Part I Atwood Adapts
"Atwood's Hag-Seed and The Heart Goes Last, a Generic Romp"
"Negotiating with the Dead" Authorial Ghosts and Other Spectralities in Atwood's Adaptations
Transforming the Human and the Novel: The Utopian Potential of Resilience in Margaret Atwood'sM addAddam Trilogy
Atwood's Protean Poetics: Adaptation in the Service of Survival
Feminist Adaptations/Adaptations of Feminism: Margaret Atwood's The PenelopiadPart II Atwood Adapted
The Unreliable Female (Narrator) in Mary Harron's Miniseries Alias Grace
The Figure of the Objectified Servant, from the Silent Biblical Maid to the Twenty-First-Century Web TV RebelShallow Focus Composition and the Poetics of Blur in The Handmaid's Tale (Hulu, 2017-)
Feminism, Facts, and Fear: The Protean Reception of The Handmaid's Tale (Atwood 1985, Miller 2017-)
You Are Here: The Handmaid's Tale as Graphic Novel
Offred at the Opera: Dimensions of Adaptation in Poul Ruders and Paul Bentley'sT he Handmaid's Tale
Part III Atwood in the World: Atwood Adaptation Practitioners
Staging The PenelopiadFilming Alias Grace
Filming The Handmaid's Tale
"Adapting (to) Atwood"
About the Author: Shannon Wells-Lassagne is author of Television and Serial Adaptation (2017), and the co-editor of Adapting Endings (2019), and Screening Text (2013). Her work has appeared in Screen, The Journal of Adaptation in Film and Performance, Critical Studies in Television, and The Journal of Popular Film and Television.
Fiona McMahon is Professor of American Literature at the Université Paul Valéry-Montpellier 3, France, and editor of the series Profils américains at the Presses universitaires de de la Méditerranée. She is the author of Charles Reznikoff: une poétique du témoignage (2010), H.D. Trilogy (2013) and co-editor of Penser le genre en poésie contemporaine (2019).
