With the continuing success of Hulu’s The Handmaid’s Tale adaptation and the excitement over the forthcoming sequel The Testaments, arriving in September 2019, interest in Margaret Atwood’s books are at a fever pitch. And while the dystopian tale will undoubtedly be the book that defines Margaret Atwood’s life, she has written many more books of note—all of them worth exploring. If you’re a new reader looking to jump into her extensive backlist, here is how we’d rank them, from the merely very good to the absolutely essential.
Bodily Harm (1981)
Atwood beautifully writes this story of a journalist who travels on assignment to a Caribbean island on the brink of revolution. With lush and elegant prose, it’s a pleasure to read. So why do we place it at the bottom of Atwood’s oeuvre? Rennie, the protagonist, isn’t so much a character with agency as a vessel into which Atwood pours cruelty, making for an occasionally frustrating reading experience. This is likely purposeful, given the prevalent themes of power and emotional addiction, but if the novel is a successful experiment, Rennie’s apparent powerlessness to avoid her own worst possible fates mutes the impact.
Life Before Man (1979)
Once again, Atwood delivers a book that is gorgeous and affecting in its language, but peopled with characters who seem to do things only because the author’s purpose requires it. Elizabeth is the director of a museum in Toronto, her husband Nate makes useless wooden toys; they’re living by outdated and outmoded concepts of relationships and emotion, and the stress starts to show when Nate commences a new affair with Lesje, Elizabeth’s colleague. Elizabeth retaliates by seducing Lesje’s own significant other. The story of their corrosive, destructive affairs is claustrophobic, dry to the point of desiccation, and, like Bodily Harm, probably exactly what Atwood wished to achieve. It’s also depressing as heck.
Atwood’s second novel never names its narrator, a fact that underscores her bleak, featureless depression. The prose is as sharp as ever, and the other characters we encounter as the narrator searches for her missing father—the arrogant and self-impressed David; his wife Anna, who bends over backwards to support his delusions despite her unhappiness; Joe, the silent, insecure potter—form a fascinating, dysfunctional group. The mystery of what’s happened to the narrator’s father is also interesting, for all its inevitable tragedy. The blankness of the narrator makes her a bit of a closed book, even as she descends into madness and desperation while searching for her father.
The Edible Woman (1969)
Atwood’s debut earns points for an intriguing and affecting premise. It’s the story of Marian, who is so immersed in an orderly, consumerist life as a market researcher. Marian is involved with dull-as-paint Peter, and, scandalized by the sexual and emotional behavior of her friends, begins to disassociate, viewing her physical body as a separate entity from herself. She then begins to imbue the food she encounters with human qualities, and finds herself unable to eat—until a final act of symbolic self-cannibalism. It’s all a bit messy and overcooked, but Atwood’s deft work portraying a personality in the act of dissolving is first-rate.
Lady Oracle (1976)
Atwood’s third novel finally sees her having a bit of fun, while retaining the incisive prose that has always defined her work. She explores themes similar to those of her first two novels, but sans the heaviness or the seriousness. Joan Foster had a miserable childhood that continues to afflict her adulthood, until she finds her calling as a writer, and uses trendy automatic writing techniques to craft a cultish bestseller. There’s a lot here: body shaming, blackmail, a sexless marriage, and an identity crises that culminates in the main character faking their death. We’re still in the early days of her impressive career, but there’s a lot to love in this book, as Atwood finally cuts loose a little.
The Robber Bride (1993)
This is a divisive book among Atwood acolytes. On the one hand, it’s a deft examination of female friendships and gender relationships, and it features the absolutely brilliant character Zenia, who is either a sociopathic man-eater and world-class frenemy, or a self-actualized heroine, or something else entirely. But the brilliance of the novel is also its weakest point for some: while Zenia is a breathtaking inversion of the unreliable narrator (this is a woman who fakes her own death, then shows up years later without a care and straight-facedly offers several ridiculous explanations about where she’s been), she’s also slippery and inscrutable as a result. In other words, you either buy into this one wholesale, or you bounce right off of it. (Incidentally, we bought in.)
The Hogarth Shakespeare series is a fascinating experiment in bringing the Bard’s work into a new era. Atwood’s retelling of The Tempest leans so hard into the meta there’s no room for anything else. Felix Phillips—her Prospero—is the Artistic Director of the Makeshiweg Theatre Festival, until he is pushed out by a scheming, extremely clever underling. Philips lands in a job at the local correctional facility, where he concocts a byzantine revenge plot while literally putting on a production of The Tempest. It’s the sort of literary gesture only someone of Atwood’s stature could pull off. The artificiality of it all gives the affair the flavor of an intellectual experiment, but the clever bits make it well worth reading anyway.
Cat’s Eye (1988)
We move into the Atwood top 10 with this diamond-sharp exploration of childhood friendship, bullying, and feminism—a dark sort of proto-Mean Girls. Successful artist Elaine returns home for a retrospective of her paintings, and sinks into a reverie of her childhood and adolescence, a time when she was mercilessly bullied by a trio of girls she’d thought were her friends. As young Elaine descends into and then claws her way out of victimhood, she gains the upper hand over her chief tormentor and enjoys being just as mean, while in adulthood, she begins to see things a bit more clearly than she might like. It’s a story just about everyone can relate to in some way, balancing thematic resonance with narrative drive.
The Heart Goes Last (2015)
This is a quietly over-the-top novel, and as a result, it isn’t universally loved. In a dystopian future where society has lost control of law and order, a young couple grows tired of scraping by on tips and low-wage jobs, living in their car, and under threat by the gangs of criminals that rule the streets. They see an advertisement for a community where they would be guaranteed a job and a home, in exchange for spending every other month in prison while someone else occupies their house. All goes well until they begin to obsess over the “alternates” who live in the house when they’re behind bars. This is a caustic look at modern life through a dark funhouse mirror, very funny, and very smart.
Ranking books in a series is a bit odd, especially in this case, where we’re approaching the tale out of order, so you may want to skip ahead if you aren’t caught up on Atwood’s dystopian sci-fi trilogy that begins with Oryx and Crake and continues in The Year of the Flood. MaddAddam ties those books’ parallel storylines together, as Ren, Toby, and Jimmy unite with other survivors and launch a project to rebuild civilization with the help of the Crakers, while being menaced by a criminal gang of Painball veterans. While it’s a great story that concludes the series in strong fashion, this trilogy-ender understandably lacks a bit of the surprise of the first two.
Oryx and Crake (2003)
See above (and four entries below). The dystopian vision Atwood crafts here is arguably darker and more horrifying than the one in The Handmaid’s Tale; the state of pre-apocalypse society is grim, dominated by violent and pornographic entertainment, where gated compounds protect the elite from the outside world. It’s a society ruled by immensely powerful biotech corporations that values technical capability above all else and casually create life in order to experiment on it. That the end of the world is triggered through pharmaceuticals isn’t an accident, and neither is the surprisingly emotional and elegiac tone of the post-apocalypse sections tat follow a man named Snowball—formerly Jimmy—who watches over the genetically engineered, near-human Crakers as he seeks to fulfill a promise to the man who destroyed the world.
The Penelopiad (2005)
Atwood’s other literary reimagining is more successful than Hag-Seed. Giving Odysseus’ wife Penelope—and her 12 maids—a voice in their ultimately tragic fate is a genius move, and the book fits perfectly within Atwood’s thematic body of work. It’s narrated by Penelope, speaking from Hades in the modern day. She tells her side of the story of her relationship with Odysseus, and her chapters alternate with chapters from the maids’ points of view; the maids haunt Odysseus and Penelope in Hades, and why wouldn’t they—they’re the ones who executed by Odysseus for doing exactly as they were told, and attempted to help Penelope avoid being forced into marriage after her husband was presumed dead. Lively, sharp, and still blisteringly current, this twist on an ancient story redefines it utterly.
Alias Grace (1996)
In this historical mystery (based on a true story of a 19th century woman accused of murdering her employer and his housekeeper and mistress), Atwood plays with reader expectations and point-of-view so masterfully. the book can be enjoyed on many levels: as mystery, as romance, as history viewed through a feminist lens. In the end, Atwood plays that trick of giving you all the information but denying you a concrete conclusion—you simply don’t know, by the end, what truths lie at the heart of Grace, nor what really happened to her, nor what she did. But it doesn’t matter, because the what and when was never the point. This is a story about the shifting of identity—those thrust upon us, those we choose for ourselves—depending on who ‛s telling the tale, and who’s listening.
The Blind Assassin (2000)
This Booker Prize-winner is Atwood’s most structurally complex work. It’s a book about a book, which in turn contains a third book. That’s an oversimplification, of course; it’s one of those slow-building tales that allows you to think you know what’s going on until it becomes obvious you don’t, as the reveals begin landing and you realize you’ve been woefully, terribly wrong about everything. As it begins, it is 1945, and a woman named Laura is dead, possibly by her own hand.Decades later, her sister Iris recalls the childhood they shared, and of the dark events that have befallen their family. Woven into this history is the text of a lurid sci-fi novel (ostensibly penned by Laura) about a killer on a far-distant planet. At the heart of these nesting narratives is the relationship between Laura and Iris, and how it is shaped by both the men who abuse and ruin them, and the lies they tell in order to keep their heads above water. The end result is one of Atwood’s most challenging, spectacular successes.
The Year of the Flood (2009)
Oryx and Crake ends on an organic note that feels final, which made the appearance of a sequel seem surprising—at first. But then, so much of Atwood’s most explicitly speculative universe was left unexplored at the end of one book that the second feels, in retrospect, inevitable. Atwood’s return trip into the apocalypse focuses on the poor of the rapidly-declining future, exploring religion, friendship, and catastrophe with a sure-handedness and comfort the belies the fact that this world was already familiar to Atwood when she started. The Year of the Flood crystallizes the themes she shaped in the first book, taking the kinds of chances only possible in a sequel. As a result, it also packs more of an emotional punch than the concluding volume, and shoots to near the very top of her impressive bibliography.
The Handmaid’s Tale (1985)
Deservedly, Atwood’s greatest work is also her most famous. Its feminist themes and exploration of a truly misogynistic society are horrifyingly relevant some three decades after it was first published. The secret is that Atwood doesn’t paint a simplistic picture of a society in which women have been reclassified as more or less breeding property; she explores how both sexes support and contribute to a horrifying vision of oppression. Yes, it is clearly the men who have reshaped the world in order to strip women of all political, economic, and legal power, but the women of the Republic of Gilead are often willing, cruel participants in the subjugation of the Handmaids who are forced to bear their children. In crafting this bleak future, Atwood doesn’t forget the fundamentals, either; it’s a story peopled with characters you care about, and stakes that devastate.
Our hopes for The Testaments are high. Where do you think it’ll land on this ranking?