Dunja M. Mohr, University of Erfurt, Germany, is Vice President of the Margaret Atwood Society and the Society’s European Representative. She acts as Head of the Women, Gender, and Diversity Studies Section of the Association for Canadian Studies in German-Speaking Countries and serves on the Advisory Boards of Utopian Studies and Margaret Atwood Studies. She is the author of the award-winning monograph Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias and has co-edited several volumes, among them Embracing the Other: Addressing Xenophobia in the New Literatures in English, "9/11 as Catalyst - American and Cultural Responses" (special issue of Zeitschrift für Anglistik und Amerikanistik (with Sylvia Mayer)), and Radical Planes? 9/11 and Patterns of Continuity (with Birgit Däwes). Kirsten Sandrock holds the Chair of English Literature and Cultural Studies at Julius-Maximilians-Universität Würzburg, Germany. She is the author of Scottish Colonial Literature: Writing the Atlantic, 1603–1707 (2021) and Gender and Region: Maritime Fiction in English by Canadian Women, 1976–2005 (2009) as well as of numerous articles on Shakespeare and early modern literature, gender studies, Canadian literature, travel writing, Scottish studies, and colonial and postcolonial studies. In 2005, she received the Government of Canada Award. She is currently Vice President of the German Shakespeare Association and co-edited, with Lukas Lammers, the Shakespeare Seminar Online from 2016 to 2023.

• List of figures Contributors AcknowledgementsMargaret Atwood’s Aesthetics: The Artpolitical: An Introduction DUNJA M. MOHR AND KIRSTEN SANDROCK1 Margaret Atwood, Writing in the “Carnivalesque” Spirit, against Oppression THEODORE F. SHECKELS2 The Human and the Posthuman: Precarious Lives in Margaret Atwood’s The Heart Goes Last SHRADDHA A. SINGH3 Atwood’s Graphic Novels: (Aesthetic) Form and (Political) Function of the Angel Catbird Trilogy and the War Bears Series BRIGITTE JOHANNA GLASER4 Adaptation as “Artpolitical” Remediation: From The Handmaid’s Tale to The Testaments and Back ANNIKA MCPHERSON5 “We lived in the blank white spaces at the edges of print”: Storytelling and the Politics of In/VisibilityALESSANDRA BOLLER6 In_Visibilizing the Gendered History of Slavery: Fertility, Oppression, and the (Black) Female Body in Hulu’s The Handmaid’s Tale SYLVIA MIESZKOWSKI7 Resilience and Environmental Futurity in Margaret Atwood’s MaddAddam Trilogy SYLVIA MAYER8 Which Oryx? A Reading of Intersectionality, Race, and Class Politics through the Narrative Male Gaze KATHERINE PARSONS9 Margaret Atwood’s Alias Grace: The Politics and Aesthetics of Writing the Nation ANCA-RALUCA RADU10 “To see clearly and without flinching”: Teaching the Works of Margaret Atwood LAUREN RULE MAXWELL11 Afterword: Margaret Atwood’s Distribution of the Sensible CRISPIN SARTWELLIndex

Dunja M. Mohr, University of Erfurt, Germany, is Vice President of the Margaret Atwood Society and the Society’s European Representative. She acts as Head of the Women, Gender, and Diversity Studies Section of the Association for Canadian Studies in German-Speaking Countries and serves on the Advisory Boards of Utopian Studies and Margaret Atwood Studies. She is the author of the award-winning monograph Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias and has co-edited several volumes, among them Embracing the Other: Addressing Xenophobia in the New Literatures in English, "9/11 as Catalyst - American and Cultural Responses" (special issue of Zeitschrift für Anglistik und Amerikanistik (with Sylvia Mayer)), and Radical Planes? 9/11 and Patterns of Continuity (with Birgit Däwes). Kirsten Sandrock holds the Chair of English Literature and Cultural Studies at Julius-Maximilians-Universität Würzburg, Germany. She is the author of Scottish Colonial Literature: Writing the Atlantic, 1603–1707 (2021) and Gender and Region: Maritime Fiction in English by Canadian Women, 1976–2005 (2009) as well as of numerous articles on Shakespeare and early modern literature, gender studies, Canadian literature, travel writing, Scottish studies, and colonial and postcolonial studies. In 2005, she received the Government of Canada Award. She is currently Vice President of the German Shakespeare Association and co-edited, with Lukas Lammers, the Shakespeare Seminar Online from 2016 to 2023.

• List of figures Contributors AcknowledgementsMargaret Atwood’s Aesthetics: The Artpolitical: An Introduction DUNJA M. MOHR AND KIRSTEN SANDROCK1 Margaret Atwood, Writing in the “Carnivalesque” Spirit, against Oppression THEODORE F. SHECKELS2 The Human and the Posthuman: Precarious Lives in Margaret Atwood’s The Heart Goes Last SHRADDHA A. SINGH3 Atwood’s Graphic Novels: (Aesthetic) Form and (Political) Function of the Angel Catbird Trilogy and the War Bears Series BRIGITTE JOHANNA GLASER4 Adaptation as “Artpolitical” Remediation: From The Handmaid’s Tale to The Testaments and Back ANNIKA MCPHERSON5 “We lived in the blank white spaces at the edges of print”: Storytelling and the Politics of In/VisibilityALESSANDRA BOLLER6 In_Visibilizing the Gendered History of Slavery: Fertility, Oppression, and the (Black) Female Body in Hulu’s The Handmaid’s Tale SYLVIA MIESZKOWSKI7 Resilience and Environmental Futurity in Margaret Atwood’s MaddAddam Trilogy SYLVIA MAYER8 Which Oryx? A Reading of Intersectionality, Race, and Class Politics through the Narrative Male Gaze KATHERINE PARSONS9 Margaret Atwood’s Alias Grace: The Politics and Aesthetics of Writing the Nation ANCA-RALUCA RADU10 “To see clearly and without flinching”: Teaching the Works of Margaret Atwood LAUREN RULE MAXWELL11 Afterword: Margaret Atwood’s Distribution of the Sensible CRISPIN SARTWELLIndex

Dunja M. Mohr, University of Erfurt, Germany, is Vice President of the Margaret Atwood Society and the Society’s European Representative. She acts as Head of the Women, Gender, and Diversity Studies Section of the Association for Canadian Studies in German-Speaking Countries and serves on the Advisory Boards of Utopian Studies and Margaret Atwood Studies. She is the author of the award-winning monograph Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias and has co-edited several volumes, among them Embracing the Other: Addressing Xenophobia in the New Literatures in English, "9/11 as Catalyst - American and Cultural Responses" (special issue of Zeitschrift für Anglistik und Amerikanistik (with Sylvia Mayer)), and Radical Planes? 9/11 and Patterns of Continuity (with Birgit Däwes). Kirsten Sandrock holds the Chair of English Literature and Cultural Studies at Julius-Maximilians-Universität Würzburg, Germany. She is the author of Scottish Colonial Literature: Writing the Atlantic, 1603–1707 (2021) and Gender and Region: Maritime Fiction in English by Canadian Women, 1976–2005 (2009) as well as of numerous articles on Shakespeare and early modern literature, gender studies, Canadian literature, travel writing, Scottish studies, and colonial and postcolonial studies. In 2005, she received the Government of Canada Award. She is currently Vice President of the German Shakespeare Association and co-edited, with Lukas Lammers, the Shakespeare Seminar Online from 2016 to 2023.

• List of figures Contributors AcknowledgementsMargaret Atwood’s Aesthetics: The Artpolitical: An Introduction DUNJA M. MOHR AND KIRSTEN SANDROCK1 Margaret Atwood, Writing in the “Carnivalesque” Spirit, against Oppression THEODORE F. SHECKELS2 The Human and the Posthuman: Precarious Lives in Margaret Atwood’s The Heart Goes Last SHRADDHA A. SINGH3 Atwood’s Graphic Novels: (Aesthetic) Form and (Political) Function of the Angel Catbird Trilogy and the War Bears Series BRIGITTE JOHANNA GLASER4 Adaptation as “Artpolitical” Remediation: From The Handmaid’s Tale to The Testaments and Back ANNIKA MCPHERSON5 “We lived in the blank white spaces at the edges of print”: Storytelling and the Politics of In/VisibilityALESSANDRA BOLLER6 In_Visibilizing the Gendered History of Slavery: Fertility, Oppression, and the (Black) Female Body in Hulu’s The Handmaid’s Tale SYLVIA MIESZKOWSKI7 Resilience and Environmental Futurity in Margaret Atwood’s MaddAddam Trilogy SYLVIA MAYER8 Which Oryx? A Reading of Intersectionality, Race, and Class Politics through the Narrative Male Gaze KATHERINE PARSONS9 Margaret Atwood’s Alias Grace: The Politics and Aesthetics of Writing the Nation ANCA-RALUCA RADU10 “To see clearly and without flinching”: Teaching the Works of Margaret Atwood LAUREN RULE MAXWELL11 Afterword: Margaret Atwood’s Distribution of the Sensible CRISPIN SARTWELLIndex