Abstract:
A striking phenomenon in contemporary literature is the number of women who use fairy tales in their writing. As well as those who re-write fairy tales with a feminist objective, there are also a large number who introduce fairy tales intertextually into their fiction and poetry. Margaret Atwood is one such writer, and in this thesis I identify and analyse fairy tale intertextuality in her nine novels and a selection of short stories.
Using a primarily chronological structure, I trace the development of Atwood's writing in relation to fairy tales, and explore the associated themes and concerns, which recur and resonate throughout her oeuvre. These include her ambivalent 'Bluebeard' male characters, who are both killers and healers, villains and rescuers; her personification of death as a 'Robber Bridegroom'; and the way her female characters, following the lead of the Wicked Queen in Snow White, use mirrors (usually, but not always physical) to aid the creation of their identities.
A constant issue is Atwood's ambivalence towards feminism; and in particular her opposition to the extremism of radical feminism and the simplistic idealism of feminist/ 'politically correct' fairy tales. Rather than creating ideal 'good' female characters, Atwood's characters find their strength in ambiguity and multiplicity, and power in the darker side of their personalities. She shows that 'If you make women nice all the time it's the equivalent to making them powerless all the time' ('On the Villainess' 30). Without imperfections, without 'narrative vices' (Good Bones 33), there can be no plot, and no story.
Thank you to everyone who supported me in the writing of this thesis, especially my family. Particular thanks to my supervisor, Dr Charles Ferrall (to whom I apologise for the 'feral' quote on page 120), for all his advice and encouragement, and to my former supervisor Dr Kim Worthington.
