Margaret Atwood CC OOnt CH FRSC FRSL
Atwood in 2022
Born	Margaret Eleanor Atwood (1939-11-18) November 18, 1939 (age 85) Ottawa, Ontario, Canada
Education	University of Toronto (BA) Radcliffe College (MA)
Period	1961–present
Genre	Historical fiction speculative fiction climate fiction dystopian fiction
Notable works	Surfacing (1972) The Handmaid's Tale (1985) Cat's Eye (1988) Alias Grace (1996) The Blind Assassin (2000) Oryx and Crake (2003) The Testaments (2019)
Spouse	Jim Polk (m. 1968; div. 1973)
Partner	Graeme Gibson (1973–2019; his death)
Children	1
Signature

Atwood's voice From BBC Radio 4's Front Row, July 24, 2007^[1]
Website
margaretatwood.ca

Margaret Eleanor Atwood (born November 18, 1939) is a Canadian novelist, poet, literary critic, and an inventor. Since 1961, she has published 18 books of poetry, 18 novels, 11 books of nonfiction, nine collections of short fiction, eight children's books, two graphic novels, and a number of small press editions of both poetry and fiction. Her best-known work is the 1985 dystopian novel The Handmaid's Tale. Atwood has won numerous awards and honors for her writing, including two Booker Prizes, the Arthur C. Clarke Award, the Governor General's Award, the Franz Kafka Prize, Princess of Asturias Awards, and the National Book Critics and PEN Center USA Lifetime Achievement Awards.^[2] A number of her works have been adapted for film and television.

Atwood's works encompass a variety of themes including gender and identity, religion and myth, the power of language, climate change, and "power politics".^[3] Many of her poems are inspired by myths and fairy tales which interested her from a very early age.^[4]

Atwood is a founder of the Griffin Poetry Prize and the Writers' Trust of Canada. She is also a Senior Fellow of Massey College, Toronto. She is the inventor of the LongPen device and associated technologies that facilitate remote robotic writing of documents.^[5]^[6]^[7]^[8]^[9]^[10]

Early life and education

[edit]

Atwood was born on November 18, 1939,^[11] in Ottawa, Ontario, Canada, the second of three children^[12] of Carl Edmund Atwood, an entomologist,^[13] and Margaret Dorothy (née Killam), a former dietitian and nutritionist from Woodville, Nova Scotia.^[14] Because of her father's research in forest entomology, Atwood spent much of her childhood in the backwoods of northern Quebec,^[15] and traveling back and forth between Ottawa, Sault Ste. Marie and Toronto.

She did not attend school full-time until she was 12 years old. She became a voracious reader of literature, Dell pocketbook mysteries, Grimms' Fairy Tales, Canadian animal stories, and comic books. She attended Leaside High School in Leaside, Toronto, and graduated in 1957.^[16] Atwood began writing plays and poems at the age of 6.^[17]

As a child, she also participated in the Brownie program of Girl Guides of Canada. Atwood has written about her experiences in Girl Guides in several of her publications.^[18]

Atwood realized she wanted to write professionally when she was 16.^[19] In 1957, she began studying at Victoria College in the University of Toronto, where she published poems and articles in Acta Victoriana, the college literary journal, and participated in the sophomore theatrical tradition of The Bob Comedy Revue.^[20] Her professors included Jay Macpherson and Northrop Frye. She graduated in 1961 with a Bachelor of Arts in English (honours) and minors in philosophy and French.^[16]^: 54

In 1961, Atwood began graduate studies at Radcliffe College of Harvard University, with a Woodrow Wilson fellowship.^[21] She obtained a master's degree (MA) from Radcliffe in 1962 and pursued doctoral studies for two years, but did not finish her dissertation, The English Metaphysical Romance.^[22]

Personal life

[edit]

Atwood has a sister, Ruth Atwood, born in 1951, and a brother who is two years older, Harold Leslie Atwood.^[23] She has claimed that, according to her grandmother (maiden name Webster), the 17th-century witchcraft-lynching survivor Mary Webster might have been an ancestor: "On Monday, my grandmother would say Mary was her ancestor, and on Wednesday she would say she wasn't ... So take your pick."^[24] Webster is the subject of Atwood's poem "Half-Hanged Mary", as well as the subject of Atwood's dedication in her novel The Handmaid's Tale (1985).^[25] At the beginning The Handmaid's Tale was named after its main character, "Offred".^[26]

Atwood married Jim Polk, an American writer, in 1968, but they divorced in 1973.^[27]^[28] She formed a relationship with fellow novelist Graeme Gibson soon afterward and moved to a farm near Alliston, Ontario, where their daughter, Eleanor Jess Atwood Gibson, was born in 1976.^[27]

The family returned to Toronto in 1980.^[29] Atwood and Gibson were together until September 18, 2019, when Gibson died after suffering from dementia.^[30] She wrote about Gibson in the poem Dearly and in an accompanying essay on grief and poetry published in The Guardian in 2020.^[31] Atwood said about Gibson "He wasn't an egotist, so he wasn't threatened by anything I was doing. He said to our daughter towards the end of his life, 'Your mum would still have been a writer if she hadn't met me, but she wouldn't have had as much fun'".^[32]

Although she is an accomplished writer, Atwood says that she is "a terrible speller" who writes both on a computer and by hand.^[33]

Atwood maintains a summer home on Pelee Island in Lake Erie.^[34]

Career

[edit]

1960s

[edit]

Atwood's first book of poetry, Double Persephone, was published as a pamphlet by John Robert Colombo's Hawkshead Press in 1961, and won the E. J. Pratt Medal.^[35] While continuing to write, Atwood was a lecturer in English at the University of British Columbia, Vancouver, from 1964 to 1965, Instructor in English at the Sir George Williams University in Montreal from 1967 to 1968, and taught at the University of Alberta from 1969 to 1970.^[36] In 1966, The Circle Game was published, winning the Governor General's Award.^[37] This collection was followed by three other small press collections of poetry: Kaleidoscopes Baroque: a poem, Cranbrook Academy of Art (1965); Talismans for Children, Cranbrook Academy of Art (1965); and Speeches for Doctor Frankenstein, Cranbrook Academy of Art (1966); as well as The Animals in That Country (1968). Atwood's first novel, The Edible Woman, was published in 1969. As a social satire of North American consumerism, many critics have often cited the novel as an early example of the feminist concerns found in many of Atwood's works.^[38]

1970s

[edit]

Atwood taught at York University in Toronto from 1971 to 1972 and was a writer in residence at the University of Toronto during the 1972/1973 academic year.^[36]^{: xxix–xxx} Atwood published six collections of poetry over the course of the decade: The Journals of Susanna Moodie (1970), Procedures for Underground (1970), Power Politics (1971), You Are Happy (1974), Selected Poems 1965–1975 (1976), and Two-Headed Poems (1978). Atwood also published three novels during this time: Surfacing (1972); Lady Oracle (1976); and Life Before Man (1979), which was a finalist for the Governor General's Award.^[37] Surfacing, Lady Oracle, and Life Before Man, like The Edible Woman, explore identity and social constructions of gender as they relate to topics such as nationhood and sexual politics.^[39] In particular, Surfacing, along with her first non-fiction monograph, Survival: A Thematic Guide to Canadian Literature (1972), helped establish Atwood as an important and emerging voice in Canadian literature.^[40] In 1977 Atwood published her first short story collection, Dancing Girls, which was the winner of the St. Lawrence Award for Fiction and the award of The Periodical Distributors of Canada for Short Fiction.^[36]

By 1976, there was such interest in Atwood, her works, and her life that Maclean's declared her to be "Canada's most gossiped-about writer."^[41]

1980s

[edit]

Atwood's literary reputation continued to rise in the 1980s with the publication of Bodily Harm (1981); The Handmaid's Tale (1985), winner of the Arthur C. Clarke Award^[42] and 1985 Governor General's Award^[37] and finalist for the 1986 Booker Prize;^[43] and Cat's Eye (1988), finalist for both the 1988 Governor General's Award^[37] and the 1989 Booker Prize.^[44] Despite her distaste for literary labels, Atwood has since conceded to referring to The Handmaid's Tale as a work of science fiction or, more precisely, speculative fiction.^[45]^[46] As she has repeatedly noted, "There's a precedent in real life for everything in the book. I decided not to put anything in that somebody somewhere hadn't already done."^[47]

While reviewers and critics have been tempted to read autobiographical elements of Atwood's life in her work, particularly Cat's Eye,^[48]^[36]^: xxx in general Atwood resists the desire of critics to read too closely for an author's life in their writing.^[24] Filmmaker Michael Rubbo's Margaret Atwood: Once in August (1984)^[49] details the filmmaker's frustration in uncovering autobiographical evidence and inspiration in Atwood's works.^[50]

During the 1980s, Atwood continued to teach, serving as the MFA Honorary Chair at the University of Alabama in Tuscaloosa, 1985; the Berg Professor of English, New York University, 1986; Writer-in-Residence, Macquarie University, Australia, 1987; and Writer-in-Residence, Trinity University, San Antonio, Texas, 1989.^[36]^{: xxix–xxx} Regarding her stints with teaching, she has noted, "Success for me meant no longer having to teach at university."^[51]

1990s

[edit]

Atwood's reputation as a writer continued to grow with the publication of the novels The Robber Bride (1993), finalist for the 1994 Governor General's Award^[37] and shortlisted for the James Tiptree Jr. Award,^[52] and Alias Grace (1996), winner of the 1996 Giller Prize, finalist for the 1996 Booker Prize,^[53] finalist for the 1996 Governor General's Award,^[37] and shortlisted for the 1997 Orange Prize for Fiction.^[54] Although vastly different in context and form, both novels use female characters to question good and evil and morality through their portrayal of female villains. As Atwood noted about The Robber Bride, "I'm not making a case for evil behavior, but unless you have some women characters portrayed as evil characters, you're not playing with a full range."^[55] The Robber Bride takes place in contemporary Toronto, while Alias Grace is a work of historical fiction detailing the 1843 murders of Thomas Kinnear and his housekeeper Nancy Montgomery. Atwood had previously written the 1974 CBC made-for-TV film The Servant Girl, about the life of Grace Marks, the young servant who, along with James McDermott, was convicted of the crime.^[56] Atwood continued her poetry contributions by publishing Snake Woman in 1999 for the Women's Literature journal Kalliope.^[57]

2000s

[edit]

Novels

[edit]

In 2000, Atwood published her tenth novel, The Blind Assassin, to critical acclaim, winning both the Booker Prize^[58] and the Hammett Prize^[59] in 2000. The Blind Assassin was also nominated for the Governor General's Award in 2000,^[37] Orange Prize for Fiction, and the International Dublin Literary Award in 2002.^[60] In 2001, Atwood was inducted into Canada's Walk of Fame.^[61]

Atwood followed this success with the publication of Oryx and Crake in 2003, the first novel in a series that also includes The Year of the Flood (2009) and MaddAddam (2013), which would collectively come to be known as the MaddAddam Trilogy. The apocalyptic vision in the MaddAddam Trilogy engages themes of genetic modification, pharmaceutical and corporate control, and man-made disaster.^[62] As a work of speculative fiction, Atwood notes of the technology in Oryx and Crake, "I think, for the first time in human history, we see where we might go. We can see far enough into the future to know that we can't go on the way we've been going forever without inventing, possibly, a lot of new and different things."^[63] She later cautions in the acknowledgements to MaddAddam, "Although MaddAddam is a work of fiction, it does not include any technologies or bio-beings that do not already exist, are not under construction or are not possible in theory."^[64]

In 2005, Atwood published the novella The Penelopiad as part of the Canongate Myth Series. The story is a retelling of The Odyssey from the perspective of Penelope and a chorus of the twelve maids murdered at the end of the original tale. The Penelopiad was given a theatrical production in 2007.^[65]

In 2016, Atwood published the novel Hag-Seed, a modern-day retelling of Shakespeare's The Tempest, as part of Penguin Random House's Hogarth Shakespeare Series.^[66]

On November 28, 2018, Atwood announced that she would publish The Testaments, a sequel to The Handmaid's Tale, in September 2019.^[67] The novel features three female narrators and takes place fifteen years after the character Offred's final scene in The Handmaid's Tale. The book was the joint winner of the 2019 Booker Prize.^[68]

Nonfiction

[edit]

In 2008, Atwood published Payback: Debt and the Shadow Side of Wealth, a collection of five lectures delivered as part of the Massey Lectures from October 12 to November 1, 2008. The book was released in anticipation of the lectures, which were also recorded and broadcast on CBC Radio One's Ideas.^[69]

Chamber opera

[edit]

In March 2008, Atwood accepted a chamber opera commission. Commissioned by City Opera of Vancouver, Pauline is set in Vancouver in March 1913 during the final days of the life of Canadian writer and performer Pauline Johnson.^[70] Pauline, composed by Tobin Stokes with libretto by Atwood, premiered on May 23, 2014, at Vancouver's York Theatre.^[71]

Graphic fiction

[edit]

In 2016, Atwood began writing the superhero comic book series Angel Catbird, with co-creator and illustrator Johnnie Christmas. The series protagonist, scientist Strig Feleedus, is victim of an accidental mutation that leaves him with the body parts and powers of both a cat and a bird.^[72] As with her other works, Atwood notes of the series, "The kind of speculative fiction about the future that I write is always based on things that are in process right now. So it's not that I imagine them, it's that I notice that people are working on them and I take it a few steps further down the road. So it doesn't come out of nowhere, it comes out of real life."^[73]

Future Library project

[edit]

With her novel Scribbler Moon, Atwood is the first contributor to the Future Library project.^[74] The work, completed in 2015, was ceremonially handed over to the project on May 27 of the same year.^[75] The book will be held by the project until its eventual publishing in 2114. She thinks that readers will probably need a paleo-anthropologist to translate some parts of her story.^[76] In an interview with the Guardian newspaper, Atwood said, "There's something magical about it. It's like Sleeping Beauty. The texts are going to slumber for 100 years and then they'll wake up, come to life again. It's a fairytale length of time. She slept for 100 years."^[75]

Invention of the LongPen

[edit]

In early 2004, while on the paperback tour in Denver for her novel Oryx and Crake, Atwood conceived the concept of a remote robotic writing technology, what would later be known as the LongPen, that would enable a person to remotely write in ink anywhere in the world via tablet PC and the Internet, thus allowing her to conduct her book tours without being physically present. She quickly founded a company, Unotchit Inc., to develop, produce and distribute this technology. By 2011, the company shifted its market focus into business and legal transactions and was producing a range of products, for a variety of remote writing applications, based on the LongPen technologies. In 2013, the company renamed itself to Syngrafii Inc. In 2021, it is cloud-based and offers electronic signature technology. As of May 2021, Atwood is still a director of Syngrafii Inc. and holder of various patents related to the LongPen and related technology.^[5]^[6]^[7]^[8]^[9]^[10]

Poetry

[edit]

In November 2020 Atwood published Dearly, a collection of poems exploring absences and endings, ageing and retrospection, and gifts and renewals.^[77] The central poem, Dearly, was also published in The Guardian newspaper along with an essay exploring the passing of time, grief, and how a poem belongs to the reader; this is accompanied by an audio recording of Atwood reading the poem on the newspaper's website.^[31]

Recurring themes and cultural contexts

[edit]

Theory of Canadian identity

[edit]

Atwood's contributions to the theorizing of Canadian identity have garnered attention both in Canada and internationally. Her principal work of literary criticism, Survival: A Thematic Guide to Canadian Literature, is considered somewhat outdated, but remains a standard introduction to Canadian literature in Canadian studies programs internationally.^[78]^[79]^[80] Writer and academic Joseph Pivato has criticised the continued reprinting of Survival by Anansi Press as a view-narrowing disservice to students of Canadian literature.^[81]

In Survival, Atwood postulates that Canadian literature, and by extension Canadian identity, is characterized by the symbol of survival.^[82] This symbol is expressed in the omnipresent use of "victim positions" in Canadian literature. These positions represent a scale of self-consciousness and self-actualization for the victim in the "victor/victim" relationship.^[83] The "victor" in these scenarios may be other humans, nature, the wilderness or other external and internal factors which oppress the victim.^[83] Atwood's Survival bears the influence of Northrop Frye's theory of garrison mentality; Atwood uses Frye's concept of Canada's desire to wall itself off from outside influence as a critical tool to analyze Canadian literature.^[84] According to her theories in works such as Survival and her exploration of similar themes in her fiction, Atwood considers Canadian literature as the expression of Canadian identity. According to this literature, Canadian identity has been defined by a fear of nature, by settler history, and by unquestioned adherence to the community.^[85] In an interview with the Scottish critic Bill Findlay in 1979, Atwood discussed the relationship of Canadian writers and writing to the 'Imperial Cultures' of America and Britain.^[86]

Atwood's contribution to the theorizing of Canada is not limited to her non-fiction works. Several of her works, including The Journals of Susanna Moodie, Alias Grace, The Blind Assassin and Surfacing, are examples of what postmodern literary theorist Linda Hutcheon calls "historiographic metafiction".^[87] In such works, Atwood explicitly explores the relation of history and narrative and the processes of creating history.^[88]

Among her contributions to Canadian literature, Atwood is a founding trustee of the Griffin Poetry Prize,^[89] as well as a founder of the Writers' Trust of Canada, a non-profit literary organization that seeks to encourage Canada's writing community.^[90] She has called Mona Awad, a Canadian novelist and short-story writer, her "literary heir apparent".^[91]

Feminism

[edit]

Atwood's work has been of interest to feminist literary critics, despite Atwood's unwillingness at times to apply the label 'feminist' to her works.^[92] Starting with the publication of her first novel, The Edible Woman, Atwood asserted, "I don't consider it feminism; I just consider it social realism."^[93]

Despite her rejection of the label at times, critics have analyzed the sexual politics, use of myth and fairytale, and gendered relationships in Atwood's work through the lens of feminism.^[94] Before the 1985 publication of The Handmaid's Tale, Atwood gave an interview to feminist theorist Elizabeth Meese in which she defined feminism as a "belief in the rights of women" and averred that "if practical, hardline, anti-male feminists took over and became the government, I would resist them."^[95] In 2017, she clarified her discomfort with the label feminism by stating, "I always want to know what people mean by that word [feminism]. Some people mean it quite negatively, other people mean it very positively, some people mean it in a broad sense, other people mean it in a more specific sense. Therefore, in order to answer the question, you have to ask the person what they mean."^[96] Speaking to The Guardian, she said "For instance, some feminists have historically been against lipstick and letting transgender women into women's washrooms. Those are not positions I have agreed with",^[97] a position she repeated to The Irish Times.^[98]^[99] In an interview with Penguin Books, Atwood stated that the driving question throughout her writing of The Handmaid's Tale was "If you were going to shove women back into the home and deprive them of all of these gains that they thought they had made, how would you do it?", but related this question to totalitarianism, not feminism.^[100]

In January 2018, Atwood penned the op-ed "Am I a Bad Feminist?" for The Globe and Mail.^[101] The piece was in response to social media backlash related to Atwood's signature on a 2016 petition calling for an independent investigation into the firing of Steven Galloway, a former University of British Columbia professor accused of sexual harassment and assault by a student.^[102] While feminist critics denounced Atwood for her support of Galloway, Atwood asserted that her signature was in support of due process in the legal system. She has been criticized for her comments surrounding the #MeToo movement, particularly that it is a "symptom of a broken legal system".^[103]

In 2018, following a partnership between Hulu's adaptation of The Handmaid's Tale and women's rights organisation Equality Now, Atwood was honored at their 2018 Make Equality Reality Gala.^[104] In her acceptance speech she said:

I am, of course, not a real activist—I'm simply a writer without a job who is frequently asked to speak about subjects that would get people with jobs fired if they themselves spoke. You, however, at Equality Now are real activists. I hope people will give Equality Now lots and lots of money, today, so they can write equal laws, enact equal laws and see that equal laws are implemented. That way, in time, all girls may be able to grow up believing that there are no avenues that are closed to them simply because they are girls.^[104]

In 2019, Atwood partnered with Equality Now for the release of The Testaments.^[105]

Speculative and science fiction

[edit]

Atwood has resisted the suggestion that The Handmaid's Tale and Oryx and Crake are science fiction, suggesting to The Guardian in 2003 that they are speculative fiction: "Science fiction has monsters and spaceships; speculative fiction could really happen."^[27] She told the Book of the Month Club: "Oryx and Crake is a speculative fiction, not a science fiction proper. It contains no intergalactic space travel, no teleportation, no Martians."^[106] On BBC Breakfast, she explained that science fiction, as opposed to what she herself wrote, was "talking squids in outer space." The latter phrase particularly rankled advocates of science fiction and frequently recurs when her writing is discussed.^[106]

In 2005, Atwood said that she did at times write social science fiction and that The Handmaid's Tale and Oryx and Crake could be designated as such. She clarified her meaning on the difference between speculative and science fiction, admitting that others used the terms interchangeably: "For me, the science fiction label belongs on books with things in them that we can't yet do ... Speculative fiction means a work that employs the means already to hand and that takes place on Planet Earth." She said that science fiction narratives give a writer the ability to explore themes in ways that realistic fiction cannot.^[107]

Atwood further clarified her definitions of terms in 2011, in a discussion with science fiction author Ursula K. Le Guin: "What Le Guin means by 'science fiction' is what I mean by 'speculative fiction', and what she means by 'fantasy' would include what I mean by 'science fiction'."^[108] She added that genre borders were increasingly fluid, and that all forms of "SF" might be placed under a common umbrella.^[108]

Reception

[edit]

In 2024 the Republican-dominated Utah Legislature passed a law^[109] mandating the removal of books deemed objectionable from all Utah public schools. On August 2, 2024, the Utah State School Board released its first list of objectionable books. One book on this list was penned by Atwood (Oryx and Crake).^[110]^[111]

Animal rights

[edit]

Atwood repeatedly makes observations about the relationships of humans to animals in her works.^[112] A large portion of the dystopia Atwood creates in Oryx and Crake concerns the genetic modification and alteration of animals and humans, resulting in hybrids such as pigoons, rakunks, wolvogs and Crakers, raising questions on the limits and ethics of science and technology, and on what it means to be human.^[113]

In Surfacing, one character remarks about eating animals: "The animals die that we may live, they are substitute people ... And we eat them, out of cans or otherwise; we are eaters of death, dead Christ-flesh resurrecting inside us, granting us life." Some characters in her books link sexual oppression to meat-eating and consequently give up meat-eating. In The Edible Woman, Atwood's character Marian identifies with hunted animals and cries after hearing her fiancé's experience of hunting and eviscerating a rabbit. Marian stops eating meat but then later returns to it.^[114]

In Cat's Eye, the narrator recognizes the similarity between a turkey and a baby. She looks at "the turkey, which resembles a trussed, headless baby. It has thrown off its disguise as a meal and has revealed itself to me for what it is, a large dead bird." In Atwood's Surfacing, a dead heron represents purposeless killing and prompts thoughts about other senseless deaths.^[114]

Atwood is a pescetarian. In a 2009 interview she stated that "I shouldn't use the term vegetarian because I'm allowing myself gastropods, crustaceans and the occasional fish. Nothing with fur or feathers though".^[115]

Political involvement

[edit]

Atwood has indicated in an interview that she considers herself a Red Tory in what she sees as the historical sense of the term, saying that "The Tories were the ones who believed that those in power had a responsibility to the community, that money should not be the measure of all things."^[116] She has also stated on Twitter that she is a monarchist.^[117] In the 2008 federal election, she attended a rally for the Bloc Québécois, a Quebec pro-independence party, because of her support for their position on the arts; she said she would vote for the party if she lived in Quebec, and that the choice was between the Bloc and the Conservatives.^[118] In an editorial in The Globe and Mail, she urged Canadians to vote for any party other than the Conservatives to prevent them gaining a majority.^[119]

Atwood has strong views on environmental issues, and she and Graeme Gibson were the joint honorary presidents of the Rare Bird Club within BirdLife International. Atwood celebrated her 70th birthday at a gala dinner at Laurentian University in Sudbury, Ontario. She stated that she had chosen to attend the event because the city has been home to one of Canada's most ambitious environmental reclamation programs: "When people ask if there's hope (for the environment), I say, if Sudbury can do it, so can you. Having been a symbol of desolation, it's become a symbol of hope."^[120] Atwood has been chair of the Writers' Union of Canada and helped to found the Canadian English-speaking chapter of PEN International, a group originally started to free politically imprisoned writers.^[121] She held the position of PEN Canada president in the mid 1980s^[122] and was the 2017 recipient of the PEN Center USA's Lifetime Achievement Award.^[123] Despite calls for a boycott by Gazan students, Atwood visited Israel and accepted the $1,000,000 Dan David Prize along with Indian author Amitav Ghosh at Tel Aviv University in May 2010. Atwood commented that "we don't do cultural boycotts."^[124]

In her dystopian novel The Handmaid's Tale (1985), all the developments take place near Boston in the United States, now known as Gilead, while Canada is portrayed as the only hope for an escape. To some this reflects her status of being "in the vanguard of Canadian anti-Americanism of the 1960s and 1970s".^[125] Critics have seen the mistreated Handmaid as Canada.^[126] During the debate in 1987 over a free-trade agreement between Canada and the United States, Atwood spoke out against the deal and wrote an essay opposing it.^[127] She said that the 2016 United States presidential election led to an increase in sales of The Handmaid's Tale.^[128] Amazon reported that The Handmaid's Tale was the most-read book of 2017.^[129] The Handmaid's Tale sequel, The Testaments, also saw a rapid increase of sales immediately following the 2024 United States presidential election, with The Handmaid's Tale reaching third in Amazon's bestseller's list. Following this election, Atwood wrote on X, "Despair is not an option. It helps no one."^[130]^[131]

TV cameos

[edit]

In 2024, Atwood had a cameo in a season 17 episode of Murdoch Mysteries as Lorin Quinelle, an amateur ornithologist.^[132]

Activism

[edit]

In 2018, Atwood signed an appeal of the American PEN Center in defense of Ukrainian director Oleg Sentsov, a political prisoner in Russia.^[133]

In July 2020, Atwood was one of the 153 signers of the "Harper's Letter" (also known as "A Letter on Justice and Open Debate") that expressed concern that "the free exchange of information and ideas, the lifeblood of a liberal society, is daily becoming more constricted."^[134]

On February 24, 2022, Atwood briefly covered the war in Ukraine at the time of the Russian invasion of Ukraine, and published a link to the state aid fund on Twitter.^[135]^[136] She continues to publish information about the war in Ukraine on the social network.^[137]

Adaptations

[edit]

Atwood's novel Surfacing (1972) was adapted into a 1981 film of the same name written by Bernard Gordon and directed by Claude Jutra.^[138] It received poor reviews; one reviewer wrote that it made "little attempt to find cinematic equivalents for the admittedly difficult subjective and poetic dimensions of the novel."^[139]

Atwood's novel The Handmaid's Tale (1985) has been adapted several times. A 1990 film, directed by Volker Schlöndorff, with a screenplay by Harold Pinter, received mixed reviews.^[140]^[141] A musical adaptation resulted in the 2000 opera, written by Poul Ruders, with a libretto by Paul Bentley. It premiered at the Royal Danish Opera in 2000, and was staged in 2003 at London's English National Opera and the Minnesota Opera.^[142] Boston Lyric Opera mounted a production in May 2019, described by The New York Times as "a triumph".^[143] A television series by Bruce Miller began airing on the streaming service Hulu in 2017.^[144] The first season of the show earned eight Emmys in 2017, including Outstanding Drama Series. Season two premiered on April 25, 2018, and it was announced on May 2, 2018, that Hulu had renewed the series for a third season.^[145] Atwood appears in a cameo in the first episode as one of the Aunts at the Red Center.^[146] In 2019, a graphic novel (ISBN 9780224101936) based on the book and with the same title was published by Renée Nault.

In 2003, six of Atwood's short stories were adapted by Shaftesbury Films for the anthology television series The Atwood Stories.^[147]

Atwood's 2008 Massey Lectures were adapted into the documentary Payback (2012), by director Jennifer Baichwal.^[148] Commentary by Atwood and others such as economist Raj Patel, ecologist William Reese, and religious scholar Karen Armstrong, are woven into various stories that explore the concepts of debt and payback, including an Armenian blood feud, agricultural working conditions, and the Deepwater Horizon oil spill.^[149]

The novel Alias Grace (1996) was adapted into a six-part 2017 miniseries directed by Mary Harron and adapted by Sarah Polley. It premiered on CBC on September 25, 2017, and the full series was released on Netflix on November 3, 2017.^[150]^[151]^[152] Atwood makes a cameo in the fourth episode of the series as a disapproving churchgoer.^[153]

In the Wake of the Flood (released in October 2010), a documentary film by the Canadian director Ron Mann, followed Atwood on the unusual book tour for her novel The Year of the Flood (2009). During this innovative book tour, Atwood created a theatrical version of her novel, with performers borrowed from the local areas she was visiting. The documentary is described as "a fly-on-the-wall film vérité".^[154]

Atwood's children's book Wandering Wenda and Widow Wallop's Wunderground Washery (2011) was adapted into the children's television series The Wide World of Wandering Wenda, broadcast on CBC beginning in the spring of 2017.^[155] Aimed at early readers, the animated series follows Wenda and her friends as they navigate different adventures using words, sounds, and language.^[155]

Director Darren Aronofsky had been slated to direct an adaptation of the MaddAddam trilogy for HBO, but it was revealed in October 2016 that HBO had dropped the plan from its schedule. In January 2018, it was announced that Paramount Television and Anonymous Content had bought the rights to the trilogy and would be producing it without Aronofsky.^[156]

Awards and honours

[edit]

Atwood holds numerous honorary degrees from various institutions, including The Sorbonne, NUI Galway as well as Oxford and Cambridge universities.^[157]

Awards

Governor General's Award, 1966, 1985^[158]
Toronto Book Awards, 1977, 1989
Companion of the Order of Canada, 1981^[159]
Guggenheim fellowship, 1981^[160]
Los Angeles Times Fiction Award, 1986^[161]
American Humanist Association Humanist of the Year, 1987^[162]
Nebula Award, 1986 and Prometheus Award, 1987 and 2020 nominations, both science fiction awards.^[163]^[164]
Arthur C. Clarke Award for best Science Fiction, 1987^[165]
Foreign Honorary Member of the American Academy of Arts and Sciences, 1988^[166]
Canadian Booksellers Association Author of the Year, 1989
Outstanding Canadian Award – Armenian Community Centre of Toronto, 1989^[167]
Order of Ontario, 1990^[168]
Trillium Book Award, 1991, 1993, 1995^[169]
Giller Prize, 1996
Government of France's Chevalier dans l'Ordre des Arts et des Lettres, 1994^[170]
Helmerich Award, 1999, by the Tulsa Library Trust.^[171]
Booker Prize, 2000, 2019^[172]^[68]
Hammett Prize, 2000
Kenyon Review Award for Literary Achievement, 2007^[173]
Prince of Asturias Award for Literature, 2008^[174]
Fellow Royal Society of Literature, 2010
Nelly Sachs Prize, Germany, 2010^[175]
Dan David Prize, Israel, 2010^[176]
Queen Elizabeth II Diamond Jubilee Medal, Canada, 2012^[177]
Los Angeles Times Book Prize "Innovator's Award", 2012^[178]
Royalty Society of Literature's "Companions of Literature" award, 2012^[179]
Audie Award for Fiction, 2013
Gold medal of the Royal Canadian Geographical Society, 2015^[180]
Crime Writers of Canada Awards of Excellence, 2015
Golden Wreath of Struga Poetry Evenings, Macedonia, 2016^[181]
Ivan Sandrof Lifetime Achievement Award, 2016
PEN Pinter Prize, 2016
Tähtivaeltaja Award 2016, 2020
Franz Kafka Prize, Czech Republic, 2017^[182]
St. Louis Literary Award, 2017
Aurora Awards, 2017
Peace Prize of the German Book Trade, Germany, 2017^[183]
Lorne Pierce Medal, 2018
Member of the Order of the Companions of Honour, 2019^[184]
Goodreads Choice Awards, 2013,^[185] 2019,^[186] 2020^[187]
The Center for Fiction, 2019^[188]
Galaxy Award, China, 2019
Dayton Literary Peace Prize, 2020^[189]
British Book Awards, 2020
Kurd Laßwitz Award, 2020
Australian Book Industry Awards, 2020
British Academy President's Medal, 2020^[190]
Emerson-Thoreau Medal (2020)
Officer's Cross of the Order of Merit of the Federal Republic of Germany^[191]
Hitchens Prize (2022)^[192]
Hans Christian Andersen Literature Award (2024)

Honorary degrees

Trent University, 1973^[193]
Queen's University, 1974^[194]
Concordia University, 1979^[195]
Smith College, 1982^[196]
University of Toronto, 1983^[197]
University of Waterloo, 1985^[198]
University of Guelph, 1985^[199]
Mount Holyoke College, 1985^[200]
Victoria College, 1987^[201]
Université de Montréal, 1991^[202]
University of Leeds, 1994^[170]
McMaster University, 1996^[203]
Lakehead University, 1998^[204]
University of Oxford, 1998^[205]
Algoma University, 2001^[206]
University of Cambridge, 2001^[50]
Dartmouth College, 2004^[207]
Harvard University, 2004^[208]
Université de la Sorbonne Nouvelle, 2005^[209]
National University of Ireland, Galway, 2011^[210]
Ryerson University, 2012^[211]
Royal Military College of Canada (LLD), November 16, 2012^[212]
University of Athens, 2013^[213]
University of Edinburgh, 2014^[214]
Universidad Autónoma de Madrid, 2017
University of St Andrews, 2023^[215]

Works

[edit]

Summary Bibliography^[216]

Novels

The Edible Woman (1969)
Surfacing (1972)
Lady Oracle (1976)
Life Before Man (1979, finalist for the Governor General's Award)
Bodily Harm (1981)
The Handmaid's Tale (1985, winner of the 1987 Arthur C. Clarke Award and 1985 Governor General's Award, finalist for the 1986 Booker Prize)
Cat's Eye (1988, finalist for the 1988 Governor General's Award and the 1989 Booker Prize)
The Robber Bride (1993, finalist for the 1994 Governor General's Award and shortlisted for the James Tiptree Jr. Award)
Alias Grace (1996, winner of the 1996 Giller Prize, finalist for the 1996 Booker Prize and the 1996 Governor General's Award, shortlisted for the 1997 Orange Prize for Fiction)
The Blind Assassin (2000, winner of the 2000 Booker Prize and finalist for the 2000 Governor General's Award, shortlisted for the 2001 Orange Prize for Fiction.)
Oryx and Crake (2003, finalist for the 2003 Booker Prize and the 2003 Governor General's Award and shortlisted for the 2004 Orange Prize for Fiction.)
The Penelopiad (2005, nominated for the 2006 Mythopoeic Fantasy Award for Adult Literature and longlisted for the 2007 International Dublin Literary Award)
The Year of the Flood (2009, Oryx and Crake companion, longlisted for the 2011 International Dublin Literary Award)
MaddAddam (2013) (Third novel in Oryx and Crake trilogy)
Scribbler Moon (written in 2014 as part of the Future Library project; will remain unpublished until 2114)^[75]
The Heart Goes Last (2015) (Winner of the 2015 Red Tentacle award)
Hag-Seed (2016) (Longlisted for the 2017 Women Prize for Fiction)
The Testaments (2019, joint winner of the 2019 Booker Prize)^[217]

Short fiction collections

Dancing Girls (1977, winner of the St. Lawrence Award for Fiction and the award of The Periodical Distributors of Canada for Short Fiction)
Murder in the Dark (1983)
Bluebeard's Egg (1983)
Wilderness Tips (1991, finalist for the Governor General's Award)
Good Bones (1992)
Good Bones and Simple Murders (1994)
The Labrador Fiasco (1996)
The Tent (2006)
Moral Disorder (2006)
Stone Mattress (2014)
Old Babes in the Wood (2023)

Poetry collections

Double Persephone (1961)
The Circle Game (1964, winner of the 1966 Governor General's Award)
Expeditions (1965)
Speeches for Doctor Frankenstein (1966)
The Animals in That Country (1968)
The Journals of Susanna Moodie (1970)
Procedures for Underground (1970)
Power Politics (1971)
You Are Happy (1974) Includes the poem Song of the Worms
Selected Poems (1976)
Two-Headed Poems (1978)
True Stories (1981)
Snake Poems (1983)^[218]
Interlunar (1984)
Selected Poems 1966–1984 (Canada)
Selected Poems II: 1976–1986 (US)
Morning in the Burned House, McClelland & Stewart (1995)
Eating Fire: Selected Poems, 1965–1995 (UK,1998)
- "You Begin." (1978) – as recited by Margaret Atwood; included in all three most recent editions of her "Selected Poems" as listed above (US, CA, UK)
The Door (2007)
Dearly (2020)^[219]
Paper Boat: New and Selected Poems: 1961-2023 (2024)

E-books

I'm Starved For You: Positron, Episode One (2012)
Choke Collar: Positron, Episode Two (2012)
Erase Me: Positron, Episode Three (2013)
The Heart Goes Last: Positron, Episode Four (2013)
The Happy Zombie Sunrise Home (2013) (with Naomi Alderman)^[220]
My Evil Mother (2022)
Cut and Thirst (2024)

Anthologies edited

The New Oxford Book of Canadian Verse (1982)
The Canlit Foodbook (1987)
The Oxford Book of Canadian Short Stories in English (1988)
The Best American Short Stories 1989 (1989) (with Shannon Ravenel)
The New Oxford Book of Canadian Short Stories in English (1995)

Children's books

Up in the Tree (1978)
Anna's Pet (1980) (with Joyce C. Barkhouse)
For the Birds (1990) (with Shelly Tanaka)
Princess Prunella and the Purple Peanut (1995)
Rude Ramsay and the Roaring Radishes (2003)
Bashful Bob and Doleful Dorinda (2006)
Wandering Wenda and Widow Wallop's Wunderground Washery (2011);^[221] inspired a cartoon series called Wandering Wenda in 2016.

Non-fiction

Survival: A Thematic Guide to Canadian Literature (1972)
Days of the Rebels 1815–1840 (1977)
Second Words: Selected Critical Prose (1982)
Through the One-Way Mirror (1986)
Strange Things: The Malevolent North in Canadian Literature (1995)
Negotiating with the Dead: A Writer on Writing (2002)
Moving Targets: Writing with Intent, 1982–2004 (2004)
Writing with Intent: Essays, Reviews, Personal Prose 1983–2005 (2005)
Payback: Debt and the Shadow Side of Wealth (2008)
In Other Worlds: SF and the Human Imagination (2011)
On Writers and Writing (2015)
Burning Questions: Essays & Occasional Pieces 2004-2021 (2022)
Book of Lives: A Memoir of Sorts (2025)^[222]

Drawings

Kanadian Kultchur Komix featuring "Survivalwoman" in This Magazine under the pseudonym, Bart Gerrard 1975–1980
Others appear on her website.

Comics

Angel Catbird (#1–3), with Johnnie Christmas and Tamra Bonvillain (2016)
War Bears (#1–3), with Ken Steacy (2018)

Television scripts

The Servant Girl (1974)
Snowbird (1981)^[223]
Heaven on Earth (1987)

Libretti

The Trumpets of Summer^{[broken anchor]} (1964) (with composer John Beckwith)
Frankenstein Monster Song (2004, with rock band One Ring Zero)^[224]
"Pauline", a chamber opera in two acts, with composer Tobin Stokes for City Opera Vancouver (2014)

Audio recordings

The Poetry and Voice of Margaret Atwood (1977)
Margaret Atwood Reads "Unearthing Suite" (1985)
Margaret Atwood Reading From Her Poems (2005)
Margaret Atwood as herself in Zombies, Run, as a surviving radio operator in themes.

Filmography

She is credited as herself in all 26 episodes of the Breakthrough Entertainment's children's show The Wide World of Wandering Wenda in which she wears funny hats to match the various themes (2017)

See also

[edit]

References

[edit]

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^ ^a ^b Burkeman, Oliver (March 6, 2006). "Atwood sign of the times draws blank". The Guardian. Archived from the original on May 24, 2017. Retrieved December 12, 2016 – via www.theguardian.com.
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^ Lisa Allardice, Margaret Atwood: 'I am not a prophet. Science fiction is really about now' Archived January 21, 2018, at the Wayback Machine, in The Guardian, January 20, 2018.
^ Catherine Conroy, Margaret Atwood: 'When did it become the norm to expect a porn star on the first date?' Archived September 30, 2018, at the Wayback Machine, in The Irish Times, March 1, 2018.
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^ ^a ^b Langford, David, "Bits and Pieces", SFX magazine No. 107, August 2003. Archived August 20, 2009, at the Wayback Machine
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^ ^a ^b Atwood, Margaret (2011). "Introduction". In Other Worlds: SF and the Human Imagination. Knopf Doubleday. pp. 6–8. ISBN 978-0-385-53397-3. Archived from the original on March 23, 2023. Retrieved March 19, 2023.
^ Libbey Hanson (March 29, 2024). "Book Banning Bill H.B. 29". The Daily Utah Chronicle. Retrieved August 2, 2024.
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^ Vogt, Kathleen (1988). "Real and Imaginary Animals in the Poetry of Margaret Atwood". In VanSpanckeren, Kathryn; Castro, Jan Garden (eds.). Margaret Atwood: Vision and Forms. Ad Feminam: Women and Literature. Carbondale, IL: Southern Illinois University Press. p. 164. ISBN 0585106290. OCLC 43475939.
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^ ^a ^b Carol J. Adams. 2006. The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory. The Continuum International Publishing Group. pp. 141–142, 152, 195, 197.
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^ https://www.thebookseller.com/rights/chatto-windus-to-publish-margaret-atwoods-landmark-memoir-in-november-2025 Chatto & Windus to publish Margaret Atwood's 'landmark' memoir in November 2025
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Further reading

[edit]

Bauch, Marc (2012). Canadian Self-perception and Self-representation in English-Canadian Drama After 1967. Köln, Germany: WiKu-Wissenschaftsverlag Dr. Stein. ISBN 978-3-86553-407-1.
Carrington, Ildikó de Papp (1986). Margaret Atwood and Her Works. Toronto, Ontario: ECW Press. ISBN 978-0-920763-25-4.
Clements, Pam (2011). "Margaret Atwood and Chaucer: Truth and Lies". In Utz, Richard; Emery, Elizabeth (eds.). Cahier Calin: Makers of the Middle Ages. Essays in Honor of William Calin. Kalamazoo, MI: Studies in Medievalism. pp. 39–41. OCLC 775455314. Archived from the original (PDF) on October 11, 2012.
Hengen, Shannon; Thomson, Ashley (2007). Margaret Atwood: A Reference Guide, 1988–2005. Lanham, MD: Scarecrow Press. ISBN 978-0-8108-6668-3.
Miceli, Barbara (December 2019). "Margaret Atwood's The Heart Goes Last: Panopticism, Discipline, Society, and Ustopia". Metacritic Journal for Comparative Studies and Theory. 5 (2): 79–90. doi:10.24193/mjcst.2019.8.05.
Miceli, Barbara (2018). Carosso, Andrea; Zehelein, Eva-Sabine (eds.). "Religion, Gender Inequality, and Surrogate Motherhood in Margaret Atwood's 'The Handmaid's Tale'". CoSMo (Comparative Studies in Modernism) (12: Family Matters 2.0: Literary and Cultural Representations of the (American) Family in Transition): 95–108. doi:10.13135/2281-6658/2580. ISSN 2281-6658. OCLC 1005824911.
Nischik, Reingard M. (2009). Engendering Genre: The Works of Margaret Atwood. Ottawa: University of Ottawa Press. ISBN 978-0-7766-0724-5. OCLC 471042771.
Rigney, Barbara Hill (1987). Margaret Atwood. Totowa, NJ: Barnes & Noble. ISBN 978-0-389-20742-9. OCLC 15549552.
Rosenberg, Jerome H. (1984). Margaret Atwood. Boston: Twayne. ISBN 978-0-8057-6586-1.
Sherrill, Grace; Weir, Lorraine (1983). Margaret Atwood: Language, Text, and System. Vancouver, BC: University of British Columbia Press. ISBN 978-0-7748-0170-6. OCLC 260126246.
Sullivan, Rosemary (1998). The Red Shoes: Margaret Atwood Starting Out. Toronto: HarperFlamingoCanada. ISBN 978-0-00-255423-7. OCLC 924742585.
Weir, Lorraine (1981). "Meridians of Perception: A Reading of The Journals of Susanna Moodie". In Davidson, Arnold E.; Davidson, Cathy N. (eds.). The Art of Margaret Atwood: Essays in Criticism. Toronto: Anansi. pp. 69–79. ISBN 978-0-88784-080-7.
Wrethed, Joakim (2015). "'I Am a Place': Aletheia as Aesthetic and Political Resistance in Margaret Atwood's Surfacing". Journal of Aesthetics & Culture. 7 (1): 28020. doi:10.3402/jac.v7.28020.

External links

[edit]

Wikimedia Commons has media related to Margaret Atwood.

Wikiquote has quotations related to Margaret Atwood.

Official website
In the Writing Burrow—Margaret Atwood Substack
Margaret Atwood Society official website
Margaret Atwood at IMDb
Margaret Atwood at the Internet Speculative Fiction Database
Profile of Margaret Atwood by The Guardian
Interview of Margaret Atwood by The Forum on the BBC World Service
Library resources in your library and in other libraries by Margaret Atwood

v t e Works by Margaret Atwood
Novels	The Edible Woman (1969) Surfacing (1972) Lady Oracle (1976) Life Before Man (1979) Bodily Harm (1981) The Handmaid's Tale (1985) Cat's Eye (1988) The Robber Bride (1993) Alias Grace (1996) The Blind Assassin (2000) Oryx and Crake (2003) The Penelopiad (2005) The Year of the Flood (2009) MaddAddam (2013) The Heart Goes Last (2015) Hag-Seed (2016) The Testaments (2019)
Short fiction collections	Dancing Girls (1977) Murder in the Dark (1983) Bluebeard's Egg (1983) Wilderness Tips (1991) Good Bones (1992) Good Bones and Simple Murders (1994) The Labrador Fiasco (1996) The Tent (2006) Moral Disorder (2006) Stone Mattress (2014) Old Babes in the Wood (2023)
Short stories	"Rape Fantasies" (1977) "The Resplendent Quetzal" (1977) "Happy Endings" (1983) "Unearthing Suite" (1983) "Freeforall" (1986)
Poetry collections	Double Persephone (1961) The Circle Game (1964) Expeditions (1965) Speeches for Doctor Frankenstein (1966) The Animals in That Country (1968) The Journals of Susanna Moodie (1970) Procedures for Underground (1970) Power Politics (1971) You Are Happy (1974) Two-Headed Poems (1978) True Stories (1981) Interlunar (1984) Morning in the Burned House (1995) The Door (2007) Dearly (2020)
Non-fiction	Survival (1972) Negotiating with the Dead (2002) Writing with Intent (2005) Payback (2008) Burning Questions (2022)
Film and television	Snowbird (1981) Heaven on Earth (1987)

Awards for Margaret Atwood

v t e Winners of the Governor General's Award for English-language fiction
1930s	Bertram Brooker, Think of the Earth (1936) Laura Salverson, The Dark Weaver (1937) Gwethalyn Graham, Swiss Sonata (1938) Franklin D. McDowell, The Champlain Road (1939)
1940s	Ringuet, Thirty Acres (1940) Alan Sullivan, Three Came to Ville Marie (1941) G. Herbert Sallans, Little Man (1942) Thomas Head Raddall, The Pied Piper of Dipper Creek (1943) Gwethalyn Graham, Earth and High Heaven (1944) Hugh MacLennan, Two Solitudes (1945) Winifred Bambrick, Continental Revue (1946) Gabrielle Roy, The Tin Flute (1947) Hugh MacLennan, The Precipice (1948) Philip Child, Mr. Ames Against Time (1949)
1950s	Germaine Guèvremont, The Outlander (1950) Morley Callaghan, The Loved and the Lost (1951) David Walker, The Pillar (1952) David Walker, Digby (1953) Igor Gouzenko, The Fall of a Titan (1954) Lionel Shapiro, The Sixth of June (1955) Adele Wiseman, The Sacrifice (1956) Gabrielle Roy, Street of Riches (1957) Colin McDougall, Execution (1958) Hugh MacLennan, The Watch That Ends the Night (1959)
1960s	Brian Moore, The Luck of Ginger Coffey (1960) Malcolm Lowry, Hear Us O Lord from Heaven Thy Dwelling Place (1961) Kildare Dobbs, Running to Paradise (1962) Hugh Garner, Hugh Garner's Best Stories (1963) Douglas LePan, The Deserter (1964) [no award] (1965) Margaret Laurence, A Jest of God (1966) [no award] (1967) Alice Munro, Dance of the Happy Shades (1968) Robert Kroetsch, The Studhorse Man (1969)
1970s	Dave Godfrey, The New Ancestors (1970) Mordecai Richler, St. Urbain's Horseman (1971) Robertson Davies, The Manticore (1972) Rudy Wiebe, The Temptations of Big Bear (1973) Margaret Laurence, The Diviners (1974) Brian Moore, The Great Victorian Collection (1975) Marian Engel, Bear (1976) Timothy Findley, The Wars (1977) Alice Munro, Who Do You Think You Are? (1978) Jack Hodgins, The Resurrection of Joseph Bourne (1979)
1980s	George Bowering, Burning Water (1980) Mavis Gallant, Home Truths: Selected Canadian Stories (1981) Guy Vanderhaeghe, Man Descending (1982) Leon Rooke, Shakespeare's Dog (1983) Josef Škvorecký, The Engineer of Human Souls (1984) Margaret Atwood, The Handmaid's Tale (1985) Alice Munro, The Progress of Love (1986) M. T. Kelly, A Dream Like Mine (1987) David Adams Richards, Nights Below Station Street (1988) Paul Quarrington, Whale Music (1989)
1990s	Nino Ricci, Lives of the Saints (1990) Rohinton Mistry, Such a Long Journey (1991) Michael Ondaatje, The English Patient (1992) Carol Shields, The Stone Diaries (1993) Rudy Wiebe, A Discovery of Strangers (1994) Greg Hollingshead, The Roaring Girl (1995) Guy Vanderhaeghe, The Englishman's Boy (1996) Jane Urquhart, The Underpainter (1997) Diane Schoemperlen, Forms of Devotion (1998) Matt Cohen, Elizabeth and After (1999)
2000s	Michael Ondaatje, Anil's Ghost (2000) Richard B. Wright, Clara Callan (2001) Gloria Sawai, A Song for Nettie Johnson (2002) Douglas Glover, Elle (2003) Miriam Toews, A Complicated Kindness (2004) David Gilmour, A Perfect Night to Go to China (2005) Peter Behrens, The Law of Dreams (2006) Michael Ondaatje, Divisadero (2007) Nino Ricci, The Origin of Species (2008) Kate Pullinger, The Mistress of Nothing (2009)
2010s	Dianne Warren, Cool Water (2010) Patrick deWitt, The Sisters Brothers (2011) Linda Spalding, The Purchase (2012) Eleanor Catton, The Luminaries (2013) Thomas King, The Back of the Turtle (2014) Guy Vanderhaeghe, Daddy Lenin and Other Stories (2015) Madeleine Thien, Do Not Say We Have Nothing (2016) Joel Thomas Hynes, We'll All Be Burnt in Our Beds Some Night (2017) Sarah Henstra, The Red Word (2018) Joan Thomas, Five Wives (2019)
2020s	Michelle Good, Five Little Indians (2020) Norma Dunning, Tainna (2021) Sheila Heti, Pure Colour (2022) Anuja Varghese, Chrysalis (2023) Jordan Abel, Empty Spaces (2024)

v t e Recipients of the Giller Prize
1990s	M. G. Vassanji, The Book of Secrets (1994) Rohinton Mistry, A Fine Balance (1995) Margaret Atwood, Alias Grace (1996) Mordecai Richler, Barney's Version (1997) Alice Munro, The Love of a Good Woman (1998) Bonnie Burnard, A Good House (1999)
2000s	Michael Ondaatje, Anil's Ghost / David Adams Richards, Mercy among the Children (2000) Richard B. Wright, Clara Callan (2001) Austin Clarke, The Polished Hoe (2002) M. G. Vassanji, The In-Between World of Vikram Lall (2003) Alice Munro, Runaway (2004) David Bergen, The Time in Between (2005) Vincent Lam, Bloodletting & Miraculous Cures (2006) Elizabeth Hay, Late Nights on Air (2007) Joseph Boyden, Through Black Spruce (2008) Linden MacIntyre, The Bishop's Man (2009)
2010s	Johanna Skibsrud, The Sentimentalists (2010) Esi Edugyan, Half-Blood Blues (2011) Will Ferguson, 419 (2012) Lynn Coady, Hellgoing (2013) Sean Michaels, Us Conductors (2014) André Alexis, Fifteen Dogs (2015) Madeleine Thien, Do Not Say We Have Nothing (2016) Michael Redhill, Bellevue Square (2017) Esi Edugyan, Washington Black (2018) Ian Williams, Reproduction (2019)
2020s	Souvankham Thammavongsa, How to Pronounce Knife (2020) Omar El Akkad, What Strange Paradise (2021) Suzette Mayr, The Sleeping Car Porter (2022) Sarah Bernstein, Study for Obedience (2023) Anne Michaels, Held (2024)

v t e Recipients of the Booker Prize
List of winners and nominated authors The Best of the Booker The Golden Man Booker International Booker Prize
1969–79	1969: P. H. Newby (Something to Answer For) 1970: Bernice Rubens (The Elected Member) 1970 Lost Prize: J. G. Farrell (Troubles) 1971: V. S. Naipaul (In a Free State) 1972: John Berger (G.) 1973: J. G. Farrell (The Siege of Krishnapur) 1974: Nadine Gordimer (The Conservationist) and Stanley Middleton (Holiday) 1975: Ruth Prawer Jhabvala (Heat and Dust) 1976: David Storey (Saville) 1977: Paul Scott (Staying On) 1978: Iris Murdoch (The Sea, The Sea) 1979: Penelope Fitzgerald (Offshore)
1980s	1980: William Golding (Rites of Passage) 1981: Salman Rushdie (Midnight's Children) 1982: Thomas Keneally (Schindler's Ark) 1983: J. M. Coetzee (Life & Times of Michael K) 1984: Anita Brookner (Hotel du Lac) 1985: Keri Hulme (The Bone People) 1986: Kingsley Amis (The Old Devils) 1987: Penelope Lively (Moon Tiger) 1988: Peter Carey (Oscar and Lucinda) 1989: Kazuo Ishiguro (The Remains of the Day)
1990s	1990: A. S. Byatt (Possession) 1991: Ben Okri (The Famished Road) 1992: Michael Ondaatje (The English Patient) and Barry Unsworth (Sacred Hunger) 1993: Roddy Doyle (Paddy Clarke Ha Ha Ha) 1994: James Kelman (How Late It Was, How Late) 1995: Pat Barker (The Ghost Road) 1996: Graham Swift (Last Orders) 1997: Arundhati Roy (The God of Small Things) 1998: Ian McEwan (Amsterdam) 1999: J. M. Coetzee (Disgrace)
2000s	2000: Margaret Atwood (The Blind Assassin) 2001: Peter Carey (True History of the Kelly Gang) 2002: Yann Martel (Life of Pi) 2003: DBC Pierre (Vernon God Little) 2004: Alan Hollinghurst (The Line of Beauty) 2005: John Banville (The Sea) 2006: Kiran Desai (The Inheritance of Loss) 2007: Anne Enright (The Gathering) 2008: Aravind Adiga (The White Tiger) 2009: Hilary Mantel (Wolf Hall)
2010s	2010: Howard Jacobson (The Finkler Question) 2011: Julian Barnes (The Sense of an Ending) 2012: Hilary Mantel (Bring Up the Bodies) 2013: Eleanor Catton (The Luminaries) 2014: Richard Flanagan (The Narrow Road to the Deep North) 2015: Marlon James (A Brief History of Seven Killings) 2016: Paul Beatty (The Sellout) 2017: George Saunders (Lincoln in the Bardo) 2018: Anna Burns (Milkman) 2019: Margaret Atwood (The Testaments) and Bernardine Evaristo (Girl, Woman, Other)
2020s	2020: Douglas Stuart (Shuggie Bain) 2021: Damon Galgut (The Promise) 2022: Shehan Karunatilaka (The Seven Moons of Maali Almeida) 2023: Paul Lynch (Prophet Song) 2024: Samantha Harvey (Orbital)

v t e Los Angeles Times Book Prize Innovator's Award winners
2009: Dave Eggers 2010: Powell's Books 2011: Figment 2012: Margaret Atwood 2013: John Green 2014: LeVar Burton 2015: James Patterson 2016: Rueben Martinez 2017: Glory Edim 2018: Library of America 2019: WriteGirl 2020: Book Industry Charitable Foundation 2021: Reginald Dwayne Betts

Laureates of the Struga Poetry Evenings Golden Wreath

Robert Rozhdestvensky (1966)
Bulat Okudzhava (1967)
László Nagy (1968)
Mak Dizdar (1969)
Miodrag Pavlović (1970)
W. H. Auden (1971)
Pablo Neruda (1972)
Eugenio Montale (1973)
Fazıl Hüsnü Dağlarca (1974)
Léopold Sédar Senghor (1975)
Eugène Guillevic (1976)
Artur Lundkvist (1977)
Rafael Alberti (1978)
Miroslav Krleža (1979)
Hans Magnus Enzensberger (1980)
Blaže Koneski (1981)
Nichita Stănescu (1982)
Sachchidananda Vatsyayan 'Ajneya' (1983)
Andrei Voznesensky (1984)
Yiannis Ritsos (1985)
Allen Ginsberg (1986)
Tadeusz Różewicz (1987)
Desanka Maksimović (1988)
Thomas Shapcott (1989)
Justo Jorge Padrón (1990)
Joseph Brodsky (1991)
Ferenc Juhász (1992)
Gennadiy Aygi (1993)
Ted Hughes (1994)
Yehuda Amichai (1995)
Makoto Ooka (1996)
Adunis (1997)
Liu Banjiu (1998)
Yves Bonnefoy (1999)
Edoardo Sanguineti (2000)
Seamus Heaney (2001)
Slavko Mihalić (2002)
Tomas Tranströmer (2003)
Vasco Graça Moura (2004)
William S. Merwin (2005)
Nancy Morejón (2006)
Mahmoud Darwish (2007)
Fatos Arapi (2008)
Tomaž Šalamun (2009)
Lyubomir Levchev (2010)
Mateja Matevski (2011)
Mongane Wally Serote (2012)
José Emilio Pacheco (2013)
Ko Un (2014)
Bei Dao (2015)
Margaret Atwood (2016)
Charles Simic (2017)
Adam Zagajewski (2018)
Ana Blandiana (2019)
Amir Or (2020)
Carol Ann Duffy (2021)
Shuntarō Tanikawa (2022)
Vlada Urošević (2023)
Jean-Pierre Siméon (2024)
Ivan Štrpka (2025)

Laureates of the Prince or Princess of Asturias Award for Literature

Prince of Asturias Award for Literature

1981: José Hierro
1982: Miguel Delibes and Gonzalo Torrente Ballester
1983: Juan Rulfo
1984: Pablo García Baena
1985: Ángel González
1986: Mario Vargas Llosa and Rafael Lapesa
1987: Camilo José Cela
1988: Carmen Martín Gaite and José Ángel Valente
1989: Ricardo Gullón
1990: Arturo Uslar Pietri
1991: The people of Puerto Rico
1992: Francisco Nieva
1993: Claudio Rodríguez
1994: Carlos Fuentes
1995: Carlos Bousoño
1996: Francisco Umbral
1997: Álvaro Mutis
1998: Francisco Ayala
1999: Günter Grass
2000: Augusto Monterroso
2001: Doris Lessing
2002: Arthur Miller
2003: Fatema Mernissi and Susan Sontag
2004: Claudio Magris
2005: Nélida Piñon
2006: Paul Auster
2007: Amos Oz
2008: Margaret Atwood
2009: Ismail Kadare
2010: Amin Maalouf
2011: Leonard Cohen
2012: Philip Roth
2013: Antonio Muñoz Molina
2014: John Banville

Princess of Asturias Award for Literature
2015: Leonardo Padura 2016: Richard Ford 2017: Adam Zagajewski 2018: Fred Vargas 2019: Siri Hustvedt 2020: Anne Carson 2021: Emmanuel Carrère 2022: Juan Mayorga 2023: Haruki Murakami 2024: Ana Blandiana

v t e USC Scripter Awards – Television
2010s	David Simon, William F. Zorzi, and Lisa Belkin (2015) David Farr and John le Carré / Scott Alexander, Larry Karaszewski, and Jeffrey Toobin (2016) Bruce Miller and Margaret Atwood (2017) Russell T Davies and John Preston (2018) Phoebe Waller-Bridge (2019)
2020s	Scott Frank and Walter Tevis (2020) Danny Strong and Beth Macy (2021) Will Smith and Mick Herron (2022) Will Smith and Mick Herron (2023) Joshua Zetumer and Patrick Radden Keefe (2024)

v t e Margaret Atwood's The Handmaid's Tale
Novels	The Handmaid's Tale (1985) The Testaments (2019)
Adaptations	The Handmaid's Tale (1990 film) The Handmaid's Tale (1998 opera) The Handmaid's Tale (2017 TV series) characters episodes "Offred"
Category

v t e VH1 Trailblazer Honors
2014	Orange Is the New Black cast Roberta Kaplan John Abdallah Wambere Edith Windsor
2015	Marsha Aizumi Connor Franta Sheila Lopez Arsham Parsi Bayard Rustin Dennis Shepard Judy Shepard
2016	The Advocate Harvey Fierstein Marsha P. Johnson Billie Jean King Subhi Nahas Sylvia Rivera
2017	Alvin Ailey Jason Collins Cleve Jones David Kohan Cyndi Lauper Max Mutchnick
2018	American Civil Liberties Union James Baldwin Sybrina Fulton Tracy Martin Ryan Murphy
2019	Margaret Atwood Tarana Burke Ava DuVernay Nancy Pelosi

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