Margaret Atwood emerges as one of the most compelling literary voices of the late twentieth century in North America. While her novels enjoy considerable popularity in her native Canada, their reach extends significantly into the United States, establishing her as an influential figure in contemporary literature. Though primarily known as a novelist, Atwood's literary prowess spans across short stories, poetry, essays, and criticism, showcasing a breadth of talent that often surpasses her contemporaries.

One of her early works, Surfacing (1972), delves into the psychological and mythological realms, focusing on a young woman's introspective journey as she grapples with her past. This novel extends beyond the narrative of sexual relationships, venturing into the protagonist's psychological exploration. The metaphor of ancient pictographs discovered in a lake serves as a symbolic quest for her father, intertwining her search with elements of mythology and self-discovery. In contrast, The Handmaid’s Tale (1986) projects a dystopian future where women are subjugated, highlighting Atwood's adeptness at examining sexual and societal dynamics through speculative fiction.

Atwood's thematic concerns resonate with those of her peers, often drawing parallels with the works of writers like Saul Bellow and Bernard Malamud. Characters such as Nate in Atwood’s Life Before Man echo the ineffectual and indecisive personas found in Bellow’s Seize the Day, reflecting a broader narrative exploration of human frailties and existential indecision. Atwood’s central motif of women’s autonomy aligns with the themes prevalent in works by women writers such as Marilyn French, Gail Godwin, and Ellen Gilchrist, who similarly navigate the evolving landscape of gender roles and relationships.

Within this literary tapestry, Life Before Man stands as a nostalgic reflection. Its characters, entrenched in the cultural mores of the 1960s and early 1970s, appear trapped in attitudes from which contemporary society has largely progressed. This duality fosters a narrative that is both humorous and melancholic: humorous in its portrayal of outdated behaviors, and melancholic in its depiction of characters unable to attain happiness in their static world. Through its dinosaur imagery, Atwood suggests a life on the brink of extinction, yet she refrains from speculating on what the future might hold, instead leaving readers to ponder the implications of such an existence.