#A tweet reminded me of this wattpad phenomenon

[honey-teardrops]

MC:SM Wattpad in the early to mid peak haydays of the fanbase was so hilarious like you're telling me that people took one long good look of Male Jesse like his full legal name is Jesse Chad Thundercock the VI is able to get a ton of hoes? And this is what he looks like??

Nah man that is a suspender wearing dork I don't care that he's a hero because just because he is one doesn't mean every single named and voice female character is just suddenly going to throw off their panties, bounce on his cock like they were forced to at gunpoint and be carrying his child willingly. In fact I think he gets pegged and enjoys it

#non art #mcsm #minecraft story mode #nsft txt #mcsm jesse #A tweet reminded me of this wattpad phenomenon #I wonder why it happened tbh #Now female Jesse however #Despite her also being a bit dorky she 100% gets a lot of women they all want her even Cassie

[apsbicepstraining]

Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead

The Handmaids Tales joyful reception on the small screen reminds us of its ever-energetic generators spooky prescience

Once or twice in a generation, a tale is suggested that vaults out of the literary corral studying to be a phenomenon, well known to beings the world over who have never read the book: George Orwells 1984 is one and Margaret Atwoods The Handmaids Tale is another.

So its perhaps not remarkable that a new 10 -part TV series based on the romance has struck a chord. Starring Elisabeth Moss as handmaid Offred, the succession launched in the US last-place month and comes to the UK later this month trailing superlatives.

At 77, Atwood blends the loftiness of a high priestess who does not stand moron gladly with an unstinting generosity to those she deems not to be foolhardy. She is a heartfelt environmentalist, with a special interest in chicks, which she shares with her husband, Graeme Gibson.

If her determination to live by her principles occasionally seems incidentally comic as when she embarked by barge on an international tour of a stage show publicising the second tale of her MaddAddam trilogy, The Year of the Flood she also brings to her politics a healthy dose of intentional humour.

On a recent trip to her Toronto home, her longtime UK publisher Lennie Goodings was amazed to converge her carrying a paper bag bellying with four large-scale rubber turkeys. She established them to me with that joke, manager on a tilt, wicked smile of hers. They yelped when she pressed them. It turned out that she and Gibson were about to present the trophies at an annual RSPB competition. The winners each receive a rubber goose from Margaret, at which point she deports them in a squeezing squawking choir.

Atwood traces her refer with the environment back to a childhood spent criss-crossing the groves of Canada with her entomologist leader. She was the second of three children, and the familys itinerant life meant that she did not going to see full-time academy until she was eight years old. She embarked producing her poetry while a student at the University of Toronto, acquired her firstly major literary award for a poetry collection are presented in 1964, and three accumulations later diversified into fiction in 1969 with The Edible Woman, about the status of women driven mad by consumerism.

She is a exceedingly hands-on person, says Goodings, a fellow Canadian, who has been her publisher at at the feminist imprint Virago since 1979. Her self-sufficiency comes from her childhood but also from her participation in the early days of CanLit[ Canadian Literature ]. She designed her own cover for her first journal of poetry, The Circle Game, with the red-faced specks you buy at stationery stores. In the early days of Virago she enjoyed and learned alongside us bookshop point-of-sale information such as shelf airstrips and dumpbins.

Once she and I passed in a taxi to an happen with a large cardboard lady a replication of the figure on the handle of[ her 1988 novel] Cats Eye. She loved it.

Her hands-on approach has carried her forcefully into the digital period. As an internationally successful author who has been awarded 24 honorary magnitudes in six two countries, been shortlisted five times for the Booker prize( acquiring it in 2000 for The Blind Assassin ), and who was more recently invited to Norway to implant a manuscript for 100 years as the first participant in The Future Library project, she faced the tricky issue of a monumental carbon footprint. She undertook it by inventing the LongPen, which enabled her at least to do volume signals without leaving her home.

Her penultimate novel, The Heart Goes Last, began its life on the fanfiction scaffold Wattpad, and she has 1.6 million Twitter partisans, to whom she tweets a dozen times a day on subjects arraying from the urgent need to protect the monarch butterfly to the vilification of Hilary Clinton.

She has also made cameo appearances in The Handmaids Tale, and as an cataclysm survivor on Zombies, Run !, a fitness app blending an audio drama with an immersive jogging competition, which was devised by her protege, the English novelist and gaming wizard Naomi Alderman.

The two were brought together through a mentoring strategy run by Rolex. Four of us got flown out to Canada to meet her and I belief she picked me because I was funny, says Alderman, who ascribes Atwood with the convent settle of her recent novel, The Power, which is in the running for the Baileys prize. Shes really implied me in their own families in a way I hadnt expected. Ive been bird watching in Cuba with her brother and his wife, and to the Arctic.

Atwood has said she was reluctant to get involved with the strategy, and some of her more institutional mentoring rapports ought to have little encouraging. As a teacher she was pretty hectoring, says one former student on a imaginative print MA. She read all our first assemblies and we each had one grilling with her about our journals. Almost all the questions she requested was, And then what happens? And then what happens? so I predict plot is pretty important.

Her abrasive line-up has also been evident in run-ins with the science fiction parish as to which category her fictions are all part of, insisting that they are speculative myth on the basis that: Discipline story has demons and spaceships; speculative fiction could really happen.

The veteran SF columnist Ursula K Le Guin countered in a Guardian inspect: To my memory, The Handmaids Tale, Oryx and Crake and now The Year of the Flood all exemplify one of the things science fiction does, which is to extrapolate imaginatively from current trends and events to a near-future thats half prediction, half wit.

Published in the mid-1 980 s, with a Canadians mounting chagrin at the religion revitalization she was detecting over their own borders in the United States, The Handmaids Tale, a legend of a theocratic territory in which young woman are treated as clutch mares by a merciless revolutionary upper-clas, has become a staple of the curriculum in the English-speaking world.

In the late 20 th century, when a progress in feminism appeared irreparable, it seemed a cautionary tale of what might well. At the Hay festival in 2003, Atwood herself argues that it had little general relevance than the first fiction in what was to become her MaddAddam trilogy about a world-wide facing the consequences of environmental meltdown. Oryx and Crake, she said, addressed world-wide issues whereas The Handmaids Tale was specifically about America.

But three decades after The Handmaids Tale was produced, there are many all-too-real the locations where the denizens of the fictional republic of Gilead would feel at home, from Donald Trumps increasingly dictatorial and misogynistic US where objectors against two abortion-related greenbacks turned up at the Texas senate in March dressed in the long ruby-red costumes and white bonnets of Atwoods handmaids to a Nigeria in which schoolgirls are seized en masse, and a changing number of theocratic countries across Asia and the Middle East.

The Year of The Flood, are presented in 2009, boasts Gods Gardeners, a religious sect devoted to the melding of science, religion, and sort, whose hymn-singing was promulgated in a strange roadshow.

Atwood herself opened the depict, intoning on a monotone from a wooden throne. As Diana Quick, one of the musicians, echoes: Peggy was rather eerie on that amusing promo make because she had written all their carol of praise and she took to blessing everyone, as it were, ex cathedra. I recall she had had great hopes for it and was quite theatre struck, and then very disappointed in its implementation of the piece.

Perhaps we were too far away to see that wicked smile, though an endnote to the tale proposed to not. In it, Atwood invited readers to listen to the Gardeners hymns on her website and to use them for amateur devotional or environmental purposes. If she sometimes takes herself preferably too seriously, she has surely gave the right to do so over a 60 -book career which shows no sign of ceasing to produce spookily prescient books.

Anyone inclined to be said that The Handmaids Tale is still a parochial parable should consider its relevant to even presumably radical societies in an age of a mass surveillance that would have been inconceivable when the novel was written. Like their fellow citizens of Gilead, we have internalised the distorted reasoning of Atwoods sinister Aunt Lydia, the apparently kindly supervisor who is actually a commonwealth stooge. There is more than one various kinds of democracy. Discretion to and exemption from, she says. In the days of disorder, it was freedom to. Now “you think youre” being given discretion from. Dont underrate it. As Orwell almost said, Big Sister is Watching You.

Potted profile

Born: 18 November 1939

Age: 77

Career: Started out as a poet and has to date written roughly 60 books for adults and children. She has also created opera libretti, television dialogues and a graphic novel.

High spot: Prevailing the Booker prize in 2000 with The Blind Assassin, the fourth of her fictions to be shortlisted.

Low quality: The Handmaids Tale has been censored from schools and libraries all over the US for being anti-Christian and sexually lurid and has appeared on the 100 Most Frequently Objection Books for the last 20 years.

What she says : Optimism necessitates better than world; despair entails worse than actuality. Im a realist.

What they say : The National Book Critics Circle of America gave her a lifetime achievement give this year for her groundbreaking myth, environmental and feminist activism, and work to community as a co-founder of the Scribe Trust of Canada.

The post Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead appeared first on apsbicepstraining.com.

from WordPress http://ift.tt/2Ao8cR9 via IFTTT

#IFTTT #WordPress

[apsbicepstraining]

Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead

The Handmaids Tales joyful reception on the small screen reminds us of its ever-energetic generators spooky prescience

Once or twice in a generation, a tale is suggested that vaults out of the literary corral studying to be a phenomenon, well known to beings the world over who have never read the book: George Orwells 1984 is one and Margaret Atwoods The Handmaids Tale is another.

So its perhaps not remarkable that a new 10 -part TV series based on the romance has struck a chord. Starring Elisabeth Moss as handmaid Offred, the succession launched in the US last-place month and comes to the UK later this month trailing superlatives.

At 77, Atwood blends the loftiness of a high priestess who does not stand moron gladly with an unstinting generosity to those she deems not to be foolhardy. She is a heartfelt environmentalist, with a special interest in chicks, which she shares with her husband, Graeme Gibson.

If her determination to live by her principles occasionally seems incidentally comic as when she embarked by barge on an international tour of a stage show publicising the second tale of her MaddAddam trilogy, The Year of the Flood she also brings to her politics a healthy dose of intentional humour.

On a recent trip to her Toronto home, her longtime UK publisher Lennie Goodings was amazed to converge her carrying a paper bag bellying with four large-scale rubber turkeys. She established them to me with that joke, manager on a tilt, wicked smile of hers. They yelped when she pressed them. It turned out that she and Gibson were about to present the trophies at an annual RSPB competition. The winners each receive a rubber goose from Margaret, at which point she deports them in a squeezing squawking choir.

Atwood traces her refer with the environment back to a childhood spent criss-crossing the groves of Canada with her entomologist leader. She was the second of three children, and the familys itinerant life meant that she did not going to see full-time academy until she was eight years old. She embarked producing her poetry while a student at the University of Toronto, acquired her firstly major literary award for a poetry collection are presented in 1964, and three accumulations later diversified into fiction in 1969 with The Edible Woman, about the status of women driven mad by consumerism.

She is a exceedingly hands-on person, says Goodings, a fellow Canadian, who has been her publisher at at the feminist imprint Virago since 1979. Her self-sufficiency comes from her childhood but also from her participation in the early days of CanLit[ Canadian Literature ]. She designed her own cover for her first journal of poetry, The Circle Game, with the red-faced specks you buy at stationery stores. In the early days of Virago she enjoyed and learned alongside us bookshop point-of-sale information such as shelf airstrips and dumpbins.

Once she and I passed in a taxi to an happen with a large cardboard lady a replication of the figure on the handle of[ her 1988 novel] Cats Eye. She loved it.

Her hands-on approach has carried her forcefully into the digital period. As an internationally successful author who has been awarded 24 honorary magnitudes in six two countries, been shortlisted five times for the Booker prize( acquiring it in 2000 for The Blind Assassin ), and who was more recently invited to Norway to implant a manuscript for 100 years as the first participant in The Future Library project, she faced the tricky issue of a monumental carbon footprint. She undertook it by inventing the LongPen, which enabled her at least to do volume signals without leaving her home.

Her penultimate novel, The Heart Goes Last, began its life on the fanfiction scaffold Wattpad, and she has 1.6 million Twitter partisans, to whom she tweets a dozen times a day on subjects arraying from the urgent need to protect the monarch butterfly to the vilification of Hilary Clinton.

She has also made cameo appearances in The Handmaids Tale, and as an cataclysm survivor on Zombies, Run !, a fitness app blending an audio drama with an immersive jogging competition, which was devised by her protege, the English novelist and gaming wizard Naomi Alderman.

The two were brought together through a mentoring strategy run by Rolex. Four of us got flown out to Canada to meet her and I belief she picked me because I was funny, says Alderman, who ascribes Atwood with the convent settle of her recent novel, The Power, which is in the running for the Baileys prize. Shes really implied me in their own families in a way I hadnt expected. Ive been bird watching in Cuba with her brother and his wife, and to the Arctic.

Atwood has said she was reluctant to get involved with the strategy, and some of her more institutional mentoring rapports ought to have little encouraging. As a teacher she was pretty hectoring, says one former student on a imaginative print MA. She read all our first assemblies and we each had one grilling with her about our journals. Almost all the questions she requested was, And then what happens? And then what happens? so I predict plot is pretty important.

Her abrasive line-up has also been evident in run-ins with the science fiction parish as to which category her fictions are all part of, insisting that they are speculative myth on the basis that: Discipline story has demons and spaceships; speculative fiction could really happen.

The veteran SF columnist Ursula K Le Guin countered in a Guardian inspect: To my memory, The Handmaids Tale, Oryx and Crake and now The Year of the Flood all exemplify one of the things science fiction does, which is to extrapolate imaginatively from current trends and events to a near-future thats half prediction, half wit.

Published in the mid-1 980 s, with a Canadians mounting chagrin at the religion revitalization she was detecting over their own borders in the United States, The Handmaids Tale, a legend of a theocratic territory in which young woman are treated as clutch mares by a merciless revolutionary upper-clas, has become a staple of the curriculum in the English-speaking world.

In the late 20 th century, when a progress in feminism appeared irreparable, it seemed a cautionary tale of what might well. At the Hay festival in 2003, Atwood herself argues that it had little general relevance than the first fiction in what was to become her MaddAddam trilogy about a world-wide facing the consequences of environmental meltdown. Oryx and Crake, she said, addressed world-wide issues whereas The Handmaids Tale was specifically about America.

But three decades after The Handmaids Tale was produced, there are many all-too-real the locations where the denizens of the fictional republic of Gilead would feel at home, from Donald Trumps increasingly dictatorial and misogynistic US where objectors against two abortion-related greenbacks turned up at the Texas senate in March dressed in the long ruby-red costumes and white bonnets of Atwoods handmaids to a Nigeria in which schoolgirls are seized en masse, and a changing number of theocratic countries across Asia and the Middle East.

The Year of The Flood, are presented in 2009, boasts Gods Gardeners, a religious sect devoted to the melding of science, religion, and sort, whose hymn-singing was promulgated in a strange roadshow.

Atwood herself opened the depict, intoning on a monotone from a wooden throne. As Diana Quick, one of the musicians, echoes: Peggy was rather eerie on that amusing promo make because she had written all their carol of praise and she took to blessing everyone, as it were, ex cathedra. I recall she had had great hopes for it and was quite theatre struck, and then very disappointed in its implementation of the piece.

Perhaps we were too far away to see that wicked smile, though an endnote to the tale proposed to not. In it, Atwood invited readers to listen to the Gardeners hymns on her website and to use them for amateur devotional or environmental purposes. If she sometimes takes herself preferably too seriously, she has surely gave the right to do so over a 60 -book career which shows no sign of ceasing to produce spookily prescient books.

Anyone inclined to be said that The Handmaids Tale is still a parochial parable should consider its relevant to even presumably radical societies in an age of a mass surveillance that would have been inconceivable when the novel was written. Like their fellow citizens of Gilead, we have internalised the distorted reasoning of Atwoods sinister Aunt Lydia, the apparently kindly supervisor who is actually a commonwealth stooge. There is more than one various kinds of democracy. Discretion to and exemption from, she says. In the days of disorder, it was freedom to. Now “you think youre” being given discretion from. Dont underrate it. As Orwell almost said, Big Sister is Watching You.

Potted profile

Born: 18 November 1939

Age: 77

Career: Started out as a poet and has to date written roughly 60 books for adults and children. She has also created opera libretti, television dialogues and a graphic novel.

High spot: Prevailing the Booker prize in 2000 with The Blind Assassin, the fourth of her fictions to be shortlisted.

Low quality: The Handmaids Tale has been censored from schools and libraries all over the US for being anti-Christian and sexually lurid and has appeared on the 100 Most Frequently Objection Books for the last 20 years.

What she says : Optimism necessitates better than world; despair entails worse than actuality. Im a realist.

What they say : The National Book Critics Circle of America gave her a lifetime achievement give this year for her groundbreaking myth, environmental and feminist activism, and work to community as a co-founder of the Scribe Trust of Canada.

The post Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead appeared first on apsbicepstraining.com.

from WordPress http://ift.tt/2Ao8cR9 via IFTTT

#IFTTT #WordPress

[apsbicepstraining]

Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead

The Handmaids Tales joyful reception on the small screen reminds us of its ever-energetic generators spooky prescience

Once or twice in a generation, a tale is suggested that vaults out of the literary corral studying to be a phenomenon, well known to beings the world over who have never read the book: George Orwells 1984 is one and Margaret Atwoods The Handmaids Tale is another.

So its perhaps not remarkable that a new 10 -part TV series based on the romance has struck a chord. Starring Elisabeth Moss as handmaid Offred, the succession launched in the US last-place month and comes to the UK later this month trailing superlatives.

At 77, Atwood blends the loftiness of a high priestess who does not stand moron gladly with an unstinting generosity to those she deems not to be foolhardy. She is a heartfelt environmentalist, with a special interest in chicks, which she shares with her husband, Graeme Gibson.

If her determination to live by her principles occasionally seems incidentally comic as when she embarked by barge on an international tour of a stage show publicising the second tale of her MaddAddam trilogy, The Year of the Flood she also brings to her politics a healthy dose of intentional humour.

On a recent trip to her Toronto home, her longtime UK publisher Lennie Goodings was amazed to converge her carrying a paper bag bellying with four large-scale rubber turkeys. She established them to me with that joke, manager on a tilt, wicked smile of hers. They yelped when she pressed them. It turned out that she and Gibson were about to present the trophies at an annual RSPB competition. The winners each receive a rubber goose from Margaret, at which point she deports them in a squeezing squawking choir.

Atwood traces her refer with the environment back to a childhood spent criss-crossing the groves of Canada with her entomologist leader. She was the second of three children, and the familys itinerant life meant that she did not going to see full-time academy until she was eight years old. She embarked producing her poetry while a student at the University of Toronto, acquired her firstly major literary award for a poetry collection are presented in 1964, and three accumulations later diversified into fiction in 1969 with The Edible Woman, about the status of women driven mad by consumerism.

She is a exceedingly hands-on person, says Goodings, a fellow Canadian, who has been her publisher at at the feminist imprint Virago since 1979. Her self-sufficiency comes from her childhood but also from her participation in the early days of CanLit[ Canadian Literature ]. She designed her own cover for her first journal of poetry, The Circle Game, with the red-faced specks you buy at stationery stores. In the early days of Virago she enjoyed and learned alongside us bookshop point-of-sale information such as shelf airstrips and dumpbins.

Once she and I passed in a taxi to an happen with a large cardboard lady a replication of the figure on the handle of[ her 1988 novel] Cats Eye. She loved it.

Her hands-on approach has carried her forcefully into the digital period. As an internationally successful author who has been awarded 24 honorary magnitudes in six two countries, been shortlisted five times for the Booker prize( acquiring it in 2000 for The Blind Assassin ), and who was more recently invited to Norway to implant a manuscript for 100 years as the first participant in The Future Library project, she faced the tricky issue of a monumental carbon footprint. She undertook it by inventing the LongPen, which enabled her at least to do volume signals without leaving her home.

Her penultimate novel, The Heart Goes Last, began its life on the fanfiction scaffold Wattpad, and she has 1.6 million Twitter partisans, to whom she tweets a dozen times a day on subjects arraying from the urgent need to protect the monarch butterfly to the vilification of Hilary Clinton.

She has also made cameo appearances in The Handmaids Tale, and as an cataclysm survivor on Zombies, Run !, a fitness app blending an audio drama with an immersive jogging competition, which was devised by her protege, the English novelist and gaming wizard Naomi Alderman.

The two were brought together through a mentoring strategy run by Rolex. Four of us got flown out to Canada to meet her and I belief she picked me because I was funny, says Alderman, who ascribes Atwood with the convent settle of her recent novel, The Power, which is in the running for the Baileys prize. Shes really implied me in their own families in a way I hadnt expected. Ive been bird watching in Cuba with her brother and his wife, and to the Arctic.

Atwood has said she was reluctant to get involved with the strategy, and some of her more institutional mentoring rapports ought to have little encouraging. As a teacher she was pretty hectoring, says one former student on a imaginative print MA. She read all our first assemblies and we each had one grilling with her about our journals. Almost all the questions she requested was, And then what happens? And then what happens? so I predict plot is pretty important.

Her abrasive line-up has also been evident in run-ins with the science fiction parish as to which category her fictions are all part of, insisting that they are speculative myth on the basis that: Discipline story has demons and spaceships; speculative fiction could really happen.

The veteran SF columnist Ursula K Le Guin countered in a Guardian inspect: To my memory, The Handmaids Tale, Oryx and Crake and now The Year of the Flood all exemplify one of the things science fiction does, which is to extrapolate imaginatively from current trends and events to a near-future thats half prediction, half wit.

Published in the mid-1 980 s, with a Canadians mounting chagrin at the religion revitalization she was detecting over their own borders in the United States, The Handmaids Tale, a legend of a theocratic territory in which young woman are treated as clutch mares by a merciless revolutionary upper-clas, has become a staple of the curriculum in the English-speaking world.

In the late 20 th century, when a progress in feminism appeared irreparable, it seemed a cautionary tale of what might well. At the Hay festival in 2003, Atwood herself argues that it had little general relevance than the first fiction in what was to become her MaddAddam trilogy about a world-wide facing the consequences of environmental meltdown. Oryx and Crake, she said, addressed world-wide issues whereas The Handmaids Tale was specifically about America.

But three decades after The Handmaids Tale was produced, there are many all-too-real the locations where the denizens of the fictional republic of Gilead would feel at home, from Donald Trumps increasingly dictatorial and misogynistic US where objectors against two abortion-related greenbacks turned up at the Texas senate in March dressed in the long ruby-red costumes and white bonnets of Atwoods handmaids to a Nigeria in which schoolgirls are seized en masse, and a changing number of theocratic countries across Asia and the Middle East.

The Year of The Flood, are presented in 2009, boasts Gods Gardeners, a religious sect devoted to the melding of science, religion, and sort, whose hymn-singing was promulgated in a strange roadshow.

Atwood herself opened the depict, intoning on a monotone from a wooden throne. As Diana Quick, one of the musicians, echoes: Peggy was rather eerie on that amusing promo make because she had written all their carol of praise and she took to blessing everyone, as it were, ex cathedra. I recall she had had great hopes for it and was quite theatre struck, and then very disappointed in its implementation of the piece.

Perhaps we were too far away to see that wicked smile, though an endnote to the tale proposed to not. In it, Atwood invited readers to listen to the Gardeners hymns on her website and to use them for amateur devotional or environmental purposes. If she sometimes takes herself preferably too seriously, she has surely gave the right to do so over a 60 -book career which shows no sign of ceasing to produce spookily prescient books.

Anyone inclined to be said that The Handmaids Tale is still a parochial parable should consider its relevant to even presumably radical societies in an age of a mass surveillance that would have been inconceivable when the novel was written. Like their fellow citizens of Gilead, we have internalised the distorted reasoning of Atwoods sinister Aunt Lydia, the apparently kindly supervisor who is actually a commonwealth stooge. There is more than one various kinds of democracy. Discretion to and exemption from, she says. In the days of disorder, it was freedom to. Now “you think youre” being given discretion from. Dont underrate it. As Orwell almost said, Big Sister is Watching You.

Potted profile

Born: 18 November 1939

Age: 77

Career: Started out as a poet and has to date written roughly 60 books for adults and children. She has also created opera libretti, television dialogues and a graphic novel.

High spot: Prevailing the Booker prize in 2000 with The Blind Assassin, the fourth of her fictions to be shortlisted.

Low quality: The Handmaids Tale has been censored from schools and libraries all over the US for being anti-Christian and sexually lurid and has appeared on the 100 Most Frequently Objection Books for the last 20 years.

What she says : Optimism necessitates better than world; despair entails worse than actuality. Im a realist.

What they say : The National Book Critics Circle of America gave her a lifetime achievement give this year for her groundbreaking myth, environmental and feminist activism, and work to community as a co-founder of the Scribe Trust of Canada.

The post Margaret Atwood: a high priestess of fiction who embraces the digital age | Claire Armitstead appeared first on apsbicepstraining.com.

from WordPress http://ift.tt/2Ao8cR9 via IFTTT

#IFTTT #WordPress