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Moral Disorder and Other Stories Margaret Atwood 9780385503846 Books

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Moral Disorder and Other Stories Margaret Atwood 9780385503846 Books

You can always expect Margaret Atwood to come at a topic sideways, and this collection of essays is no exception. It opens with a series of three evocative pieces on the relationship between the human imagination and the development of a genre many only begrudgingly title and shelve as "science fiction."

What sets these early essays apart is Atwood's considered interpretation that the lines between genres are not nearly as hard and fast as we might think. Furthermore, she sees origins of the drive to write science fiction and fantasy differently than other authors, because she sees it a natural outgrowth the habits and activities of childhood. One theory she offers from her own childhood, that since she kept failing to build a windmill from her Tinkertoy set (she missed some of the necessary parts), she built fantastical structures and creatures instead.

Atwood continues this (might we call it Jungian?) analysis of science fiction writing throughout. She sees archetypes washing between the various genres--comparing superheroes to Greek mythology and modern fantasy. She sees her own early imaginative world influencing what she writes as an adult.

And in one of her most intriguing theses, she coins the term "ustopia": "A word I made up by combining utopia and dystopia--the imagined perfect society and its opposite--because, in my view, each contains a latent version of the other" (66). I find this incredibly helpful, because as we know certain individuals thrive in dystopias and find their place there, whereas every utopia is only the perfect society for those who belong to it, certainly not those who feel excluded from it.

Finally, Atwood in this early section helpful defines "myth": Myths are stories that are central to their cultures and that are taken seriously enough that people organize their rituals and emotional lives around them, and can even start wars over them" (55). Atwood offers this definition in a wide-ranging essay that considers origin myths as well as contemporary sci-fi movies, and everything in between. It's really a lovely essay.

The middle section of this book is a collection of short reviews Atwood has written over the course of her career, all on "classics" in science fiction (H. Rider Haggard, Ursula K. Le Guin, George Orwell, H.G. Wells, Aldous Huxley, and Jonathan Swift but also a bit more surprisingly Kazuo Ishiguro and Bill McKibben). I found this section very helpful because it introduced me to some important works with which I was unfamiliar, and also expanded my cartography of what I might map as "science fiction." Somehow the full range of what she included is perfectly indicative of the philosophy of science fiction she offered in the first section.

Finally, she concludes with six crisp selections from her own fiction. Although these don't move the argument forward per se, they do illustrate what Atwood has been pondering in her book.

It isn't every day that science fiction readers get the pleasure of reading sustained reflection on the craft by one of its outstanding practitioners. I recommend this book highly for that reason.


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Moral Disorder and Other Stories Margaret Atwood 9780385503846 Books Reviews

A collection of works and commentary by the impressive intellect of Margaret Atwood. If you are a science fiction fan, this is well worth your reading.
Margaret Atwood is one of my favorite writers. And, though I've enjoyed many of her novels, the top of the list would have to be her SF-influenced novels The Handmaid's Tale and Oryx and Crake. So, I was very interested to see what she had to say about this genre that, despite its literary gains, remains often disrespected by the establishment.

As it turns out, her thinking follows along the same lines as mine, making it very difficult for me not to like this book. My experience of getting into reading echoed hers, though with some different authors. Her thinking about Orwell and Huxley, two writers I much admire, is quite similar to mine. Also, she has useful things to say about a number of important writers in the genre such as Wells, Poe, and LeGuin.

Even better, for me, was her discussion of writers I knew little or nothing about. I knew of the character Allan Quatermain, for example, but couldn't have told you the author who created him is H. Rider Haggard. And, clearly, Haggard's novel She had a great impact on Atwood. I feel almost embarrassed to say that I'd never heard of this novel before. But good books lead you to other good books and now I've almost finished reading Haggard's book (and seen the movie, no less!). So, I have to compliment Ms. Atwood on opening my eyes.

In fact, my only complaints are small ones. First, the endnotes of each section would have been more useful as footnotes. (Or the text should have had marks indicating an associated note.) Second, and more importantly, in some ways, this is a book too late. With top writers like Cormac McCarthy, Kazuo Ishiguro, and Jim Crace (and Ms. Atwood herself) taking on the field, SF is bordering on respectable. This book would have had more impact on me 30 years ago, when I felt my love of SF was more isolating. Still, I'm glad to have the book now.
You can always expect Margaret Atwood to come at a topic sideways, and this collection of essays is no exception. It opens with a series of three evocative pieces on the relationship between the human imagination and the development of a genre many only begrudgingly title and shelve as "science fiction."

What sets these early essays apart is Atwood's considered interpretation that the lines between genres are not nearly as hard and fast as we might think. Furthermore, she sees origins of the drive to write science fiction and fantasy differently than other authors, because she sees it a natural outgrowth the habits and activities of childhood. One theory she offers from her own childhood, that since she kept failing to build a windmill from her Tinkertoy set (she missed some of the necessary parts), she built fantastical structures and creatures instead.

Atwood continues this (might we call it Jungian?) analysis of science fiction writing throughout. She sees archetypes washing between the various genres--comparing superheroes to Greek mythology and modern fantasy. She sees her own early imaginative world influencing what she writes as an adult.

And in one of her most intriguing theses, she coins the term "ustopia" "A word I made up by combining utopia and dystopia--the imagined perfect society and its opposite--because, in my view, each contains a latent version of the other" (66). I find this incredibly helpful, because as we know certain individuals thrive in dystopias and find their place there, whereas every utopia is only the perfect society for those who belong to it, certainly not those who feel excluded from it.

Finally, Atwood in this early section helpful defines "myth" Myths are stories that are central to their cultures and that are taken seriously enough that people organize their rituals and emotional lives around them, and can even start wars over them" (55). Atwood offers this definition in a wide-ranging essay that considers origin myths as well as contemporary sci-fi movies, and everything in between. It's really a lovely essay.

The middle section of this book is a collection of short reviews Atwood has written over the course of her career, all on "classics" in science fiction (H. Rider Haggard, Ursula K. Le Guin, George Orwell, H.G. Wells, Aldous Huxley, and Jonathan Swift but also a bit more surprisingly Kazuo Ishiguro and Bill McKibben). I found this section very helpful because it introduced me to some important works with which I was unfamiliar, and also expanded my cartography of what I might map as "science fiction." Somehow the full range of what she included is perfectly indicative of the philosophy of science fiction she offered in the first section.

Finally, she concludes with six crisp selections from her own fiction. Although these don't move the argument forward per se, they do illustrate what Atwood has been pondering in her book.

It isn't every day that science fiction readers get the pleasure of reading sustained reflection on the craft by one of its outstanding practitioners. I recommend this book highly for that reason.