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Set in the visionary future of Atwood’s acclaimed Oryx and Crake, The Year of the Flood is at once a moving tale of lasting friendship and a landmark work of speculative fiction. In this second book of the MaddAddam trilogy, the long-feared waterless flood has occurred, altering Earth as we know it and obliterating most human life. Among the survivors are Ren, a young trapeze dancer locked inside the high-end sex club Scales and Tails, and Toby, who is barricaded inside a luxurious spa. Amid shadowy, corrupt ...
Set in the visionary future of Atwood’s acclaimed Oryx and Crake, The Year of the Flood is at once a moving tale of lasting friendship and a landmark work of speculative fiction. In this second book of the MaddAddam trilogy, the long-feared waterless flood has occurred, altering Earth as we know it and obliterating most human life. Among the survivors are Ren, a young trapeze dancer locked inside the high-end sex club Scales and Tails, and Toby, who is barricaded inside a luxurious spa. Amid shadowy, corrupt ruling powers and new, gene-spliced life forms, Ren and Toby will have to decide on their next move, but they can't stay locked away.
“[The Year of the Flood] shows the Nobel Prize-worthy Atwood . . . at the pinnacle of her prodigious creative powers.” —Elle
“A heart-pounding thriller.” —The Washington Post Book World
“Leave it to Atwood to find humor in a post-apocalyptic world as she covertly, and brilliantly, addresses questions of how we need to live on an imperiled planet.” —Kansas City Star
“Atwood is funny and clever, such a good writer and real thinker. . . . The Year of the Flood isn’t prophecy, but it is eerily possible.” —The New York Times Book Review
“Timely and gripping. . . . Atwood tells a good story, one filled with suspense and even levity.” —USA Today
“Enthralling. . . . Memorable characters, a tightly controlled pace and shockingly plausible scenes make it fly—to a mysterious, skin-prickling ending.” —San Francisco Chronicle
“Atwood renders this civilization and these two lives within it with tenderness and insight, a healthy dread, and a guarded humor.” —O, the Oprah Magazine
“Atwood spins the most arresting alternate mythologies to our hell-bent world. . . . The Year of the Flood is a slap-happy romp through the end times. Stuffed with cornball hymns, genetic mutations worth of Thomas Pynchon and a pharmaceutical company run amok, it reads like dystopia verging on satire. She may be imagining a world in flames, but she’s doing it with a dark cackle.” —The Los Angeles Times
“Thought-provoking, beautifully constructed, and rich with the imaginative flourishes for which [Atwood] is rightly famous. . . . A hugely entertaining and satisfying read.” —The Irish Independent
“Prodigiously imaginative and outrageously funny. . . . Atwood’s wit is biting. . . . Her brilliance dazzles.” —The Plain Dealer
“Heart-pounding, mysterious and surprisingly touching. . . . She enchants us so convincingly that after her spell is over, the ‘real’ world seems temporarily transformed. The Year of the Flood is both a warning and a gift.” —Jane Ciabattari, “Books We Like,” NPR.org
“Atwood is a wry wizard at world-building. . . . Fans . . . should grab a biohazard suit, crawl into a hermetically sealed fallout shelter, and dive right in.” —The Christian Science Monitor
“Funny. . . . Entertaining. . . . You fall into her intensely inventive world and find yourself carried happily along.” —Anthony Doerr, Orion Magazine
“Atwood scores a 10.” —Philadelphia Inquirer
“Atwood's latest is a fiercely imagined tale of suffering that rivals Job’s. . . . As dark as Atwood's vision may be, the bonds among her women give her work a bittersweet power.” —People
“Richly imagined. . . . Thought-provoking, unexpectedly funny and utterly original.” —The Denver Post
“Engrossing and suspenseful.” —The New York Review of Books
“Riveting. . . . Cunning, droll. . . . The intensity of her apocalyptic fantasy doesn’t prevent Atwood from giving free rein to her peppery and inventive humor. . . . So she courts us with her puckish wit, holds us spellbound with suspense, and then confronts us with harrowing and tragic scenarios.” —The Kansas City Star
“Atwood’s language remains as juicy and colorful as ever. . . . [She] allows her imagination to roam rudely, widely, and vigorously where lesser minds fear to tread.” —Barnes & Noble Review
“Vintage Atwood: It’s artfully edgy, casting a pitiless eye on her fellow creatures. . . . A powerful indictment of the way human beings have long treated the planet and themselves. . . . The book takes big risks.” —Chicago Tribune
“Mesmerizing. . . . Flood's relentlessly fabulous inventions and despondent predictions become almost unbearable, especially told in such gorgeously trenchant prose. In this way, the book recalls Atwood’s 1985 masterpiece, The Handmaid's Tale.” —Time Out New York (five out of five stars)
“Atwood unflinchingly holds aloft the sanctity of life—for all species—and the human quest for love.” —Chicago Sun-Times
“With Atwood’s characteristic brainy humor. . . . The Year of the Flood consistently does what one expects of any work by Margaret Atwood: It entertains, spins out suspense and rewards a reader's basic impulse, all the while subtly and expertly maintaining its literary respectability.” —Minneapolis Star Tribune
“[An] entertaining, often mesmerizing, consciousness-raising novel. . . . This is a work that amuses, informs, enlightens and, remarkably, also challenges its readers to be better persons.” —San Antonio Express-News
“[Atwood] is emerging as literature’s queen of the apocalypse. . . . Fine. . . . Illuminating. . . . Gripping and scary, provocative and quite humorous.” —Associated Press
“A marvelously absorbing novel. . . . Vivid and remarkably drawn.” —The A. V. Club
“[With] Atwood’s trademark wit and clarity of vision.” —The Dallas Morning News
“Atwood's mischievous, suspenseful, and sagacious dystopian novel follows the trajectory of current environmental debacles to a shattering possible conclusion with passionate concern and arch humor.” —Booklist, starred review
In her 2002 speculative novel,
The novel centers on the lives of Ren and Toby, female members of afundamentalist sect of Christian environmentalists, the God's Gardeners. Led by the charismatic Adam One, whose sermons and eco-hymns punctuate the narrative, the God's Gardeners are preparing for life after the prophesied Waterless Flood. Atwood plays some of their religion for laughs: their hymns have a comically bouncing, churchy rhythm, and we learn that both Ren and Toby have been drawn toward the sect for nonreligious reasons. Yet the gentleness and benignity of the Gardeners is a source of hope as well as humor. As absurd as some of their beliefs appear, Atwood seems to be suggesting that they're a better option than the naked materialism of the corporations.
This is a gutsy and expansive novel, rich with ideas and conceits, but overall it's more optimistic than
Each novel can be enjoyed independently of the other, but what's perhaps most impressive is the degree of connection between them. Together, they form halves of a single epic. Characters intersect. Plots overlap. Even the tiniest details tessellate into an intricate whole. In the final pages, we catch up with Jimmy once more, as he waits to encounter the strangers. This time around, Atwood commits herself to a dramatic and hopeful denouement that's in keeping with this novel's spirit of redemption.
“A gripping and visceral book that showcases Atwood’s pure storytelling talents.” The New York Times
“A heart-pounding thriller.” The Washington Post
“Atwood is funny and clever. [She] knows how to show us ourselves, but the mirror she holds up to life does more than reflect.... The Year of the Flood isn’t prophecy, but it is eerily possible.” The New York Times Book Review
“A gripping read, revealing Atwood in her most masterful storytelling mode.... The book is a cracked mirror of the times we live in.” The Gazette
1Toby. Year Twenty-five, the Year of the Flood.
In the early morning Toby climbs up to the rooftop to watch the sunrise. She uses a mop handle for balance: the elevator stopped working some time ago and the back stairs are slick with damp, so if she slips and topples there won't be anyone to pick her up. As the first heat hits, mist rises from among the swathe of trees between her and the derelict city. The air smells faintly of burning, a smell of caramel and tar and rancid barbecues, and the ashy but greasy smell of a garbage-dump fire after it's been raining. The abandoned towers in the distance are like the coral of an ancient reef—bleached and colourless, devoid of life. There still is life, however. Birds chirp; sparrows, they must be. Their small voices are clear and sharp, nails on glass: there's no longer any sound of traffic to drown them out. Do they notice that quietness, the absence of motors? If so, are they happier? Toby has no idea. Unlike some of the other Gardeners—the more wild-eyed or possibly overdosed ones—she has never been under the illusion that she can converse with birds. The sun brightens in the east, reddening the blue-grey haze that marks the distant ocean. The vultures roosting on hydro poles fan out their wings to dry them, opening themselves like black umbrellas. One and then another lifts off on the thermals and spirals upwards. If they plummet suddenly, it means they've spotted carrion. Vultures are our friends, the Gardeners used to teach. They purify the earth. They are God's necessary dark Angels of bodily dissolution. Imagine how terrible it would be if there were no death!Do I still believe this? Toby wonders. Everything is different up close.
The rooftop has some planters, their ornamental running wild; it has a few fake-wood benches. It used to have a sun canopy for cocktail hour, but that's been blown away. Toby sits on one of the benches to survey the grounds. She lifts her binoculars, scanning from left to right. The driveway, with its lumirose borders, untidy now as as frayed hairbrushes, their purple glow fading in the strengthening light. The western entrance, done in pink adobe-style solarskin, the snarl of tangled cars outside the gate. The flowerbeds, choked with sow thistle and burdock, enormous aqua kudzu moths fluttering above them. The fountains, their scallop-shell basins filled with stagnant rainwater. The parking lot with a pink golf cart and two pink AnooYoo minibuses, each with its winking-eye logo. There's a fourth minibus further along the drive, crashed into a tree: there used to be an arm hanging out of the window, but it's gone now.The wide lawns have grown up, tall weeds. There are low irregular mounds beneath the milkweed and fleabane and sorrel, with here and there a swatch of fabric, a glint of bone. That's where the people fell, the ones who'd been running or staggering across the lawn. Toby had watched from the roof, crouched behind one of the planters, but she hadn't watched for long. Some of those people had called for help, as if they'd known she was there. But how could she have helped? The swimming pool has a mottled blanket of algae. Already there are frogs. The herons and the egrets and the peagrets hunt them, at the shallow end. For a while Toby tried to scoop out the small animals that had blundered in and drowned. The luminous green rabbits, the rats, the rakunks, with their striped tails and racoon bandit masks. But now she leaves them alone. Maybe they'll attract fish, somehow.Is she thinking of eating these future fish? Surely not. Surely not yet.She turns to the dark encircling wall of trees and vines and fronds and shrubby undergrowth, probing it with her binoculars. It's surely from there that any danger might come. But what kind of danger? She can't imagine.
In the night there are the usual noises: the faraway barking of dogs, the tittering of mice, the water-pipe notes of the crickets, the occasional grumph of a frog. The blood rushing in her ears: katoush, katoush, katoush. A heavy broom sweeping dry leaves. "Go to sleep," she says out loud. But she never sleeps well, not since she's been alone in this building. Sometimes she hears voices—human voices, calling to her in pain. Or the voices of women, the women who used to work here, the anxious women who used to come, for rest and rejuvenation. Splashing in the pool, strolling on the lawns. All the pink voices, soothed and soothing. Or the voices of the Gardeners, murmuring or singing; or the children laughing together, up on the Edencliff Garden. Adam One, and Nuala, and Burt. Old Pilar, surrounded by her bees. And Zeb. If any one of them is still alive, it must be Zeb. Surely is he on his way, any day now he'll come walking along the roadway or appear from among the trees. But he must be dead by now. It's better to think so. Not to waste hope.There must be someone else left, though; she can't be the only one on the planet. There must be others. But friends or foes? If she sees one, how to tell? She's prepared. The doors are locked, the windows barred. But even such barriers are no guarantee: every hollow space invites invasion. Even when she sleeps, she's listening, as animals do—for a break in the pattern, for an unknown sound, for a silence opening like a crack in rock. When the small creatures hush their singing, said Adam One, it's because they're afraid. You must listen for the sound of their fear.
2Ren. Year Twenty-five, the year of the Flood.
Beware of words. Be careful what you write. Leave no trails.This is what the Gardeners taught us, when I was a child among them. They taught us to depend on memory, because nothing written down could be relied on. The Spirit travels from mouth to mouth, not from thing to thing: books could be burnt, paper crumble away, computers could be destroyed. Only the Spirit lives forever, and the Spirit isn't a thing. As for writing, it was dangerous, said the Adams and the Eves, because your enemies could trace you through it, and hunt you down, and use your words to condemn you.But now that the Waterless Flood has swept over us, any writing I might do is safe enough, because those who might have used it against me are surely dead. So I can write down anything I want. What I write is my name, Ren, with an eyebrow pencil, on the wall beside the mirror. I've written it a lot of times. Renrenren, like a song. You can forget who you are if you're alone too much. Amanda told me that. I can't see out the window, it's glass brick. I can't get out the door, it's locked on the outside. I still have air though, and water, as long as the solar doesn't quit. I still have food. I'm lucky. I'm really very lucky. Count your luck, Amanda used to say. So I do. First, I was lucky to be working here at Scales when the Flood hit. Second, it was even luckier that I was shut up this way in the Sticky Zone, because it kept me safe. I got a rip in my Biofilm Bodyglove—a client got carried away and bit me, right through the green sequins and I was waiting for my test results. It wasn't a wet rip with secretions and membranes involved, it was a dry rip near the elbow, so I wasn't that worried. Still, they checked everything, here at Scales. They had a reputation to keep up: we were known as the cleanest dirty girls in town. Scales took care of you, they really did. If you were talent, that is. Good food, a doctor if you needed one, and the tips were great, because the men from the top Corps came here. It was well run, though it was in a seedy area—all the clubs were. That was a matter of image, Mordis would say: seedy was good for business, because unless there's an edge—something lurid or tawdry, a whiff of sleaze—what separated our brand from the run-of-the-mill product the guy could get at home, with the face cream and the white cotton panties? Mordis believed in plain speaking. He'd been in the business ever since he was a kid, and when they outlawed the pimps and the street trade—for public health and the safety of women, they said—and rolled everything into SeksMart under CorpSeCorps control, Mordis made the jump, because of his experience. "It's who you know," he used to say. "And what you know about them." Then he'd grin, and pat you on the bum—just a friendly pat though, he never took freebies from us. He had ethics.He was a wiry guy with a shaved head and black, shiny, alert eyes like the heads of ants, and he was easy as long as everything was cool. But he'd stand up for us if the clients got violent. "Nobody hurts my best girls," he'd say. It was a point of honour with him. Also he didn't like waste: we were a valuable asset, he'd say. The cream of the crop. After the SeksMart roll-in, anyone left outside the system was not only illegal but pathetic. A few wrecked, diseased old women wandering the alleyways, practically begging. No man with even a fraction of his brain left would go anywhere near them. "Hazardous waste," we Scales girls used to call them. We shouldn't have been so scornful; we should have had compassion. But compassion takes work, and we were young.
That night when the Waterless Flood began, I was waiting for my test results: they kept you locked in the Sticky Zone for weeks, in case you had something contagious. The food came in through the safety-sealed hatchway, plus there was the mini-fridge with snacks, and the water was filtered, coming in and out both. You had everything you needed, but it got boring in there. You could exercise on the machines, and I did a lot of that, because a trapeze dancer needs to keep in practice. You could watch TV or old movies, play your music, talk on the phone. Or you could visit the other rooms in Scales on the intercom video. Sometimes when we doing plank work we'd wink at the cameras in mid-moan for the benefit of whoever was stuck in the Sticky Zone. We knew where the cameras were hidden, in the snakeskin or featherwork on the ceilings. It was one big family, at Scales, so even when you were in the Sticky Zone, Mordis liked you to feel you were still participating.Mordis made me feel so secure. I knew if I was in big trouble I could go to him. There were only a few people in my life like that. Amanda, most of the time. Zeb, sometimes. And Toby. You wouldn't think it would be Toby—she was so tough and hard—but if you're drowning, a soft squashy thing is no good to hold onto. You need something more solid.
Of the Creation, and of the Naming of the Animals.Spoken by Adam One.
Dear Friends, dear fellow Creatures, dear fellow Mammals: On Creation Day five years ago, this Edencliff Rooftop Garden of ours was a sizzling wasteland, hemmed in by festering city slums and dens of wickedness; but now it has blossomed as the rose. By covering such barren rooftops with greenery we are doing our small part in the redemption of God's Creation from the decay and sterility that lies all around us, and feeding ourselves with unpolluted food into the bargain. Some would term our efforts futile, but if all were to follow our example, what a change would be wrought on our beloved Planet! Much hard work still lies before us, but fear not, my Friends; for we shall move forward undaunted.I am glad we have all remembered our sunhats.
Now let us turn our minds to our annual Creation Day Devotion. The Human Words of God speak of the Creation in terms that could be understood by the men of old. There is no talk of galaxies or genes, for such terms would have confused them greatly! But must we therefore take as scientific fact the story that the world was created in six days, thus making a nonsense of observable data? God cannot be held to the narrowness of literal and materialistic interpretations, nor measured by Human measurements, for His days are eons, and a thousand ages of our time are like an evening to Him. Unlike some other religions, we have never felt it served a higher purpose to lie to children about geology.Remember the first sentences of those Human Words of God: the Earth is without form, and void, and then God speaks Light into being. This is the moment that Science terms "The Big Bang," as if it were a sex orgy. Yet both accounts concur in their essence: Darkness; then, in an instant, Light. But surely the Creation is ongoing, for are not new stars being formed at every moment? God's Days are not consecutive, my Friends; they run concurrently, the first with the third, the fourth with the sixth. As we are told, "Thou sendeth forth thy Spirit, they are created; and Thou renewest the face of the Earth." We are told that, on the fifth day of God's Creating activities, the waters brought forth Creatures, and on the sixth day the dry land was populated with Animals, and with plants and Trees; and all were blessed, and told to multiply; and finally Adam—that is to say, Mankind—was created. According to Science, this is the same order in which the species did in fact appear on the planet, Man last of all. Or more or less the same order. Or close enough.What happens next? God brings the Animals before Man, "to see what he would call them." But why didn't God already know what names Adam would choose? The answer can only be that God has given Adam free will, and therefore Adam may do things that God Himself cannot anticipate in advance. Think of that the next time you are tempted by meat-eating or material wealth! Even God may not always know what you are going to do next!God must have caused the Animals to assemble by speaking to them directly, but what language did He use? It was not Hebrew, my Friends. It was not Latin or Greek, or English, or French, or Spanish, or Arabic, or Chinese. No: He called the Animals in their own languages. To the Reindeer He spoke Reindeer, to the Spider, Spider; to the Elephant He spoke Elephant, to the Flea He spoke Flea, to the Centipede He spoke Centipede, and to the Ant, Ant. So must it have been.And for Adam himself, the Names of the Animals were the first words he spoke—the first moment of Human language. In this cosmic instant, Adam claims his Human soul. To Name is—we hope—to greet; to draw another towards one's self. Let us imagine Adam calling out the Names of the Animals in fondness and joy, as if to say—There you are, my dearest! Welcome! Adam's first act towards the Animals was thus one of loving-kindness and kinship, for Man in his unfallen state was not yet a carnivore. The Animals knew this, and did not run away. So it must have been on that unrepeatable Day—a peaceful gathering at which every living entity on the Earth was embraced by Man. How much have we lost, dear fellow Mammals and fellow Mortals! How much have we wilfully destroyed! How much do we need to restore, within ourselves! The time of the Naming is not over, my Friends. In His sight, we may still be living in the sixth day. As your Meditation, imagine yourself rocked in that sheltering moment. Stretch out your hand towards those gentle eyes that regard you with such trust—a trust that has not yet been violated by bloodshed and gluttony and pride and disdain. Say their Names. Let us sing.
In this long-awaited new novel, Margaret Atwood brilliantly envisions what could happen if we continue on the dangerous path of disrespect for the environment-and for one another. The questions and topics that follow are designed to enhance your reading experience and to generate lively discussion.
When Oryx and Crake came out, it seemed to many like science fiction - way out there, too weird to be possible - but in the three years that passed before I began writing The Year of the Flood, the perceived gap between that supposedly unreal future and the harsh one we might very well live through was narrowing fast. What is happening to our world? What can we do to reverse the damage? How long have we got? And, most importantly - what kind of "we"? In other words, what kind of people might undertake the challenge? Dedicated ones-they'd have to be. And unless you believe our planet is worth saving, why bother?
So the question of inspirational belief entered the picture, and once you have a set of beliefs - as distinct from a body of measurable knowledge - you have a religion. The God's Gardeners appear briefly in Oryx and Crake, but in The Year of the Flood, they're central. Like all religions, the Gardeners have their own leader, Adam One appeared. They also have their own honoured saints and martyrs, their special days, their theology. They may look strange and obsessive and even foolish to non-members, but they're serious about what they profess; as are their predecessors, who are with us today. I've found out a great deal about rooftop gardens and urban beekeeping while writing this book!
Another question frequently asked about Oryx and Crake concerned gender. Why was the story told by a man? How would it have been different if the narrator had been a woman? Such questions led me to Ren and Toby, and then to their respective lives, and also to their places of refuge. A high-end sex club and a luxury spa would in fact be quite good locations in which to wait out a pandemic plague: at least you'd have bar snacks, and a lot of clean towels.
In his book, The Art Instinct, Dennis Dobson proposes that our interest in narrative is built in - selected during the very long period the human race spent in the Pleistocene - because any species with the ability to tell stories about both past and future would have an evolutionary edge. Will there be a crocodile in the river tomorrow, as there was last year? If so, better not go there. Speculative fictions about the future, like The Year of the Flood, are narratives of that kind. Where will the crocodiles be? How will we avoid them? What are our chances?
Posted August 1, 2009
Margaret Atwood's latest book The Year of the Flood is another of her dystopian offerings. It's many years in the future (Atwood never gives an exact date), and humans have finally managed to destroy much in the natural world. Many animal species are extinct, pollution is rampant, weather is out of control, and society is buckling down to live out the days the best they can. Into all this comes the "waterless flood", a disaster that has wiped out nearly all the humans in the world. At least two have survived: Toby, the manager of a high-end spa who has barricaded herself inside; and Ren, a dancer/prostitute who was in the "sticky zone" (a type of sick bay) when the disaster hit. Now, separately, the two have to try to survive in this strange new unpeopled world. Will they ever find each other? And, the bigger question: did anyone else survive?
I really liked this book; it's not only a great read but very thought-provoking as well. The story is told with flashbacks to Ren and Toby's former lives, which added a lot to the book; it made an interesting contrast to see what things were like before the waterless flood. Toby is tough, smart, and resourceful; and it's always wonderful to see a strong female protaganist (one reason I love Atwood's books). I also thought Atwood did an excellent job of showing how bad things could possibly get on earth in the years to come, without being preachy about it.
I did have two minor quibbles about the book, which is why I gave it four stars instead of five. The first was the annoyingly cute futuristic names many of the things are given: "Anooyoo", "violet biolet", "SekSmart", "Mo'hairs", "Sea/H/Ear candy", "liobams" (if names will really be this cheesy in the future than the world is indeed in trouble;-)!. Yes, it's a very minor thing, but for some reason it grated on my nerves a bit. The other quibble I can't say without giving away spoilers, but it has to do with some coincidences that happen towards the end of the book. I didn't find these coincidences to be very plausible.
Minor quibbles non-withstanding, I could barely tear myself away from the pages of this book. I highly recommend it, especially if you like your sci-fi with a mix of great literature.
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Posted December 23, 2009
I've got to say first, I'm a fan. A huge one. And Oryx and Crake was just awesome... but this, well, it just didn't cut it for me. Maybe it's me. Maybe it's timing. But it felt like a meander down another author's attempt at her writing. It just didn't hold together or share the sense of solid storytelling I've come to expect from this author. Skip it. Get all the others instead. Buy them twice, they are worth it. Not a loser in the bunch. She's allowed this one I guess.
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Posted September 17, 2011
I Also Recommend:
I read Oryx and Crake and Year of the Flood back to back. I had really enjoyed Oryx and Crake, and expected Year of the Flood to be a smooth continuation of the first book, but it is not. I was about a fourth of the way through the second book before I realized and accepted, yea, embraced, the fact that Year of the Flood has a style and focus and engaging characters all its own. The two books should be read in order, but the reader must be open-minded when starting the second book, as it approaches the causes and aftermath of the pandemic (waterless flood) in a totally different but equally entertaining way.
P.S. About half way through, I was thrilled to see a few of our 'friends' from Oryx and Crake cropping up!
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Posted April 8, 2010
I literally read this and felt nothing. The characters are flat, the setting pretentious and cliche, and the plot(?) completely uninteresting. I've liked her books in the past, but this one's a dud.
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An apocalyptic tale drawing from current events--disease, food production, environmental degradation, socioeconomic segregation, corporate controls, religious fanaticism, etc., etc. Thought-provoking. Fast-paced. Hard to put down.
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Posted April 2, 2010
This is the tale of a future where science and technology have run amuck. (Ironically, it's also the first book I've read on my Nook.)
Atwood creates a world that has lost its way and most of its humanity while giving us strong and undaunted characters to root for along the way. Great extrapolation of current issues in ecology, genetics, medicine and more - a story with a message, humor, and even a little hope.
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Posted October 14, 2009
I can't believe it only has 3 stars! It's been a while since I read Oryx and Crake and I found that was ok because even thought the two books are interwound, you didn't need to remember details from O&C to understand this book. I loved the 2 characters, though Ren at the end coming apart didn't seem true to the character she had been throughout the book. I read this book in 3 days, and enjoyed it. I hope Margaret Atwood comes out with a 3rd installment to this series.
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Posted May 27, 2012
IT starts off slow but dont give up on it. It picks up and gets more intriguing in the second half. And it finishes where Oryx leave off. If youre afan of dystopia you will like this.
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Posted December 23, 2011
Posted July 18, 2011
This book was ridiculous. I cant believe it got so many good reviews. I had to force myself to finish reading it. It did have a pretty interesting plot and i actually did think the characters were really well developed and really started liking some of them. But, some of it was so boring, i started skipping whole sections ( like adam one's sermons on whichever saint day it was ). It could've been so much better, but just turned out to be weird and a huge let down.
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Posted October 7, 2014
Posted September 18, 2014
Posted October 11, 2013
Posted October 7, 2013
Book 2 of the MaddAddam trilogy follows a familiar pattern as the first without becoming repetitive. The year of the Flood takes parallel look at the time up until the pandemic which kills nearly everyone on the planet, but the stories cross paths with those from Oryx and Crake on a couple of occasions allowing you to see familiar tales from a new angle. This book has a bit more suspense than book one and offers a harder look at the stark realities of this cruel world, setting up the story for a great end with book 3.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted September 11, 2013
Atwood has some were already there to pad a story with the bizzare grafic sex and violence and present the disfunctional as norm and anti hero as more ibteresting it is sadWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted July 19, 2013
Not for IPads!!! I'm sure the book is great but the nook version is unreadable on an iPad - the text overlaps and is distorted on every other page. Don't buy the nook book!
0 out of 1 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted March 6, 2013
Posted October 18, 2012
Posted May 1, 2012
Very engaging and with two complex dfemale characters that inspire interest and empathy which has been rare in cmparison to other margaret atwood novels. While about 50 pages too long, i highly reccommend.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted March 19, 2012