, Research Paper

Atwoods Theory of Canadian Short Narratives

Margaret Atwood detects that in most Canadian narratives at that place seems to be some kind of victim and their pursuit for endurance. In the narratives The Wedding Gift, The Butterfly Ward, and Skald, we find three of her four types of victims. First there are originative non-victims who are successful at non being victims, secondly, there are victims who acknowledge the fact that they are victims but who blame their state of affairss on something they can non command, like destiny. Last of all there are those who know that they are victims and who try to break their state of affairss whether they are winning or non.

In the narrative The Wedding Gift by Thomas Raddall, we encounter a immature adult female named Kezia Barnes. She is portrayed, by Atwoods theory, as a originative non-victim. She cleverly uses her state of affairss to her advantage. A & # 8220 ; nor & # 8217 ; easter & # 8221 ; ( 15 ) snow storm allows her to & # 8216 ; bury & # 8217 ; about & # 8220 ; Mr. Barclays marrying gift for Mr. Hathaway. & # 8221 ; ( 15 ) which merely happens to be a tinderbox. She uses the storm as ground to roll up up with Mr. Mears so as to remain warm. Kezia ne’er wants to get married Mr. Hathaway, so after the storm clears she proclaims to Mr. Mears that she & # 8217 ; ll & # 8220 ; have to state [ she ] bundled with [ Mr. Mears ] in a hut in the

woods. & # 8221 ; ( 21 ) , and of class & # 8220 ; bundling was an innovation of the devil. & # 8221 ; ( 22 ) . Therefore Kezia can non declare her roll uping with Mr. Mears to Mr. Barclay or Mr. Hathaway for fright of being punished. Kezia so offers herself as married woman to Mr. Mears, therefore acquiring her out of an unsought matrimony and no longer being a victim to that agreement. She demonstrates an unbelievable sum of intelligence in her state of affairs.

The Butterfly Ward by Margaret Gibson introduces the reader to Kira, a patient of the Neurological Ward in a Toronto H

ospital. She is the type of victim who blames her mental unwellness on something else, “the amoeba” ( 104 ) . She claims that “it is nurturing itself on what they call [ her ] brain.” ( 104 ) , it “changes shape” ( 105 ) and this is the ground Kira gives for the physicians inability to turn up the ameba on the “bloated-brain scan” ( 105 ) . It is like she is unable or unwilling to take duty into her ain custodies, “The ameba. Yes, that is what it is.” ( 104 ) . Kira does non understand her unwellness so she puts the weight of it all on the ameba that is ‘eating’ her encephalon.

Alma, the supporter, in Skald by W.D Valgardson, is considered a victim because of her deficiency of independency but she demontrates her willingness and capableness to contend her state of affairs. To get the better of this child-like deficiency of independency, she decides to purchase a & # 8220 ; thick-bodied and hardy & # 8221 ; ( 61 ) puppy so as to hold a duty of her ain. Alma defies Junior Boys, her hubby, when he & # 8220 ; invariably [ warns ] her against speaking to aliens and against rolling about the countryside by herself & # 8221 ; ( 68 ) . She ignores him and goes away on her jaunts despite his warnings and protests. Alma decides to do determinations for herself alternatively of ever trusting on others. At the decision of this narrative, Alma takes duty for Skalds illness, seting him down herself, as though in a manner inquiring for his forgiveness, & # 8220 ; Couldn & # 8217 ; t you be bothered to acquire him his shootings? & # 8217 ; Alma cringed at the accusal. & # 8221 ; I didn & # 8217 ; t know & # 8220 ; ( 72 ) , and besides because as she says & # 8220 ; It was [ her ] dog. & # 8221 ; ( 73 ) .

Atwoods theory, so far, holds true in those three short narratives in turn outing that most Canadian literature involves some kind of victim and their willingness or unwillingness to work out their state of affairss. These three narratives show three of her four types of victims and their pursuits for endurance.