#did the rubber they made ursula out of not age well or what

[krawdad]

I get that they probably are trying to make the gigantic robot lizard as unscary as possible but who's idea was it to give the alligator fuzzy fleece skin

There isn't a closeup where it's still enough to be sure but that sure looks like puppet/mascot suit fleece to me.

Also since I'm here it looks cool without its skin

Imagineer for scale

[swipestream]

Sensor Sweep: Windy City Pulp Show, King Arthur, Star Wars Target Audience, Model T in Combat

Conventions (DMR Books): The 19th annual Windy City Pulp and Paper Convention took place this past weekend in Lombard, IL. It was a three-day affair, but unfortunately I was only able to attend for part of the day on Saturday. Five hours may seem like a good amount of time, but it wasn’t nearly enough to take in all the event had to offer.

Doug Ellis and Deb Fulton were gracious enough to share some of their table space with me so I could peddle DMR releases.

    Anthologies (Tip the Wink): This nineteen story anthology is edited by one of Baen’s best, Hank Davis. Though the book is pretty new, the stories range from as early as the Thirties all the way to now. So I think it qualifies as a Friday Forgotten Book for it’s contents. For the most part, this is the kind of science fiction I grew up on and still love.

  Fiction (Old Style Tales): Doyle’s final great horror story is truly a worthy swan song – a tale who’s science fiction maintains a level of effective awe in spite of having been categorically disproven by aviators a mere decade after being written. And indeed the tale is science fiction, fitting snuggly on a shelf between the speculative horror of H. G. Wells which preceded it and the cosmic terror of H. P. Lovecraft which succeeded it.e cosmic terror of H. P. Lovecraft which succeeded it.

    Myth (Men of the West): Of all these Latin chroniclers by far the most important was Geoffrey of Monmouth, Bishop of St. Asaph, who finished his “History of the Britons” about 1147. Geoffrey, as has been said, is not a real historian, but something much more interesting. He introduced to the world the story of King Arthur, which at once became the source and centre of hundreds of French romances, in verse or prose, and of poetry down to Tennyson and William Morris. To Geoffrey, or to later English chroniclers who had read Geoffrey, Shakespeare owed the stories of his plays, “Cymbeline” and “King Lear”.

  Authors (DMR Books): James Branch Cabell, who was born on April 14, 1879–just over one hundred forty years ago–has slipped into genteel literary obscurity. An author once praised and befriended by the likes of Mark Twain, F. Scott Fitzgerald and Sinclair Lewis, JBC had his entire fantasy epic, known as “The Biography of the Life of Manuel,” printed in a uniform hardcover eighteen-volume set at the height of his popularity in the 1920s and early ’30s. He was, by far, the preeminent American literary fantasist of that era. And yet, he is barely known outside hardcore literary fantasy circles now.

  Cinema (Rough Edges): I didn’t mean to write about two Raoul Walsh movies in a row, but that’s the way it’s worked out after last week’s post on DESPERATE JOURNEY. COLORADO TERRITORY is a Western remake from 1949 of the Humphrey Bogart classic HIGH SIERRA, also directed by Walsh eight years earlier in 1941. Both are based on the novel HIGH SIERRA by W.R. Burnett. In COLORADO TERRITORY, Joel McCrea plays outlaw Wes McQueen, in prison for robbing banks and trains, who is broken out so he can take part in a payroll heist from a train in Colorado.

  Popular Culture (Jon Mollison): Long time genre fans expect to see the usual Boomer perspectives.  Naturally, his version of the story of science fiction begins and ends with the era of the Boomers. To be fair, he is a film guy making a film about film people, so it’s no surprise that his documentary would ignore the foundational stories of the genre.  It does start with HG Wells, but then skips straight past four decades of science fiction to land on rubber monster B-movies. The usual Big Pub diversity hires get trotted out to offer Narrative Approved talking points about how the genre has matured under the careful guidance of perverts like Arthur C. Clarke without a mention of giants like Howard and Burroughs and Lovecraft and Merritt and the rest of the True Golden Age writers.

  Star Wars (Kairos): Two cultural observations that have repeatedly been made on this blog are that Star Wars has been weaponized against its original fans and that decadent Westerners are perverting normal pious sentiment by investing it in corporate pop culture products. Now a viral video has surfaced that documents the unholy confluence of both phenomena. Watch only if you haven’t eaten recently.

  Cinema (Mystery File): I’ve spoken often and highly of Fredric Brown;s classic mystery novel of strip-clubs and theology, The Screaming Mimi (Dutton, 1949) and recently betook myself to watching both film versions of it, side-by-side and back-to-back, through the miracle of VCRm watching a chunk of one, then the other, than back again…

  Pulps (John C. Wright): So what, exactly, makes the weird tales and fantastic stories of that day and age so “problematic”?

The use of lazy racial stereotypes, did you say? This generation has just as many or worse ones, merely with the polarities reversed. See the last decade of Star Wars, Star Trek, Doctor Who and Marvel comics franchises, for examples.

The portrayal of women as weak damsels in distress? I will happily compare any number of Martian princesses or pirate queens from the pulp era to the teen bimbos routinely chopped up in the torture porn flicks of this generation, and let the matter of malign portrayals of women speak for itself.

  Fiction (Nerds on Earth): Howard Andrew Jones (who we’ve interviewed not once, but twice!) strikes that balance masterfully in For the Killing of Kings, the first book of an expected series. The book drops the reader right at the moment when a scandal in the Allied Realms begins. This controversy involves the legendary weapon of the most famous commander of the vaunted Altenerai Corps, N’lahr. Jones doesn’t even let two pages pass before the reader is invited into the discovery that something is wrong with this magic-infused sword, and it is that problem that carries the book’s action from start to finish.

            History (Black Gate): Enter the Western Frontier Force, a hastily assembled group of men from all parts of the empire that included two of the war’s many innovations. The first was the Light Car Patrol, made up of Model T Fords that had been stripped of all excess weight (even the hood and doors) so they could run over soft sand. Many came equipped with a machine gun. Heavier and slower were the armored cars, built on the large Rolls Royce chassis and sporting a turret and machine gun.

  Westerns (Tainted Archive): Geographically and historically the concept of “The West” is very loosely defined, when associated with the literary and film genre of the western. With the possible exception of the Eastern Seaboard almost every part of the USA had been called “The West” at some stage in the country’s history.

  Authors (John C. Wright): Gene Wolfe passed at his Peoria home from cardiovascular disease on April 14, 2019 at the age of 87.

This man is one of two authors who I was able to read with undiminished pleasure as a child, youth, man and master.

I met him only briefly at science fiction conventions, and was truly impressed by his courtesy and kindness. We shared a love of GK Chesterton. I never told him how I cherished his work, and how important his writings were to me.

  Authors (Rich Horton): Gene Wolfe died yesterday, April 14, 2019 (Palm Sunday!) His loss strikes me hard, as hard as the death last year of Ursula K. Le Guin. Some while I ago I wrote that Gene Wolfe was the best writer the SF field has ever produced. Keeping in mind that comparisons of the very best writers are pointless — each is brilliant in their own way — I’d say that now I’d add Le Guin and John Crowley and make a trinity of great SF writers, but the point stands — Wolfe’s work was tremendous, deep, moving, intellectually and emotionally involving, ambiguous in the best of ways, such that rereading him is ever rewarding, always resolving previous questions while opening up new ones.

Cartoons (Wasteland and Sky): One small loss of the modern age I’ve always been interested in is the death of the Saturday morning cartoon.

For over half a century they have lingered in the memories of just about everyone alive in the western world as part of some long ago age that will never return. But nobody talks about them beyond nostalgic musings. The problem with that is they require a deeper look than that. I don’t think it’s clear exactly why they do not exist anymore, and it is important why they do not.

  Fiction (Tip the Wink): It’s the stories, not the book, that are forgotten here. From the publisher’s website:

“Known best for his work on Popular Publications’ The Spider, pulp scribe Norvell Page proved he was no slouch when it came to penning gangster and G-man epics! This book collects all eleven stories Page wrote for “Ace G-Man Stories” between 1936 and 1939, which are reprinted here for the first time!”

      RPG (Modiphius): Horrors of the Hyborian Age is the definitive guide to the monstrous creatures inhabiting the dark tombs, ruined cities, forgotten grottos, dense jungles, and sinister forests of Conan’s world. This collection of beasts, monsters, undead, weird races, and mutants are ready to pit their savagery against the swords and bravery of the heroes of the Hyborian Age.

Drawn from the pages of Robert E. Howard’s Conan stories, this roster also includes creatures and alien horrors from H.P. Lovecraft’s Cthulhu Mythos, to which Howard inextricably bound his Hyborian Age. Other entries are original, chosen carefully to reflect the tone and dangers of Conan’s world.

Sensor Sweep: Windy City Pulp Show, King Arthur, Star Wars Target Audience, Model T in Combat published first on https://medium.com/@ReloadedPCGames

[apsbicepstraining]

Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead

The Handmaids Tales joyful reception on the small screen reminds us of its ever-energetic generators spooky prescience

Once or twice in a generation, a tale is suggested that vaults out of the literary corral studying to be a phenomenon, well known to beings the world over who have never read the book: George Orwells 1984 is one and Margaret Atwoods The Handmaids Tale is another.

So its perhaps not remarkable that a new 10 -part TV series based on the romance has struck a chord. Starring Elisabeth Moss as handmaid Offred, the succession launched in the US last-place month and comes to the UK later this month trailing superlatives.

At 77, Atwood blends the loftiness of a high priestess who does not stand moron gladly with an unstinting generosity to those she deems not to be foolhardy. She is a heartfelt environmentalist, with a special interest in chicks, which she shares with her husband, Graeme Gibson.

If her determination to live by her principles occasionally seems incidentally comic as when she embarked by barge on an international tour of a stage show publicising the second tale of her MaddAddam trilogy, The Year of the Flood she also brings to her politics a healthy dose of intentional humour.

On a recent trip to her Toronto home, her longtime UK publisher Lennie Goodings was amazed to converge her carrying a paper bag bellying with four large-scale rubber turkeys. She established them to me with that joke, manager on a tilt, wicked smile of hers. They yelped when she pressed them. It turned out that she and Gibson were about to present the trophies at an annual RSPB competition. The winners each receive a rubber goose from Margaret, at which point she deports them in a squeezing squawking choir.

Atwood traces her refer with the environment back to a childhood spent criss-crossing the groves of Canada with her entomologist leader. She was the second of three children, and the familys itinerant life meant that she did not going to see full-time academy until she was eight years old. She embarked producing her poetry while a student at the University of Toronto, acquired her firstly major literary award for a poetry collection are presented in 1964, and three accumulations later diversified into fiction in 1969 with The Edible Woman, about the status of women driven mad by consumerism.

She is a exceedingly hands-on person, says Goodings, a fellow Canadian, who has been her publisher at at the feminist imprint Virago since 1979. Her self-sufficiency comes from her childhood but also from her participation in the early days of CanLit[ Canadian Literature ]. She designed her own cover for her first journal of poetry, The Circle Game, with the red-faced specks you buy at stationery stores. In the early days of Virago she enjoyed and learned alongside us bookshop point-of-sale information such as shelf airstrips and dumpbins.

Once she and I passed in a taxi to an happen with a large cardboard lady a replication of the figure on the handle of[ her 1988 novel] Cats Eye. She loved it.

Her hands-on approach has carried her forcefully into the digital period. As an internationally successful author who has been awarded 24 honorary magnitudes in six two countries, been shortlisted five times for the Booker prize( acquiring it in 2000 for The Blind Assassin ), and who was more recently invited to Norway to implant a manuscript for 100 years as the first participant in The Future Library project, she faced the tricky issue of a monumental carbon footprint. She undertook it by inventing the LongPen, which enabled her at least to do volume signals without leaving her home.

Her penultimate novel, The Heart Goes Last, began its life on the fanfiction scaffold Wattpad, and she has 1.6 million Twitter partisans, to whom she tweets a dozen times a day on subjects arraying from the urgent need to protect the monarch butterfly to the vilification of Hilary Clinton.

She has also made cameo appearances in The Handmaids Tale, and as an cataclysm survivor on Zombies, Run !, a fitness app blending an audio drama with an immersive jogging competition, which was devised by her protege, the English novelist and gaming wizard Naomi Alderman.

The two were brought together through a mentoring strategy run by Rolex. Four of us got flown out to Canada to meet her and I belief she picked me because I was funny, says Alderman, who ascribes Atwood with the convent settle of her recent novel, The Power, which is in the running for the Baileys prize. Shes really implied me in their own families in a way I hadnt expected. Ive been bird watching in Cuba with her brother and his wife, and to the Arctic.

Atwood has said she was reluctant to get involved with the strategy, and some of her more institutional mentoring rapports ought to have little encouraging. As a teacher she was pretty hectoring, says one former student on a imaginative print MA. She read all our first assemblies and we each had one grilling with her about our journals. Almost all the questions she requested was, And then what happens? And then what happens? so I predict plot is pretty important.

Her abrasive line-up has also been evident in run-ins with the science fiction parish as to which category her fictions are all part of, insisting that they are speculative myth on the basis that: Discipline story has demons and spaceships; speculative fiction could really happen.

The veteran SF columnist Ursula K Le Guin countered in a Guardian inspect: To my memory, The Handmaids Tale, Oryx and Crake and now The Year of the Flood all exemplify one of the things science fiction does, which is to extrapolate imaginatively from current trends and events to a near-future thats half prediction, half wit.

Published in the mid-1 980 s, with a Canadians mounting chagrin at the religion revitalization she was detecting over their own borders in the United States, The Handmaids Tale, a legend of a theocratic territory in which young woman are treated as clutch mares by a merciless revolutionary upper-clas, has become a staple of the curriculum in the English-speaking world.

In the late 20 th century, when a progress in feminism appeared irreparable, it seemed a cautionary tale of what might well. At the Hay festival in 2003, Atwood herself argues that it had little general relevance than the first fiction in what was to become her MaddAddam trilogy about a world-wide facing the consequences of environmental meltdown. Oryx and Crake, she said, addressed world-wide issues whereas The Handmaids Tale was specifically about America.

But three decades after The Handmaids Tale was produced, there are many all-too-real the locations where the denizens of the fictional republic of Gilead would feel at home, from Donald Trumps increasingly dictatorial and misogynistic US where objectors against two abortion-related greenbacks turned up at the Texas senate in March dressed in the long ruby-red costumes and white bonnets of Atwoods handmaids to a Nigeria in which schoolgirls are seized en masse, and a changing number of theocratic countries across Asia and the Middle East.

The Year of The Flood, are presented in 2009, boasts Gods Gardeners, a religious sect devoted to the melding of science, religion, and sort, whose hymn-singing was promulgated in a strange roadshow.

Atwood herself opened the depict, intoning on a monotone from a wooden throne. As Diana Quick, one of the musicians, echoes: Peggy was rather eerie on that amusing promo make because she had written all their carol of praise and she took to blessing everyone, as it were, ex cathedra. I recall she had had great hopes for it and was quite theatre struck, and then very disappointed in its implementation of the piece.

Perhaps we were too far away to see that wicked smile, though an endnote to the tale proposed to not. In it, Atwood invited readers to listen to the Gardeners hymns on her website and to use them for amateur devotional or environmental purposes. If she sometimes takes herself preferably too seriously, she has surely gave the right to do so over a 60 -book career which shows no sign of ceasing to produce spookily prescient books.

Anyone inclined to be said that The Handmaids Tale is still a parochial parable should consider its relevant to even presumably radical societies in an age of a mass surveillance that would have been inconceivable when the novel was written. Like their fellow citizens of Gilead, we have internalised the distorted reasoning of Atwoods sinister Aunt Lydia, the apparently kindly supervisor who is actually a commonwealth stooge. There is more than one various kinds of democracy. Discretion to and exemption from, she says. In the days of disorder, it was freedom to. Now “you think youre” being given discretion from. Dont underrate it. As Orwell almost said, Big Sister is Watching You.

Potted profile

Born: 18 November 1939

Age: 77

Career: Started out as a poet and has to date written roughly 60 books for adults and children. She has also created opera libretti, television dialogues and a graphic novel.

High spot: Prevailing the Booker prize in 2000 with The Blind Assassin, the fourth of her fictions to be shortlisted.

Low quality: The Handmaids Tale has been censored from schools and libraries all over the US for being anti-Christian and sexually lurid and has appeared on the 100 Most Frequently Objection Books for the last 20 years.

What she says : Optimism necessitates better than world; despair entails worse than actuality. Im a realist.

What they say : The National Book Critics Circle of America gave her a lifetime achievement give this year for her groundbreaking myth, environmental and feminist activism, and work to community as a co-founder of the Scribe Trust of Canada.

The post Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead appeared first on apsbicepstraining.com.

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[apsbicepstraining]

Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead

The Handmaids Tales joyful reception on the small screen reminds us of its ever-energetic generators spooky prescience

Once or twice in a generation, a tale is suggested that vaults out of the literary corral studying to be a phenomenon, well known to beings the world over who have never read the book: George Orwells 1984 is one and Margaret Atwoods The Handmaids Tale is another.

So its perhaps not remarkable that a new 10 -part TV series based on the romance has struck a chord. Starring Elisabeth Moss as handmaid Offred, the succession launched in the US last-place month and comes to the UK later this month trailing superlatives.

At 77, Atwood blends the loftiness of a high priestess who does not stand moron gladly with an unstinting generosity to those she deems not to be foolhardy. She is a heartfelt environmentalist, with a special interest in chicks, which she shares with her husband, Graeme Gibson.

If her determination to live by her principles occasionally seems incidentally comic as when she embarked by barge on an international tour of a stage show publicising the second tale of her MaddAddam trilogy, The Year of the Flood she also brings to her politics a healthy dose of intentional humour.

On a recent trip to her Toronto home, her longtime UK publisher Lennie Goodings was amazed to converge her carrying a paper bag bellying with four large-scale rubber turkeys. She established them to me with that joke, manager on a tilt, wicked smile of hers. They yelped when she pressed them. It turned out that she and Gibson were about to present the trophies at an annual RSPB competition. The winners each receive a rubber goose from Margaret, at which point she deports them in a squeezing squawking choir.

Atwood traces her refer with the environment back to a childhood spent criss-crossing the groves of Canada with her entomologist leader. She was the second of three children, and the familys itinerant life meant that she did not going to see full-time academy until she was eight years old. She embarked producing her poetry while a student at the University of Toronto, acquired her firstly major literary award for a poetry collection are presented in 1964, and three accumulations later diversified into fiction in 1969 with The Edible Woman, about the status of women driven mad by consumerism.

She is a exceedingly hands-on person, says Goodings, a fellow Canadian, who has been her publisher at at the feminist imprint Virago since 1979. Her self-sufficiency comes from her childhood but also from her participation in the early days of CanLit[ Canadian Literature ]. She designed her own cover for her first journal of poetry, The Circle Game, with the red-faced specks you buy at stationery stores. In the early days of Virago she enjoyed and learned alongside us bookshop point-of-sale information such as shelf airstrips and dumpbins.

Once she and I passed in a taxi to an happen with a large cardboard lady a replication of the figure on the handle of[ her 1988 novel] Cats Eye. She loved it.

Her hands-on approach has carried her forcefully into the digital period. As an internationally successful author who has been awarded 24 honorary magnitudes in six two countries, been shortlisted five times for the Booker prize( acquiring it in 2000 for The Blind Assassin ), and who was more recently invited to Norway to implant a manuscript for 100 years as the first participant in The Future Library project, she faced the tricky issue of a monumental carbon footprint. She undertook it by inventing the LongPen, which enabled her at least to do volume signals without leaving her home.

Her penultimate novel, The Heart Goes Last, began its life on the fanfiction scaffold Wattpad, and she has 1.6 million Twitter partisans, to whom she tweets a dozen times a day on subjects arraying from the urgent need to protect the monarch butterfly to the vilification of Hilary Clinton.

She has also made cameo appearances in The Handmaids Tale, and as an cataclysm survivor on Zombies, Run !, a fitness app blending an audio drama with an immersive jogging competition, which was devised by her protege, the English novelist and gaming wizard Naomi Alderman.

The two were brought together through a mentoring strategy run by Rolex. Four of us got flown out to Canada to meet her and I belief she picked me because I was funny, says Alderman, who ascribes Atwood with the convent settle of her recent novel, The Power, which is in the running for the Baileys prize. Shes really implied me in their own families in a way I hadnt expected. Ive been bird watching in Cuba with her brother and his wife, and to the Arctic.

Atwood has said she was reluctant to get involved with the strategy, and some of her more institutional mentoring rapports ought to have little encouraging. As a teacher she was pretty hectoring, says one former student on a imaginative print MA. She read all our first assemblies and we each had one grilling with her about our journals. Almost all the questions she requested was, And then what happens? And then what happens? so I predict plot is pretty important.

Her abrasive line-up has also been evident in run-ins with the science fiction parish as to which category her fictions are all part of, insisting that they are speculative myth on the basis that: Discipline story has demons and spaceships; speculative fiction could really happen.

The veteran SF columnist Ursula K Le Guin countered in a Guardian inspect: To my memory, The Handmaids Tale, Oryx and Crake and now The Year of the Flood all exemplify one of the things science fiction does, which is to extrapolate imaginatively from current trends and events to a near-future thats half prediction, half wit.

Published in the mid-1 980 s, with a Canadians mounting chagrin at the religion revitalization she was detecting over their own borders in the United States, The Handmaids Tale, a legend of a theocratic territory in which young woman are treated as clutch mares by a merciless revolutionary upper-clas, has become a staple of the curriculum in the English-speaking world.

In the late 20 th century, when a progress in feminism appeared irreparable, it seemed a cautionary tale of what might well. At the Hay festival in 2003, Atwood herself argues that it had little general relevance than the first fiction in what was to become her MaddAddam trilogy about a world-wide facing the consequences of environmental meltdown. Oryx and Crake, she said, addressed world-wide issues whereas The Handmaids Tale was specifically about America.

But three decades after The Handmaids Tale was produced, there are many all-too-real the locations where the denizens of the fictional republic of Gilead would feel at home, from Donald Trumps increasingly dictatorial and misogynistic US where objectors against two abortion-related greenbacks turned up at the Texas senate in March dressed in the long ruby-red costumes and white bonnets of Atwoods handmaids to a Nigeria in which schoolgirls are seized en masse, and a changing number of theocratic countries across Asia and the Middle East.

The Year of The Flood, are presented in 2009, boasts Gods Gardeners, a religious sect devoted to the melding of science, religion, and sort, whose hymn-singing was promulgated in a strange roadshow.

Atwood herself opened the depict, intoning on a monotone from a wooden throne. As Diana Quick, one of the musicians, echoes: Peggy was rather eerie on that amusing promo make because she had written all their carol of praise and she took to blessing everyone, as it were, ex cathedra. I recall she had had great hopes for it and was quite theatre struck, and then very disappointed in its implementation of the piece.

Perhaps we were too far away to see that wicked smile, though an endnote to the tale proposed to not. In it, Atwood invited readers to listen to the Gardeners hymns on her website and to use them for amateur devotional or environmental purposes. If she sometimes takes herself preferably too seriously, she has surely gave the right to do so over a 60 -book career which shows no sign of ceasing to produce spookily prescient books.

Anyone inclined to be said that The Handmaids Tale is still a parochial parable should consider its relevant to even presumably radical societies in an age of a mass surveillance that would have been inconceivable when the novel was written. Like their fellow citizens of Gilead, we have internalised the distorted reasoning of Atwoods sinister Aunt Lydia, the apparently kindly supervisor who is actually a commonwealth stooge. There is more than one various kinds of democracy. Discretion to and exemption from, she says. In the days of disorder, it was freedom to. Now “you think youre” being given discretion from. Dont underrate it. As Orwell almost said, Big Sister is Watching You.

Potted profile

Born: 18 November 1939

Age: 77

Career: Started out as a poet and has to date written roughly 60 books for adults and children. She has also created opera libretti, television dialogues and a graphic novel.

High spot: Prevailing the Booker prize in 2000 with The Blind Assassin, the fourth of her fictions to be shortlisted.

Low quality: The Handmaids Tale has been censored from schools and libraries all over the US for being anti-Christian and sexually lurid and has appeared on the 100 Most Frequently Objection Books for the last 20 years.

What she says : Optimism necessitates better than world; despair entails worse than actuality. Im a realist.

What they say : The National Book Critics Circle of America gave her a lifetime achievement give this year for her groundbreaking myth, environmental and feminist activism, and work to community as a co-founder of the Scribe Trust of Canada.

The post Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead appeared first on apsbicepstraining.com.

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[apsbicepstraining]

Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead

The Handmaids Tales joyful reception on the small screen reminds us of its ever-energetic generators spooky prescience

Once or twice in a generation, a tale is suggested that vaults out of the literary corral studying to be a phenomenon, well known to beings the world over who have never read the book: George Orwells 1984 is one and Margaret Atwoods The Handmaids Tale is another.

So its perhaps not remarkable that a new 10 -part TV series based on the romance has struck a chord. Starring Elisabeth Moss as handmaid Offred, the succession launched in the US last-place month and comes to the UK later this month trailing superlatives.

At 77, Atwood blends the loftiness of a high priestess who does not stand moron gladly with an unstinting generosity to those she deems not to be foolhardy. She is a heartfelt environmentalist, with a special interest in chicks, which she shares with her husband, Graeme Gibson.

If her determination to live by her principles occasionally seems incidentally comic as when she embarked by barge on an international tour of a stage show publicising the second tale of her MaddAddam trilogy, The Year of the Flood she also brings to her politics a healthy dose of intentional humour.

On a recent trip to her Toronto home, her longtime UK publisher Lennie Goodings was amazed to converge her carrying a paper bag bellying with four large-scale rubber turkeys. She established them to me with that joke, manager on a tilt, wicked smile of hers. They yelped when she pressed them. It turned out that she and Gibson were about to present the trophies at an annual RSPB competition. The winners each receive a rubber goose from Margaret, at which point she deports them in a squeezing squawking choir.

Atwood traces her refer with the environment back to a childhood spent criss-crossing the groves of Canada with her entomologist leader. She was the second of three children, and the familys itinerant life meant that she did not going to see full-time academy until she was eight years old. She embarked producing her poetry while a student at the University of Toronto, acquired her firstly major literary award for a poetry collection are presented in 1964, and three accumulations later diversified into fiction in 1969 with The Edible Woman, about the status of women driven mad by consumerism.

She is a exceedingly hands-on person, says Goodings, a fellow Canadian, who has been her publisher at at the feminist imprint Virago since 1979. Her self-sufficiency comes from her childhood but also from her participation in the early days of CanLit[ Canadian Literature ]. She designed her own cover for her first journal of poetry, The Circle Game, with the red-faced specks you buy at stationery stores. In the early days of Virago she enjoyed and learned alongside us bookshop point-of-sale information such as shelf airstrips and dumpbins.

Once she and I passed in a taxi to an happen with a large cardboard lady a replication of the figure on the handle of[ her 1988 novel] Cats Eye. She loved it.

Her hands-on approach has carried her forcefully into the digital period. As an internationally successful author who has been awarded 24 honorary magnitudes in six two countries, been shortlisted five times for the Booker prize( acquiring it in 2000 for The Blind Assassin ), and who was more recently invited to Norway to implant a manuscript for 100 years as the first participant in The Future Library project, she faced the tricky issue of a monumental carbon footprint. She undertook it by inventing the LongPen, which enabled her at least to do volume signals without leaving her home.

Her penultimate novel, The Heart Goes Last, began its life on the fanfiction scaffold Wattpad, and she has 1.6 million Twitter partisans, to whom she tweets a dozen times a day on subjects arraying from the urgent need to protect the monarch butterfly to the vilification of Hilary Clinton.

She has also made cameo appearances in The Handmaids Tale, and as an cataclysm survivor on Zombies, Run !, a fitness app blending an audio drama with an immersive jogging competition, which was devised by her protege, the English novelist and gaming wizard Naomi Alderman.

The two were brought together through a mentoring strategy run by Rolex. Four of us got flown out to Canada to meet her and I belief she picked me because I was funny, says Alderman, who ascribes Atwood with the convent settle of her recent novel, The Power, which is in the running for the Baileys prize. Shes really implied me in their own families in a way I hadnt expected. Ive been bird watching in Cuba with her brother and his wife, and to the Arctic.

Atwood has said she was reluctant to get involved with the strategy, and some of her more institutional mentoring rapports ought to have little encouraging. As a teacher she was pretty hectoring, says one former student on a imaginative print MA. She read all our first assemblies and we each had one grilling with her about our journals. Almost all the questions she requested was, And then what happens? And then what happens? so I predict plot is pretty important.

Her abrasive line-up has also been evident in run-ins with the science fiction parish as to which category her fictions are all part of, insisting that they are speculative myth on the basis that: Discipline story has demons and spaceships; speculative fiction could really happen.

The veteran SF columnist Ursula K Le Guin countered in a Guardian inspect: To my memory, The Handmaids Tale, Oryx and Crake and now The Year of the Flood all exemplify one of the things science fiction does, which is to extrapolate imaginatively from current trends and events to a near-future thats half prediction, half wit.

Published in the mid-1 980 s, with a Canadians mounting chagrin at the religion revitalization she was detecting over their own borders in the United States, The Handmaids Tale, a legend of a theocratic territory in which young woman are treated as clutch mares by a merciless revolutionary upper-clas, has become a staple of the curriculum in the English-speaking world.

In the late 20 th century, when a progress in feminism appeared irreparable, it seemed a cautionary tale of what might well. At the Hay festival in 2003, Atwood herself argues that it had little general relevance than the first fiction in what was to become her MaddAddam trilogy about a world-wide facing the consequences of environmental meltdown. Oryx and Crake, she said, addressed world-wide issues whereas The Handmaids Tale was specifically about America.

But three decades after The Handmaids Tale was produced, there are many all-too-real the locations where the denizens of the fictional republic of Gilead would feel at home, from Donald Trumps increasingly dictatorial and misogynistic US where objectors against two abortion-related greenbacks turned up at the Texas senate in March dressed in the long ruby-red costumes and white bonnets of Atwoods handmaids to a Nigeria in which schoolgirls are seized en masse, and a changing number of theocratic countries across Asia and the Middle East.

The Year of The Flood, are presented in 2009, boasts Gods Gardeners, a religious sect devoted to the melding of science, religion, and sort, whose hymn-singing was promulgated in a strange roadshow.

Atwood herself opened the depict, intoning on a monotone from a wooden throne. As Diana Quick, one of the musicians, echoes: Peggy was rather eerie on that amusing promo make because she had written all their carol of praise and she took to blessing everyone, as it were, ex cathedra. I recall she had had great hopes for it and was quite theatre struck, and then very disappointed in its implementation of the piece.

Perhaps we were too far away to see that wicked smile, though an endnote to the tale proposed to not. In it, Atwood invited readers to listen to the Gardeners hymns on her website and to use them for amateur devotional or environmental purposes. If she sometimes takes herself preferably too seriously, she has surely gave the right to do so over a 60 -book career which shows no sign of ceasing to produce spookily prescient books.

Anyone inclined to be said that The Handmaids Tale is still a parochial parable should consider its relevant to even presumably radical societies in an age of a mass surveillance that would have been inconceivable when the novel was written. Like their fellow citizens of Gilead, we have internalised the distorted reasoning of Atwoods sinister Aunt Lydia, the apparently kindly supervisor who is actually a commonwealth stooge. There is more than one various kinds of democracy. Discretion to and exemption from, she says. In the days of disorder, it was freedom to. Now “you think youre” being given discretion from. Dont underrate it. As Orwell almost said, Big Sister is Watching You.

Potted profile

Born: 18 November 1939

Age: 77

Career: Started out as a poet and has to date written roughly 60 books for adults and children. She has also created opera libretti, television dialogues and a graphic novel.

High spot: Prevailing the Booker prize in 2000 with The Blind Assassin, the fourth of her fictions to be shortlisted.

Low quality: The Handmaids Tale has been censored from schools and libraries all over the US for being anti-Christian and sexually lurid and has appeared on the 100 Most Frequently Objection Books for the last 20 years.

What she says : Optimism necessitates better than world; despair entails worse than actuality. Im a realist.

What they say : The National Book Critics Circle of America gave her a lifetime achievement give this year for her groundbreaking myth, environmental and feminist activism, and work to community as a co-founder of the Scribe Trust of Canada.

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