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Mirror, Mirror, Who's the Evilest?

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In the following review, Shapiro praises Atwood's novel The Robber Bride, noting that nobody maps female psychic territory the way Margaret Atwood does. Her latest novel, The Robber Bride, takes its title from the Grimm fairy tale about the robber bridegroom who kidnaps maidens. Here the malevolent suitor is a woman named Zenia, who insinuates herself into other women's lives and carries off their husbands and boyfriends.
SOURCE: "Mirror, Mirror, Who's the Evilest?" in Newsweek, Vol. CXXII, No. 19, November 8, 1993, p. 81.

[In the following review, Shapiro praises Atwood's novel The Robber Bride.]

Nobody maps female psychic territory the way Margaret Atwood does, sure-footed even in the wilds. Her latest novel, The Robber Bride takes its title from the Grimm fairy tale about the robber bridegroom who kidnaps maidens and carries them off to his house to be cut up and eaten. Here the malevolent suitor is a woman named Zenia, mysterious and alluring, who insinuates herself into other women's lives and carries off their husbands and boyfriends. If they're lucky, they escape.

At the center of the book are three women, longtime friends who became so after Zenia slashed and burned her way through each of their lives. Zenia herself lurks just out of sight until close to the end, when each of the women confronts her—and in her, their own worst demons. The three are classic Atwood creations, so vivid and idiosyncratic they could live next door, while perfectly evoking their time (now) and place (big Canadian city with a university). There's Tony, the maverick military historian enthralled by the human face of war, who lectures on such topics as fly-front fastenings and their effect on speed and efficiency in battle. There's Roz, the rich but desperately insecure business-woman. If only she were world-class at something, she frets—saintliness, or better yet, sin. "Mirror, mirror, on the wall, who is the evilest of us all?" she wonders. And it answers, "Take off a few pounds, cookie, and maybe I can do something for you." The third is Charis, born Karen, a name she left behind when she took up a life of herbal remedies, reading people's auras and oneness with nature. It's a measure of Atwood's great gifts that she can describe Karen's childhood experience of incest—a crime on the brink of becoming a literary cliché—so poignantly that it's freshly agonizing.

Moving amid these three women, touching up their portraits with one perfect detail after another, conjuring Zenia from their memories and fears, Atwood is in her glory. What a treasure she is, and what a fine new book she has written.

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