much lasting as total. Margaret Atwood is the literary world’s greatest stunt woman. She leaps from heights, crashes through walls, and flies through flames that more prudent writers would never dare. The title of her latest book, The Blind Assassin, announces its recklessness right up front. It’s a killer novel, all right, but it can see exactly where it’s going, even when we can’t.
Amazon.com (ISBN 0385720955, Paperback)The Blind Assassin is a tale of two sisters, one of whom dies under ambiguous circumstances in the opening pages. The survivor, Iris Chase Griffen, initially seems a little cold-blooded about this death in the family. But as Margaret Atwood's most ambitious work unfolds--a tricky process, in fact, with several nested narratives and even an entire novel-within-a-novel--we're reminded of just how complicated the familial game of hide-and-seek can be:What had she been thinking of as the car sailed off the bridge, then hung suspended in the afternoon sunlight, glinting like a dragonfly, for that one instant of held breath before the plummet? Of Alex, of Richard, of bad faith, of our father and his wreckage; of God, perhaps, and her fatal, triangular bargain.Meanwhile, Atwood immediately launches into an excerpt from Laura Chase's novel, The Blind Assassin, posthumously published in 1947. In this double-decker concoction, a wealthy woman dabbles in blue-collar passion, even as her lover regales her with a series of science-fictional parables. Complicated? You bet. But the author puts all this variegation to good use, taking expert measure of our capacity for self-delusion and complicity, not to mention desolation. Almost everybody in her sprawling narrative manages to--or prefers to--overlook what's in plain sight. And memory isn't much of a salve either, as Iris points out: "Nothing is more difficult than to understand the dead, I've found; but nothing is more dangerous than to ignore them." Yet Atwood never succumbs to postmodern cynicism, or modish contempt for her characters. On the contrary, she's capable of great tenderness, and as we immerse ourselves in Iris's spliced-in memoir, it's clear that this buttoned-up socialite has been anything but blind to the chaos surrounding her. --Darya Silver (retrieved from Amazon Fri, 24 Apr 2009 07:58:12 -0400) The first test round has been closed. Visit the Open Shelves Classification group for details. |
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