Originally published in Margaret Atwood Studies, vol. 10 (December, 2016)
ABSTRACT: In this article, I argue that the groundlessness associated with postmodernism is not as entrenched within its discourse as it may appear. Graham Swift’s Waterland (1992) and Margaret Atwood’s Oryx and Crake (2003), while conforming to many of the aesthetic values of postmodernism, share an ecopostmodernist platform that raises questions and concerns about the human relationship with nature. In defiance of traditional notions of postmodernism, Atwood’s and Swift’s novels exemplify an engagement with ecological perspectives, and present conceptions of reality that do not accept disengagement or detachment as a suitable response to the so-called postmodern condition.
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