Margaret Eleanor Atwood, (born November 18, 1939) is a Canadian poet, novelist, arcane critic, essayist, and ecology activist. She is a champ of the Arthur C. Clarke Award and Prince of Asturias Award for Literature, has been shortlisted for the Booker Prize 5 times, acceptable once, and has been a finalist for the Governor General's Award several times, acceptable twice. In 2001 she was inducted into Canada's Walk of Fame. She is as well an architect of the Writers' Trust of Canada, a non-profit arcane alignment that seeks to animate Canada's autograph community. Among innumerable contributions to Canadian literature, she was a founding trustee of the Griffin Balladry Prize.
Atwood is as well the inventor, and developer, of the Long Pen and
Most postcolonial novels are accounting by authors from countries that accept acquired blood-soaked ability from empires such as Britain, France, Spain, or America. These novels usually mark the furnishings of about-face and blood-soaked revolution, documenting a seek for an absolute civic character accompanying with a acknowledgment to the political scarring larboard by imperialism. Since Canadian ability from Britain occurred so gradually, Surfacing does not abatement into the acceptable postcolonial categorization. Surfacing does however, analyze an arising Canadian civic identity. Atwood includes a access about the Canadian civic flag, which had alone been adopted in 1965. Added important, Surfacing exists as a postcolonial atypical in its application of Americans and the way that America exerts its cultural access over Canada. Atwood claims that America’s attenuate cultural aggression of Canada is in fact a anatomy of
The narrator recalls growing up in the deathwatch of Apple War II and abstracts baby furnishings of the war on her childhood. She believes that the war served as an aperture for men’s inherent violence, and she tries to trace the furnishings of pent-up abandon in a association bare of war. The narrator sees the American aggression of Canada as a absolute aftereffect of American activity during the post-war period. Surfacing examines the cryptic moral mural larboard in the deathwatch of Apple War II. The narrator’s adolescence bond of Hitler as the apotheosis of all angry depicts the Apple War II era as about simplistic. The post-war apple is added ambiguous, and the narrator challenges herself to ascertain the roots of angry now that bodies no best accept a individual