Both The Blind Assassin (2000) and The Penelopiad (2005) continue Margaret Atwood’s fascination with storytelling and the fictionalising process. Each novel explores ways in which narrative strategies can construct, cover up or expose family secrets and maintain myths. Each deals with roles expected of women, some fulfilled and some undermined and ironised. Penelope, faithful wife of the journeying Odysseus, reveals the plots and fictions which kept her and her court busy, her myth intact. Iris Chase Griffen both strings together various versions of the story of her own life and that of her sister, Laura, at particular moments in Toronto society, and offers alternatives through the formulae of different kinds of fiction. Both women weave stories which present different versions and undermine any final reading.
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