Rewriting Canonical Portrayals of Women :: Good Bones Margaret Atwood Literature Essays

Rewriting Canonical Portrayals of Women In her collection of short stories, Good Bones (O. W. Toad, 1992), Margaret Atwood (1939 - ) has included Gertrude Talks Back, a piece that rewrites the famous closet scene in Shakespeare ´s Hamlet. The character of Hamlet ´s mother has posed problems of interpretation to readers, critics and performers, past and present, and has been variously or simultaneosly appraised as a symbol of female wantonness, the object of Hamlet ´s Oedipus complex, and an example of female submissiveness to the male principle (Hamlet ´s as much as Claudius ´s). Like other revisionist rewritings produced by women writers in the last few decades, Margaret Atwood ´s short story challenges received concepts of the female, and particularly the "Frailty, thy name is woman" notion that has marked so much canonical literature. Recent developments in the humanities, usually grouped under the common label of "post-structuralist theory," have contributed to making us sensitive to the politics of culture, in general, and of literature, in particular. Much thought has been given in the last few decades to how the literary canon emerges and holds its ground, and to the relations between canonical and non-canonical, between the centre and the margins. Post-colonial theorist Edward Said reminds us that "[t]he power to narrate, or to block other narratives from forming and emerging, is very important to culture and imperialism, and constitutes one of the main connections between them" (xiii). Here as in other respects, the political agendas of feminism and post-colonialism overlap; both aim at challenging the canon and at inscribing the experiences of the marginal subject (female and/or post-colonial). Revisionist rewritings are one of the strategies that can serve that purpose; I need not mention the by now many rewritings of such canonical texts as The Tempest or Robinson Crusoe. As regards the author I am concerned with here, Margaret Atwood, extensive attention has been paid to a recurrent feature of her fiction: her repeated reworking of fairy tales, most importantly the different versions of Bluebeard ´s Egg, a re-shaping which culminates in her novel The Robber Bride (1993). I would also point out how what is perhaps her most popular novel to date, The Handmaid ´s Tale (1985), thematizes the politics of reading and writing or, as Hutcheon has aptly put it, "the opposition between product and process" (139). Similar concerns are apparent in the compilation of her short stories under the title Good Bones (1992). If the constructions of womanhood and manhood occupy her in The Female Body and Making a Man, in other stories (There Was Once, Unpopular Gals, etc) it is the literary construction of womanhood that is foregrounded.