Margaret Atwood and Social Justice eventually presents a loose ideology evident in the author’s major works of prose fiction. It insists, however, that Atwood is a writer, not an ideologue, and that, therefore, this ideology evolves over her career, always secondary to her presenting stories and characters and, through them, ideas. Throughout her career, Atwood has been concerned about the social injustice experienced by women. After expressing concern for the plight of the environment in Surfacing and workers in Life Before Man, Atwood turned quite political in Bodily Harm and The Handmaid’s Tale, blending her concern for justice for women with criticism of present-day Third-World and future right-wing governments. Atwood, then, turned inward, looking at how those denied justice often do the same to others and turned to history, looking at injustice tied to social class. She later brought many of her concerns together in The Blind Assassin and, especially, the three books that comprise the MaddAddam trilogy. Later works such as The Heart Goes Last, Hag-Seed, and The Testaments add to the picture most fully articulated in The Blind Assassin, which looks back at the 1930s, and the MaddAddam books, which look ahead to a future marked by global warming, corporate oppression, and pandemic. As argued here, these later books strengthen her indictment of corporations, which oppress for the sake of profit, and offer her most straightforward recognition that race plays a major role in whether social justice is served or not.

An instant classic and eerily prescient cultural phenomenon, from “the patron saint of feminist dystopian fiction” (New York Times). Now an award-winning Hulu series starring Elizabeth Moss. In this multi-award-winning, bestselling novel, Margaret Atwood has created a stunning Orwellian vision of the near future. This is the story of Offred, one of the unfortunate “Handmaids” under the new social order who have only one purpose: to breed. In Gilead, where women are prohibited from holding jobs, reading, and forming friendships, Offred’s persistent memories of life in the “time before” and her will to survive are acts of rebellion. Provocative, startling, prophetic, and with Margaret Atwood’s devastating irony, wit, and acute perceptive powers in full force, The Handmaid’s Tale is at once a mordant satire and a dire warning.

Since its original landmark publication in 1980, A People's History of the United States has been chronicling American history from the bottom up, throwing out the official version of history taught in schools -- with its emphasis on great men in high places -- to focus on the street, the home, and the, workplace. Known for its lively, clear prose as well as its scholarly research, A People's History is the only volume to tell America's story from the point of view of -- and in the words of -- America's women, factory workers, African-Americans, Native Americans, the working poor, and immigrant laborers. As historian Howard Zinn shows, many of our country's greatest battles -- the fights for a fair wage, an eight-hour workday, child-labor laws, health and safety standards, universal suffrage, women's rights, racial equality -- were carried out at the grassroots level, against bloody resistance. Covering Christopher Columbus's arrival through President Clinton's first term, A People's History of the United States, which was nominated for the American Book Award in 1981, features insightful analysis of the most important events in our history. Revised, updated, and featuring a new after, word by the author, this special twentieth anniversary edition continues Zinn's important contribution to a complete and balanced understanding of American history.

NEW YORK TIMES BESTSELLER • The beloved author of The Handmaid’s Tale reimagines Shakespeare’s final, great play, The Tempest, in a gripping and emotionally rich novel of passion and revenge. “A marvel of gorgeous yet economical prose, in the service of a story that’s utterly heartbreaking yet pierced by humor, with a plot that retains considerable subtlety even as the original’s back story falls neatly into place.”—The New York Times Book Review Felix is at the top of his game as artistic director of the Makeshiweg Theatre Festival. Now he’s staging aTempest like no other: not only will it boost his reputation, but it will also heal emotional wounds. Or that was the plan. Instead, after an act of unforeseen treachery, Felix is living in exile in a backwoods hovel, haunted by memories of his beloved lost daughter, Miranda. And also brewing revenge, which, after twelve years, arrives in the shape of a theatre course at a nearby prison. Margaret Atwood’s novel take on Shakespeare’s play of enchantment, retribution, and second chances leads us on an interactive, illusion-ridden journey filled with new surprises and wonders of its own. Praise for Hag-Seed “What makes the book thrilling, and hugely pleasurable, is how closely Atwood hews to Shakespeare even as she casts her own potent charms, rap-composition included. . . . Part Shakespeare, part Atwood, Hag-Seed is a most delicate monster—and that’s ‘delicate’ in the 17th-century sense. It’s delightful.”—Boston Globe “Atwood has designed an ingenious doubling of the plot of The Tempest: Felix, the usurped director, finds himself cast by circumstances as a real-life version of Prospero, the usurped Duke. If you know the play well, these echoes grow stronger when Felix decides to exact his revenge by conjuring up a new version of The Tempest designed to overwhelm his enemies.”—Washington Post “A funny and heartwarming tale of revenge and redemption . . . Hag-Seed is a remarkable contribution to the canon.”—Bustle

This book argues that while notions of trauma in mental health hold promise for the advancement of women’s rights, the mainstreaming of trauma treatments and therapies has had mixed implications, sometimes replacing genuine social change efforts with new forms of female oppression by psychiatry. It contends that trauma interventions often represent a "business as usual" approach within psychiatry, with women being expected to comply with rigid treatment protocols, accepting the advice given by trauma "experts" that they are mentally unstable and that they must learn to manage the effects of violence in the absence of any real changes to their circumstances or resources. A critique of trauma treatment in its current form, Trauma, Women’s Mental Health, and Social Justice recommends practical steps towards a socio-political perspective on trauma which passionately re-engages with feminist values and activist principles.

Explores debt as a central historical component of religion, literature, and societal structure, while examining the idea of humanity's debt to the natural world.

Whenever we envision a world without war, without prisons, without capitalism, we are producing speculative fiction. Organizers and activists envision, and try to create, such worlds all the time. Walidah Imarisha and adrienne maree brown have brought twenty of them together in the first anthology of short stories to explore the connections between radical speculative fiction and movements for social change. The visionary tales of Octavia’s Brood span genres—sci-fi, fantasy, horror, magical realism—but all are united by an attempt to inject a healthy dose of imagination and innovation into our political practice and to try on new ways of understanding ourselves, the world around us, and all the selves and worlds that could be. The collection is rounded off with essays by Tananarive Due and Mumia Abu-Jamal, and a preface by Sheree Renée Thomas. PRAISE FOR OCTAVIA'S BROOD: "Those concerned with justice and liberation must always persuade the mass of people that a better world is possible. Our job begins with speculative fictions that fire society's imagination and its desire for change. In adrienne maree brown and Walidah Imarisha's visionary conception, and by its activist-artists' often stunning acts of creative inception, Octavia's Brood makes for great thinking and damn good reading. The rest will be up to us." —Jeff Chang, author of Who We Be: The Colorization of America “Conventional exclamatory phrases don’t come close to capturing the essence of what we have here in Octavia’s Brood. One part sacred text, one part social movement manual, one part diary of our future selves telling us, ‘It’s going to be okay, keep working, keep loving.’ Our radical imaginations are under siege and this text is the rescue mission. It is the new cornerstone of every class I teach on inequality, justice, and social change....This is the text we’ve been waiting for.” —Ruha Benjamin, professor of African American Studies at Princeton University and author of People’s Science: Bodies and Rights on the Stem Cell Frontier "Octavia once told me that two things worried her about the future of humanity: The tendency to think hierarchically, and the tendency to place ourselves higher on the hierarchy than others. I think she would be humbled beyond words that the fine, thoughtful writers in this volume have honored her with their hearts and minds. And that in calling for us to consider that hierarchical structure, they are not walking in her shadow, nor standing on her shoulders, but marching at her side." —Steven Barnes, author of Lion’s Blood “Never has one book so thoroughly realized the dream of its namesake. Octavia's Brood is the progeny of two lovers of Octavia Butler and their belief in her dream that science fiction is for everybody.... Butler could not wish for better evidence of her touch changing our literary and living landscapes. Play with these children, read these works, and find the children in you waiting to take root under the stars!” —Moya Bailey and Ayana Jamieson, Octavia E. Butler Legacy “Like [Octavia] Butler's fiction, this collection is cartography, a map to freedom.” —dream hampton, filmmaker and Visiting Artist at Stanford University’s Institute for Diversity in the Arts Walidah Imarisha is a writer, organizer, educator, and spoken word artist. She is the author of the poetry collectionScars/Stars and facilitates writing workshops at schools, community centers, youth detention facilities, and women's prisons. adrienne maree brown is a 2013 Kresge Literary Arts Fellow writing science fiction in Detroit, Michigan. She received a 2013 Detroit Knight Arts Challenge Award to run a series of Octavia Butler–based writing workshops.

From the bestselling author of The Handmaid's Tale and The Testaments—in the gated community of Consilience, residents who sign a contract will get a job and a lovely house for six months of the year...if they serve as inmates in the Positron prison system for the alternate months. “Captivating...thrilling.” —The New York Times Book Review Stan and Charmaine, a young urban couple, have been hit by job loss and bankruptcy in the midst of nationwide economic collapse. Forced to live in their third-hand Honda, where they are vulnerable to roving gangs, they think the gated community of Consilience may be the answer to their prayers. At first, this seems worth it: they will have a roof over their heads and food on the table. But when a series of troubling events unfolds, Positron begins to look less like a prayer answered and more like a chilling prophecy fulfilled. The Heart Goes Last is a vivid, urgent vision of development and decay, freedom and surveillance, struggle and hope—and the timeless workings of the human heart.

Now at seventy-three volumes, this popular MLA series (ISSN 1059-1133) addresses a broad range of literary texts. Each volume surveys teaching aids and critical material and brings together essays that apply a variety of perspectives to teaching the text. Upper-level undergraduate and graduate students, student teachers, education specialists, and teachers in all humanities disciplines will find these volumes particularly helpful.