ellauri024.html on line 459: Peg Atwood selvitti mitä kukin pelkää eniten. Naiset et mies tappaa ne, miehet naisen naurua. Kuolemaa pahempi kohtalo. Pelottava ei naurata, naurettava ei pelota. Ne jotka haluu arvovaltaa ei siedä naurua. Pahaa sutta ken pelkäisi, hahhah hahhah haa.
ellauri025.html on line 813: Monika on uskolla pelastunut alkoholisti, jolla on piilossa pidettävä kouluttamaton kiltti vanhempi mies. Kuin myös Rautarouva The Witchillä, Kaari Utriolla, Peggy Atwoodilla ja isomarsu Etu-Viikarilla. Varmaan Sanna Marinillakin on.
ellauri042.html on line 674: Käsineidon tarina on Margaret Atwoodin kirjoittama kirja 80-luvulta, HBO:n filmatisoima 2020, Gileadin eli ex-USA:n historia. Saastuneen ja lämmenneen maailman suurin ongelma on että naiset ei enää saa lapsia. Hyvin masentava ajatus. Masentavinta siinä on että se on dystopia. Kun Gileadin pojat räjäyttää Washington DC:n suon ja pääsee kasan pinnalle, ne välittömästi palauttaa patriarkaatin ja panee naiset takaisin naisten paikalle. A Woman´s Place on huippulaihan komendantittaren pamfletti, johon ei enää tule jatkoa, koska eka osa on just toteutettu. Oops, olikohan tää nyt tarkoitus, miettii komendöörskän kuikelo.
ellauri042.html on line 678: Atwoodin kirjasta tuli elokuva 1990. Olis kiintosaa verrata, miten dystopiat on kehittyneet 30 vuodessa. Panin merkille ettei pienihiilijalanjälkiset Gileadin pojat ainakaan lajitelleet roskia. Kaikki heitettiin vaan mullin mallin roska-auton perälle. Alkuosa dystopiasta saattaa olla muuttumassa todexi näinä päivinä, jos Trump saa ylpeät pojat pantua liikekannalle.
ellauri042.html on line 680: Margaret Eleanor Atwood CC OOnt CH FRSC (born November 18, 1939) is a Canadian poet, novelist, literary critic, essayist, teacher, environmental activist, and inventor. Since 1961, she has published 18 books of poetry, 18 novels, 11 books of non-fiction, nine collections of short fiction, eight children's books, and two graphic novels, as well as a number of small press editions of both poetry and fiction. Atwood has won numerous awards and honors for her writing, including the Booker Prize (twice), Arthur C. Clarke Award, Governor General's Award, Franz Kafka Prize, Princess of Asturias Awards, and the National Book Critics and PEN Center USA Lifetime Achievement Awards. A number of her works have been adapted for film and television.
ellauri042.html on line 682: Atwood's works encompass a variety of themes including gender and identity, religion and myth, the power of language, climate change, and "power politics". Many of her poems are inspired by myths and fairy tales which interested her from a very early age. Atwood is a founder of the Griffin Poetry Prize and Writers' Trust of Canada. She is also a Senior Fellow of Massey College, Toronto.
ellauri042.html on line 684: In 1968, Atwood married Jim Polk, an American writer; they divorced in 1973 without issue. Maybe they ought to have bought a handmaid. She formed a relationship with fellow novelist Graeme Gibson soon afterward and moved to a farm near Alliston, Ontario, where their daughter, Eleanor Jess Atwood Gibson, was born in 1976. The family returned to Toronto in 1980. Atwood and Gibson were together until September 18, 2019, when Gibson died after suffering from dementia. She wrote about Gibson in the poem Dearly and in an accompanying essay on grief and poetry published in The Guardian in 2020.
ellauri042.html on line 686: 5 years older Gibson was married to publisher Shirley Gibson until the early 1970s, and together they had two sons, Matt and Grae. He later began dating novelist and poet Margaret Atwood in 1973. They moved to a semi-derelict farm near Alliston, Ontario, which they set about doing up and where according to Atwood they were making "attempts at farming, writing and trying to earn enough to live". Their daughter Eleanor Jess Atwood Gibson was born there in 1976. The family returned to Toronto in 1980. Atwood and Gibson stayed together until his death in 2019. Gibsons best book was The Bedside Book of Birds (2005).
ellauri042.html on line 688: In 2017 Gibson was diagnosed with early signs of vascular dementia. He died on 18 September 2019 in London, England, where Atwood was promoting her new book, five days after having a big stroke. Atwood later said about his death that it had not been unexpected due to the vascular dementia, had been a good one—and in a good hospital, and his children had time to come and say goodbye—and that he had been "declining and he had wanted to check out before he reached any further stages of that".
ellauri049.html on line 759: Paul Valéry (30. lokakuuta 1871 Sète Ranska − 20. heinäkuuta 1945 Pariisi) oli ranskalainen kirjailija, runoilija, filosofi ja Ranskan akatemian jäsen. Valéry nuolaisi sen tusinan kertaa Nobelin hunajapisaraa, muttei tipahtanut. No näitä piisaa, esim. E.M.Foster, Philip Roth, Meg Atwood, med mera.
ellauri061.html on line 284: Elikkä mongoloideja ja kitalakihalkioita tässä manataan. Tulee vähän mieleen Atwoodin käsiapulaiset ja Olli Saxen moronit. Eivät olleet saaneet kohdussa tarpeexi oxygeeniä. Niistä tuli savantteja. Tonttu Jääkiekko vielä myöntää lopuxi: tää oli heikko ja turhanaikainen teema. Silti vittu, kätten pauketta nyt vaan!
ellauri062.html on line 292: Because the book has been frequently challenged or banned in some of the United States of America over the last thirty years, many people have expressed discontent at The Handmaid's Tale's presence in the classroom. Some of these challenges have come from parents concerned about the explicit sexuality and other adult themes represented in the book. Others have argued that The Handmaid's Tale depicts a negative view of religion, a view supported by several academics who propose that Atwood's work satirizes contemporary religious fundamentalists in the United States, offering a feminist critique of the trends this movement to the Right represents.
ellauri066.html on line 238: Atwoodin kirjasta Käsineiti pitkitetty dystooppisen vähävaloinen tv-sarja on darwinistinen. Siinä nimittäin terotetaan että mies on naisen vihollinen tai vähintäänkin hidaste, josta on hyvä päästä eroon kun sen elatusapua ei enää tarvita. Ja niinhän se tietysti onkin, kun sitä oikein ajattelee. Eipä mieskään enää juuri tarvi kynnysmattoa kun se on loppuun mutusteltu. Päähenkilö joku Moss on aika suloton. Sen vahvuus on happamissa ilmeissä. Se on ainoa joka on mukana joka ikisessä jaxossa. Piisaa eltaantuneita miinejä.
ellauri066.html on line 240: Mixi teeskentelisin muuta kuin olen? En minä halua miestä harmixeni, eihän heitä tarvita kuin 10 sekunnixi puolta lasta varten. Mies on vain naisen keino tehdä lisää naisia. Vaikka olihan isäsi tietysti ihan mukava ja niinpoispäin, mutta ei hänestä kyllä mihinkään ollut. Naisiin heitä ei voi verratakaan, paizi tietysti sikäli, että he ovat parempia korjaamaan autoja ja potkimaan palloa, ja sillähän sitä maailmaa parannetaankin, vai mitä. Tää oli Atwoodin äidiltä (s.175).
ellauri066.html on line 247: According to producer Bruce Miller, Margaret Atwood had to ask the scriptwriters to explain the meaning of the term "carpet munchers."
ellauri066.html on line 252: Margaret Atwood first heard "Nolite te bastardes carborundorum" in her childhood Latin classes. Atwood remarked on how "weird" it is that this thing is permanently tattooed on people's bodies. People are a bunch of idiots.
ellauri069.html on line 764: Margaret Atwood: Ihan kuin Trump! Totta on, että pidäkkeetön katteettoman rahan painaminen on talousräjähdyxen priimus moottori.
ellauri074.html on line 96: No ei vaitiskaa, tää ONAN taitaa olla joku USAn ja anglofoonin Kanadan (siis miinus Quebec) muodostama valtio saastuneessa pohjois-Amerikassa. Tässon siis vähän samaa kuin sen kanadalaisen tädin Gilead-dystopiassa, paizi tää on ihan puhasta setäilyä. Kumpikas julkas ensinnä? No se Atwoodin ämmyrkäinen tietysti jo 1985. Wallu oli 23v. Onxtää Wallu sit siitä plagiaattia?
ellauri112.html on line 638: Eipäs vaan se on kuin Atwoodin käsineito, once an aspiring writer, now hugely pregnant with her third child.
ellauri118.html on line 945: Showrunner Bruce Miller was a longtime fan of the Margaret Atwood novel upon which it's based.
ellauri118.html on line 1072: Kirjailija Kaari Utriota, 78, ja koomikko Peggy Atwoodia, 82, yhdisti erityisesti 2 asiaa: käkkärätukka ja feminismi. Kumpikin on intohimoinen naisten ja vähemmistöjen puolustaja, ja kumpikin tekee työtään myös naisasialiikkeen hyväksi.
ellauri118.html on line 1108: Atwood">Puoliveteinen Polli tahtoo kexin
ellauri118.html on line 1110: When Margaret Atwood wrote "The Handmaid´s Tale," published in 1985, she took inspiration from the rise of the Christian right in America during the 1970s and early ´80s and the 1979 Islamic Revolution in Iran. But another, much older source of inspiration for Atwood was the story of a real-life woman in 17th-century New England named Mary Webster, who may or may not have been related to Atwood.
ellauri118.html on line 1112: “Some days, my grandmother would say we were related to her and on other days, she would deny the whole thing because it wasn't very respectable,” Atwood says. “I was actually trying to write a novel about her, but, unfortunately, I didn't know enough about the late 17th century to be able to do it. But I did write a long, narrative poem called 'Half-Hanged Mary,' because she only got half hanged.”
ellauri118.html on line 1114: Growing up, Atwood heard stories from her grandmother about Mary Webster, a colonial woman who was half hanged in Hadley, Massachusetts in 1685 for witchcraft, several years before the infamous Salem witch trials began in 1692. Atwood's grandmother often referred to Webster as a relative, though she sometimes denied it, and her ancestry can't be definitively proven one way or the other.
ellauri118.html on line 1125: This passage is from the beginning of the poem "Half-Hanging Mary" by Margaret Atwood. Poverty and neglect did not improve Mary’s fiery temper, and she spoke harshly when offended, wrote Sylvester Judd in his 1905 History of Hadley. Witches supposedly suckled their ‘imps’ or ‘familiars’ — maybe even the devil — in exchange for help with their magic.
ellauri118.html on line 1136: A fat guy Cotton Mather in priest collars with a wig rather like Ms. Atwood's hair, whose dad's name to top it all was Increase, wrote on this.
ellauri118.html on line 1155: Atwood´s abrupt shift in tone to witty repartee and punning benefits in the epilogue the work in several ways:
ellauri192.html on line 347: This year British betting firm Ladbrokes is giving the lowest odds to Oz, German writer Herta Mueller and a trio of Americans: Oates, Roth and Thomas Pynchon. Three Canadians are given somewhat longer odds by Ladbrokes: Alice Munro and Margaret Atwood are at 25-to-1 while Michael Ondaatje sits at 50-to-1.
ellauri192.html on line 413: Margaret Atwood 25/1 (84v, teeveestä tuttu, vaarallinen)
ellauri198.html on line 348: For Margaret Atwood, Childe Roland is Browning himself, his quest is to write this poem, and the Dark Tower contains that which Roland/Browning fears most: a damn big tunnel.
ellauri258.html on line 126: Sivumennen sanoen, "dignity" on oikeistolainen ällösana, jota on suomittu jo useassa albumissa, erit. Tsihirunkkuṟallin yhteydessä. Oireellisesti, sitä käyttävät mm. paavi Leo työläisistä, Paavi Leo (sama mies), tarkastaja Gently, Unabomber, Marvin, Derek Parfit, Pete Mencken, käsineiti Peg Atwood, Iisakki Bashevis (Mencken sanoo ettei juutalaisilla ole sitä, Bashevis begs to differ), Pascal, Gud (som taler ud), Olli Saxi, Ransu Silava, mustarastaat, De Löllö, joku jumalinen Dr. Dodd, Mark Twain, joku taidekriitikko (puuttuu Goyan Mantoilta parvekkeella, toisin kuin Maneetin, joilla on sylikoirokin), Ernesto "Che" Hemingway, Alex Stubb Maidan-demonstraatioista, Kv filosofien päivän ohjelma 2021, Tytti Yli-Viikarin kainalossa ollut Hawthornen kirja Scarlet Letter, vihan banaanit eli kunniamurhaajat, Lionel Drivel, Alfred Apple Lolitasta, King David kuuma neitonen hot water bottlena. Mikä on tässä yhteistä? Kermaperseily rupusakin kustannuxella, eräänlaista moraalista charitya.
ellauri272.html on line 144: The Handmaid's Tale by Margaret Atwood
xxx/ellauri121.html on line 274: Vanha totuus on että apinoiden kaunat ovat pohjimmiltaan henk.kohtaisia. Onko Käsineidin kexineellä Atwoodilla jotain miesten suhteen hampaankolossa? Oliko se kala ilman polkupyörää?
xxx/ellauri121.html on line 276: Atwood Margaret">Margaret Eleanor ”Peggy” Atwood (s. 18. marraskuuta 1939 Ottawa, Ontario, Kanada), CC, on kanadalainen kirjailija, runoilija, feministi ja kirjallisuuskriitikko. Hän on saanut useita palkintoja ja ollut ehdolla monien kirjallisuuspalkintojen saajaksi. Hän on saanut Booker-palkinnon kaksi kertaa, vuonna 2000 kirjalla Sokea surmaaja (engl. The Blind Assassin)ja vuonna 2019 teoksesta Testamentit.
xxx/ellauri121.html on line 278: Atwood married Jim Polk, an American writer, in 1968, but later divorced in 1973. She formed a relationship with fellow novelist Graeme Gibson soon afterward and moved to a farm near Alliston, Ontario, where their daughter, Eleanor Jess Atwood Gibson, was born in 1976. Graeme kuoli dementtinä 2019.
xxx/ellauri121.html on line 287: Vanhemmistaan Atwood huomauttaa: "They weren't very actively encouraging; I think their theory was to leave kids alone... I call that encouraging. The idea of parents hovering over you the whole time, making you take lessons and occupying every minute of your time, I think is probably quite bad, because it means the child has no room to invent. I did have this older brother who was very instructive, who liked passing on to me whatever information he'd acquired; it meant we didn't play dollies a lot; we'd line up our - few, I'd have to say, because it was the war, you know - our few stuffed animals and then we'd have the Battle of Waterloo."
xxx/ellauri121.html on line 289: Peggy kävi kotikoulua. Sen vanhemmat pakkas sen selkäreppuun lähtiessään mezään hyönteisjahtiin. Perhosten nappaajat. She only attended full-time school at eight, in Toronto. Readers of Cat's Eye (1988), a chilling account of the lasting damage of childhood bullying, might expect that these years were problematic, but apart from a fleeting reference to "a horrific Grade 4 teacher" there is no suggestion that Atwood was especially unhappy, though she did recently write that "I was now faced with real life, in the form of other little girls - their prudery and snobbery, their Byzantine social life based on whispering and vicious gossip, and an inability to pick up earthworms without wriggling all over and making mewing noises like a kitten". Mä koitin opettaa Helmiä olemaan inhoomatta matoja 2-vuotiaana. Inhoo se niitä kuitenkin vaikkon biologi. Ja Seija ei voi sietää käärmeitä, se näkee kuumina öinä niistä unia. KKK-äijät marssi kadulla 20-luvulla kuin kihomadot. Niitä kiemurteli valkoisina ruskeiden kiekuroiden kimpussa kakkapotassa kun oltiin pieniä.
xxx/ellauri121.html on line 299: She thinks Moby Dick was a great masterpiece. Figures. She got engaged to James "Jay" Ford, a fellow student, in 1963, but by Easter the following year, she also met Jim Polk, a sensitive, witty graduate student from Montana whom she would marry in 1967. Polk’s recollections of Atwood are instructive and often amusing. He recalls one costume party at Harvard where she came disguised as Cleopatra’s breast.
xxx/ellauri121.html on line 301: Atwood oli tai siis on yhtä wickedly funny kuin Davis Foster Wallacen äitykkä. Sillä ja Gibsonilla oli samanlainen vittuileva huumori, vaikka Graeme soitti kyllä aina toista kitaraa.
xxx/ellauri121.html on line 306: Atwood’s career as a graduate student stretched, with many interruptions, for half a dozen years. During that period she had an affair with Quebec poet D. G. Jones— which Sullivan mentions so obliquely that it is over before the reader realizes it has begun. She had broken it off, as a result of the stresses caused by his workload. She subsequently courted Jim Polk (an American writer she had met at Harvard) and, in January 1967, she decided to marry him "after five years of equivocation". She also worked at odd jobs including market researcher like Fred Waterford, and despite never finishing her PhD, began a university teaching career that would take her to cities across Canada. At 27, she became the youngest person to ever win the Governor General’s Award with her 1967 poetry collection, The Circle Game. Siitä nousi sille aika lailla kusi päähän.
xxx/ellauri121.html on line 308: In the early 70s, Atwood added considerably to her work as a teacher and writer by editing manuscripts for the cutting-edge nationalist publisher The House of Anansi. By then, her marriage to Polk was over (Sullivan is vague about why, offering mainly generalities about the difficulty of staying together in that morally freewheeling era. Fact is, Jim Polk was not enough of a handyman for manly Margaret.) In 1972, Atwood met Gibson, a novelist and cultural activist whose own marriage was crumbling. The two began an affair, meeting at first clandestinely in the basement office of Toronto’s Longhouse Bookshop, but soon living together—for several years on a working farm north of the city.
xxx/ellauri121.html on line 311: Graeme Gibson, long-time partner to author Margaret Atwood and father of their only child, Jess, died in London, England earlier this week while he was accompanying Ms Atwood on an extensive book tour to promote her latest novel, The Testaments, a sequel to the massively successful The Handmaid’s Tail. He was 84 and his death was both expected and sudden.
xxx/ellauri121.html on line 312: He too was an author of novels, none of which ever came close to having the kind of success Ms Atwood has always enjoyed, but Gibson himself would have said his greatest success was the support he gave his partner during one of the most amazing careers any writer has ever had, in Canada or in any country. His support was unstinting and inspiring, and allied to it was a conviction that Atwood’s greatness demanded that kind of commitment.
xxx/ellauri121.html on line 316: But back to young Peggy. As a result of the governor's award, The Edible Woman was published. Atwood began to enjoy a growing reputation; nonetheless, while her own career took off, she still devoted considerable amounts of time to a small radical publishing house, Anansi, in which her first and only husband was deeply involved. Over this period, Atwood and Jim Polk drifted apart, and Atwood began a relationship with the novelist Graeme Gibson. Together with Graeme's two teenage sons, Matt and Grae, they went off to a farm in a small agricultural community in 1973 in Alliston.
xxx/ellauri121.html on line 318: Atwood and Gibson remain an utterly devoted couple - when a female US novelist famously remarked that "every woman writer should be married to Graeme Gibson", Atwood cheerfully put the compliment on a T-shirt.
xxx/ellauri121.html on line 323: James "Jim" Polk was the long time editorial director of House of Anansi Press and edited two books by Charles Taylor, as well as work by Margaret Atwood, George Grant, Northrop Frye, and many others. With a literature PhD (which Peggy never finished) he has taught at Harvard, Idaho, Ryerson and Alberta, and has written a comic novel, a stage comedy about Canadian publishing, articles, short stories, and criticism about Canadian writers and writing. As an advisor at the Ontario Ministry of Culture, he worked on grants for theatre and books, developed a tax credit for publishers and remodelled the Trillium Book Prize to include Franco Ontarian writing. He lives in Toronto and, trained as a pianist, still practices daily, playing classics and show-tunes in seclusion.
xxx/ellauri121.html on line 327: Although she never felt particularly tough compared with the rest of her family - "It took me a long time to figure out that the youngest in a family of dragons is still a dragon from the point of view of those who find dragons alarming" - Atwood now recognises that "I was certainly very scary to people in my 20s; I think women with talent are scary."
xxx/ellauri121.html on line 334: In her admiring new biography of Margaret Atwood, Rosemary Sullivan passes on a story about the writer that vividly catches her youthful ambition. One day when she was in her mid-20s, she dropped in at the home of poet John Newlove, who had been drinking heavily with his friend fellow Prairie writer Patrick Lane. The men’s conversation about literature had degenerated into a series of long silences punctuated by the occasional pseudoprofound utterance. Frustrated, Atwood cut to the heart of the matter, demanding to know what their poetic ambitions were. After some drunken dithering, the two declared that what they wanted most was to win a Governor General’s Award. As Lane recalled later, Atwood was indignant at their modest expectations, declaring tartly that the only goal worth pursuing was the Nobel Prize. Swigging down her beer, she then left the room.
xxx/ellauri121.html on line 336: Atwood has not won the Nobel (this was written 1998), at least not yet. But the petite 58-year-old novelist (Cat’s Eye, Alias Grace) and poet (Power Politics, Morning in the Burned House) has become internationally famous on a scale no Canadian writer of serious literature ever has. She is, in her own words, “one of the few literary writers who has gotten lucky”—which means she is read not just by intellectuals, but by hairdressers, chartered accountants and farmers. Easy reading, straightforward sentiments.
xxx/ellauri121.html on line 338: Atwoodin zargat noobeliin tais mennä kunse toinen vanha vaahteranlehtinen tuli valituksi hiljan sen sijasta, Alice Munro nimittäin 2013. Ton vaatimattoman kuvernöörin palkinnon se sai, ja joitain bookereita. Se syntyi 1939, eli nyt on jo yli 80 lasissa. Rahnaa on kyllä tullut ikkunoista ja ovista. Ja kiltti mies, vaikka vainaja. On se vähän tollanen Milli-Molli tapaus, paizi tota Noobelia, jonka suhteen sille kävi heikosti kuten Philip Rothille Saul Bellowin ansiosta: toinen liian samanlainen kummajainen ehti viedä pokaalin.
xxx/ellauri121.html on line 340: The Red Shoes—the title is from a 1948 film that affected the young Atwood, about a girl who wants to be both a dancer and a wife, and is punished with death for her ambition.
xxx/ellauri121.html on line 344: Sullivan rightly traces Atwood’s notable self-confidence to those early years, but she also ignores the hints in her own narrative that Atwood’s family, like any other, had its neurotic tics—and that Atwood certainly carried her own share of psychic stress into adulthood. Where else does the buried grief, anger and sense of calamity in her writing come from?
xxx/ellauri121.html on line 345: Sullivan relates how in 1969, when Atwood was giving her first poetry reading, poet Irving Layton futilely attempted to sabotage the upstart writer by simultaneously reading his own work from the audience. Lisää ainesta käsineitokeitoxeen.
xxx/ellauri122.html on line 141: Hilja Haahdin uusi nuortenromaani Aavikkotien hyypiö sai alkunsa Max-koiran sairastuessa. Koira kuoli sopivasti muutama päivä käsikirjoituksen ensimmäisen version valmistumisen jälkeen, kuten Peggy Atwoodin huomaavainen alzheimer-mies Graeme Gibson.
xxx/ellauri304.html on line 407: Genre fiction, also known as popular fiction, is a term used in the book-trade for fictional works written with the intent of fitting into a specific literary genre, in order to appeal to striped-ass baboons and fans already familiar with that genre. A number of major literary figures have written genre fiction. John Banville publishes crime novels as Benjamin Black, and both Doris Lessing and Margaret Atwood have written science fiction. Georges Simenon, the creator of the Maigret detective novels, has been described by André Gide as "the most novelistic of novelists in French literature", and the one who has made most money and scored most arse with it. The main genres are crime, fantasy, romance, science fiction and horror—as well as perhaps Western, inspirational and historical fiction.
xxx/ellauri320.html on line 278: | Margaret Atwood | Canada | 10M | dystopia | Handmaid | A voice is a human gift. |
xxx/ellauri415.html on line 486: Margaret Atwood: ”I USA är man ännu närmare ett
xxx/ellauri415.html on line 491: är en av Margaret Atwoods mest berömda böcker.
xxx/ellauri415.html on line 495: sig bort från Gilead upplever Atwood nu att USA
xxx/ellauri415.html on line 503: författaren Margaret Atwood till
xxx/ellauri415.html on line 513: funnits böcker, säger Atwood och tillägger: –
xxx/ellauri415.html on line 515: Atwood understryker att det är ett borttagande
xxx/ellauri415.html on line 520: böcker?” frågar sig Atwood retoriskt. – För det
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