![]() ![]() ![]() If the majority of critics and readers alike have been quick to point out the extent to which Atwood’s writing is socially committed, fewer have been sensitive to her use of discursive and narrative strategies to both control 2 and to empower 3 the reader. 4 Among those who have, we can cite Sharon Wilson, notably in Margaret Atwood’s Fairy Tale Sexual Po (.)ģNow if writing is a political, public act, the corollary is that reading is a similar one, and that the role of the reader is not a negligeable one.3 When asked about the ambivalent ending of Bodily Harm (similar to that of Handmaid), notably if th (.).2 In an interview granted in 1986, when it was suggested that at the centre of her work was «the pow (.).
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