The Year Of The Flood by Margaret AtwoodThe Year Of The Flood by Margaret Atwood

The Year Of The Flood

byMargaret Atwood

Hardcover | December 19, 2011

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The long-awaited new novel from Margaret Atwood, The Year of the Flood is a brilliant visionary imagining of the future that calls to mind her classic novel The Handmaid’s Tale.

Adam One, the kindly leader of God’s Gardeners — a religion devoted to the melding of science and religion — has long predicted a natural disaster that will alter Earth as we know it. Now it has occurred, obliterating most human life. Two women have been spared: Ren, a young trapeze-dancer, locked inside a high-end sex club; and one of God’s Gardeners, Toby, who is barricaded inside a luxurious spa. Have others survived?

By turns dark, tender, violent, thoughtful, and witty, The Year of the Flood unfolds Toby’s and Ren’s stories during the years prior to their meeting again. The novel not only brilliantly reflects to us a world we recognize but poignantly reminds us of our enduring humanity.
Margaret Atwood’s internationally bestselling fiction includes The Handmaid’s Tale, Alias Grace, The Blind Assassin, and Oryx and Crake. She has received numerous awards and honours, including the Booker Prize, the Governor General’s Award, and The Giller Prize. She lives in Toronto.
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Title:The Year Of The FloodFormat:HardcoverProduct dimensions:448 pages, 9.53 X 6.62 X 1.3 inShipping dimensions:448 pages, 9.53 X 6.62 X 1.3 inPublished:December 19, 2011Language:English

The following ISBNs are associated with this title:

ISBN - 10:0771008449

ISBN - 13:9780771008443

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Read from the Book

T H E G A R D E NWho is it tends the Garden,The Garden oh so green?’Twas once the finest GardenThat ever has been seen.And in it God’s dear CreaturesDid swim and fly and play;But then came greedy Spoilers,And killed them all away.And all the Trees that flourishedAnd gave us wholesome fruit,By waves of sand are buried,Both leaf and branch and root.And all the shining WaterIs turned to slime and mire,And all the feathered Birds so brightHave ceased their joyful choir.Oh Garden, oh my Garden,I’ll mourn forevermoreUntil the Gardeners arise,And you to Life restore.From The God’s Gardeners Oral Hymnbook 1TOBYYEAR TWENTY- FIVE, THE YEAR OF THE FLOODIn the early morning Toby climbs up to the rooftop to watch the sunrise. She uses a mop handle for balance: the elevator stopped working some time ago and the back stairs are slick with damp, so if she slips and topples there won’t be anyone to pick her up.As the first heat hits, mist rises from among the swath of trees between her and the derelict city. The air smells faintly of burning, a smell of caramel and tar and rancid barbecues, and the ashy but greasy smell of a garbage-dump fire after it’s been raining. The abandoned towers in the distance are like the coral of an ancient reef — bleached and colourless, devoid of life.There still is life, however. Birds chirp; sparrows, they must be. Their small voices are clear and sharp, nails on glass: there’s no longer any sound of traffic to drown them out. Do they notice that quietness, the absence of motors? If so, are they happier? Toby has no idea. Unlike some of the other Gardeners — the more wild-eyed or possibly overdosed ones — she has never been under the illusion that she can converse with birds.The sun brightens in the east, reddening the blue-grey haze that marks the distant ocean. The vultures roosting on hydro poles fan out their wings to dry them, opening themselves like black umbrellas. One and then another lifts off on the thermals and spirals upwards. If they plummet suddenly, it means they’ve spotted carrion.Vultures are our friends, the Gardeners used to teach. They purify the earth. They are God’s necessary dark Angels of bodily dissolution. Imagine how terrible it would be if there were no death!Do I still believe this? Toby wonders.Everything is different up close.The rooftop has some planters, their ornamentals running wild; it has a few fake-wood benches. It used to have a sun canopy for cocktail hour, but that’s been blown away. Toby sits on one of the benches to survey the grounds. She lifts her binoculars, scanning from left to right. The driveway, with its lumirose borders, untidy now as frayed hair-brushes, their purple glow fading in the strengthening light. The western entrance, done in pink adobe-style solarskin, the snarl of tangled cars outside the gate.The flower beds, choked with sow thistle and burdock, enormous aqua kudzu moths fluttering above them. The fountains, their scallop-shell basins filled with stagnant rainwater. The parking lot with a pink golf cart and two pink AnooYoo Spa minivans, each with its winking-eye logo. There’s a fourth minivan farther along the drive, crashed into a tree: there used to be an arm hanging out of the window, but it’s gone now.The wide lawns have grown up, tall weeds. There are low irregular mounds beneath the milkweed and fleabane and sorrel, with here and there a swatch of fabric, a glint of bone. That’s where the people fell, the ones who’d been running or staggering across the lawn. Toby had watched from the roof, crouched behind one of the planters, but she hadn’t watched for long. Some of those people had called for help, as if they’d known she was there. But how could she have helped?The swimming pool has a mottled blanket of algae. Already there are frogs. The herons and the egrets and the peagrets hunt them, at the shallow end. For a while Toby tried to scoop out the small animals that had blundered in and drowned. The luminous green rabbits, the rats, the rakunks, with their striped tails and racoon bandit masks. But now she leaves them alone. Maybe they’ll generate fish, somehow. When the pool is more like a swamp.Is she thinking of eating these theoretical future fish? Surely not.Surely not yet.She turns to the dark encircling wall of trees and vines and fronds and shrubby undergrowth, probing it with her binoculars. It’s from there that any danger might come. But what kind of danger? She can’t imagine.In the night there are the usual noises: the faraway barking of dogs, the tittering of mice, the water-pipe notes of the crickets, the occasional grumph of a frog. The blood rushing in her ears: katoush, katoush, katoush. A heavy broom sweeping dry leaves.“Go to sleep,” she says out loud. But she never sleeps well, not since she’s been alone in this building. Sometimes she hears voices — human voices, calling to her in pain. Or the voices of women, the women who used to work here, the anxious women who used to come, for rest and rejuvenation. Splashing in the pool, strolling on the lawns. All the pink voices, soothed and soothing.Or the voices of the Gardeners, murmuring or singing; or the children laughing together, up on the Edencliff Garden. Adam One, and Nuala, and Burt. Old Pilar, surrounded by her bees. And Zeb. If any one of them is still alive, it must be Zeb: any day now he’ll come walking along the roadway or appear from among the trees.But he must be dead by now. It’s better to think so. Not to waste hope.There must be someone else left, though; she can’t be the only one on the planet. There must be others. But friends or foes? If she sees one, how to tell?She’s prepared. The doors are locked, the windows barred. But even such barriers are no guarantee: every hollow space invites invasion.Even when she sleeps, she’s listening, as animals do — for a break in the pattern, for an unknown sound, for a silence opening like a crack in rock.When the small creatures hush their singing, said Adam One, it’s because they’re afraid. You must listen for the sound of their fear.2REN YEAR TWENTY- FIVE, THE YEAR OF THE FLOODBeware of words. Be careful what you write. Leave no trails.This is what the Gardeners taught us, when I was a child among them. They told us to depend on memory, because nothing written down could be relied on. The Spirit travels from mouth to mouth, not from thing to thing: books could be burnt, paper crumble away, computers could be destroyed. Only the Spirit lives forever, and the Spirit isn’t a thing.As for writing, it was dangerous, said the Adams and the Eves, because your enemies could trace you through it, and hunt you down, and use your words to condemn you.But now that the Waterless Flood has swept over us, any writing I might do is safe enough, because those who would have used it against me are most likely dead. So I can write down anything I want.What I write is my name, Ren, with an eyebrow pencil, on the wall beside the mirror. I’ve written it a lot of times. Renrenren, like a song. You can forget who you are if you’re alone too much. Amanda told me that.I can’t see out the window, it’s glass brick. I can’t get out the door, it’s locked on the outside. I still have air though, and water, as long as the solar doesn’t quit. I still have food.I’m lucky. I’m really very lucky. Count your luck, Amanda used to say. So I do. First, I was lucky to be working here at Scales when the Flood hit. Second, it was even luckier that I was shut up this way in the Sticky Zone, because it kept me safe. I got a rip in my Biofilm Bodyglove — a client got carried away and bit me, right through the green sequins — and I was waiting for my test results. It wasn’t a wet rip with secretions and membranes involved, it was a dry rip near the elbow, so I wasn’t that worried. Still, they checked everything, here at Scales. They had a reputation to keep up: we were known as the cleanest dirty girls in town.Scales and Tails took care of you, they really did. If you were talent, that is. Good food, a doctor if you needed one, and the tips were great, because the men from the top Corps came here. It was well run, though it was in a seedy area — all the clubs were. That was a matter of image, Mordis would say: seedy was good for business, because unless there’s an edge — something lurid or tawdry, a whiff of sleaze — what separated our brand from the run-of-the-mill product the guy could get at home, with the face cream and the white cotton panties?Mordis believed in plain speaking. He’d been in the business ever since he was a kid, and when they outlawed the pimps and the street trade — for public health and the safety of women, they said — and rolled everything into SeksMart under CorpSeCorps control, Mordis made the jump, because of his experience. “It’s who you know,” he used to say. “And what you know about them.” Then he’d grin and pat you on the bum — just a friendly pat though, he never took freebies from us. He had ethics.He was a wiry guy with a shaved head and black, shiny, alert eyes like the heads of ants, and he was easy as long as everything was cool. But he’d stand up for us if the clients got violent. “Nobody hurts my best girls,” he’d say. It was a point of honour with him.Also he didn’t like waste: we were a valuable asset, he’d say. The cream of the crop. After the SeksMart roll-in, anyone left outside the system was not only illegal but pathetic. A few wrecked, diseased old women wandering the alleyways, practically begging. No man with even a fraction of his brain left would go anywhere near them. “Hazardous waste,” we Scales girls used to call them. We shouldn’t have been so scornful; we should have had compassion. But compassion takes work, and we were young.That night when the Waterless Flood began, I was waiting for my test results: they kept you locked in the Sticky Zone for weeks, in case you had something contagious. The food came in through the safety-sealed hatchway, plus there was the minifridge with snacks, and the water was filtered, coming in and out both. You had everything you needed, but it got boring in there. You could exercise on the machines, and I did a lot of that, because a trapeze dancer needs to keep in practice.You could watch TV or old movies, play your music, talk on the phone. Or you could visit the other rooms in Scales on the intercom videoscreens. Sometimes when we were doing plank work we’d wink at the cameras in mid-moan for the benefit of whoever was stuck in the Sticky Zone. We knew where the cameras were hidden, in the snakeskin or featherwork on the ceilings. It was one big family, at Scales, so even when you were in the Sticky Zone, Mordis liked you to pretend you were still participating.Mordis made me feel so secure. I knew if I was in big trouble I could go to him. There were only a few people in my life like that. Amanda, most of the time. Zeb, sometimes. And Toby. You wouldn’t think it would be Toby — she was so tough and hard — but if you’re drowning, a soft squashy thing is no good to hold on to. You need something more solid.

Bookclub Guide

1. How does the friendship between Amanda and Ren grow, despite their differences and the restrictions they face? They meet as children. Who was your greatest ally when you were that age? What do you think of Ren''s treatment of Bernice?2. What survival skills do the novel''s female characters possess? Do they find security or vulnerability at Scales and Tales, the AnooYoo Spa, and within the community of Gardeners? What strength does Pilar find in nature, while Lucerne is drawn to artificial beauty?3. How do Adam One''s motivations compare to Zeb''s? In their world, what advantages do men have? Are they really “advantages”?4. Discuss Toby''s parents and their fate. What does their story illustrate about the dangers of an unregulated and corrupt drug industry? What motivates Toby to become a healer?5. How does Adam One''s explanation of creation and the fall of humanity compare to more standard Judeo-Christian ideas? What does he offer his followers, beyond an understanding of the planet and the creatures that inhabit it?6. Discuss the father figures in Ren''s life: her stepfather, Zeb; her biological father, Frank; and eventually Mordis. What did they teach her about being a woman? How did they shape her expectations of Jimmy?7. As a refugee from Texas, Amanda is an outsider, facing constant risk. Would you have harbored her? Why is Ren so impressed by her?8. What is the result of a penal system like Painball? How does it influence the citizens'' attitude toward crime?9. Should Toby have honored Pilar''s deathbed wish that she become an Eve? How did the lessons in beekeeping serve Toby in other ways as well?10. Crake''s BlyssPlus pill offers many false promises. What are they, and what was Crake really striving for (chapter 73)? If human beings are the greatest problem for the natural world, could they also provide solutions less drastic than Crake''s? How?11. In what ways do the novel''s three voices—Toby''s, Ren''s, and Adam One''s—complement one another? What unique perspective is offered in each narration?12. Explore the lyrics from The God''s Gardeners Oral Hymnbook. What do they say about the Gardener theology and the nature of their faith? Adam One does not always tell the truth to his congregation. Is well-meant lying ever acceptable?13. Margaret Atwood''s fiction often displays “gallows humor.” Can a thing be dire and funny at the same time? Must we laugh or die?14. The Year of the Flood covers the same time period as Oryx and Crake, and contains a number of the same characters — (“Snowman,” a student at the Martha Graham Academy and “the last man on earth”) and Glenn (“Crake,” who studied at the Watson-Crick Institute), as well as Bernice, Jimmy''s hostile college room-mate, Amanda, a live-in artist girlfriend, Ren (“Brenda,”) whom he remembers briefly in Oryx and Crake as a high-school fling, Jimmy''s mother, who runs away to become an activist, and the God''s Gardeners, whom he mentions as a fringe green cult. Re-read the final pages of both books. What do you predict for the remaining characters? Should the Gardeners execute the Painballers? Why? Why not? Would you?15. What parallels did you see between The Year of the Flood and current headlines?

Editorial Reviews

“This is a gutsy and expansive novel, rich with ideas and conceits, but overall it’s more optimistic than Oryx & Crake. Its characters have a compassion and energy lacking in Jimmy, the wounded and floating lothario at the previous novel''s center. Each novel can be enjoyed independently of the other, but what’s perhaps most impressive is the degree of connection between them. Together they form halves of a single epic…” — Publisher''s Weekly (starred review)“The tremendous imaginative power of [Atwood’s] fiction allows us to believe that anything is possible.”— New York Times Book Review“Trust Margaret Atwood to put her finger on the pulse of the future….” — Globe and Mail“Atwood is a natural seer for an age that does not want to look too closely at what it condones, or refuses to see.” — Glasgow Herald“Margaret Atwood has outdone — and outsung — herself this time. The Year of the Flood is at once a solemn praise song to human hope and a dead-serious poke at our capacity for self-destruction. The novel shows the Nobel Prize-worthy Margaret Atwood at the pinnacle of her prodigious creative powers.”— Elle Magazine