ABSTRACT
Atwood is a political writer, but Bodily Harm convinced the skeptics, who wanted her work to stay above the political fray. It also points out something that needs to be remembered as proceed novel by novel guided by Boulding's tripartite structure, represents an imperfect mapping of a reality that is often far, far messier. Atwood talks about the writers political obligations, about Canada's violations of human rights during wartime and with regards to its native peoples, about how Canada subtly controls its writers through its publishing industry, and about the dangers the human mind what horrors it can imagine and then create poses for humanity. The reality, however, is that the power is not theirs but, rather, part of both a larger postcolonial drama and part of the day-to-day relations on the island and in Toronto.
