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Autobiographies written by female writers should therefore be read and examined within the<br />

context of the feminist movement that has taken as its core aim the liberation of woman and the<br />

free expression of the female voice. On the other hand, the form of autobiography, in its capacity to<br />

allow female writers to express new forms of subjectivity, has contributed in significant ways to the<br />

feminist movement and feminist literary criticism. By utilizing this form, female writers had the<br />

opportunity to delve deeper into the female psyche and experiment with various means of<br />

expressing themselves in more truthful and authentic ways.<br />

In the second chapter of her book, Atwood analyzes the relation between a tale teller and a<br />

writer. She stresses that wheras a tale‐teller has his audience in front of her, the writer can not ever<br />

know her reader. Another major difference between the tale‐teller and the writer is that wheras the<br />

tale‐teller can make changes as he goes along and improvises, the writer can not alter the sequence<br />

of events once his book is published. Atwood points out that<br />

The writer on the other hand, can scratch his way through draft after draft, laboring,<br />

like Flaubert, over the shape of sentences, striving for exactly the right word, and throwing<br />

character’s names over the window –indeed throwing whole characters over the<br />

window. 30<br />

As Atwood’s words illustrate, the writer is a storyteller but is confined by the written page.<br />

Producing a book is hard labour which entails scrupulous attention to words and endless revisions.<br />

The writer needs to exercise patience and should have endurance in order to put forth the best that<br />

she can produce.<br />

Feminist critics have also commented on the interrelations between veracity, identity of the<br />

author and autobiography. Feminist critic Leigh Gilmore has commented that<br />

I do not mean that autobiographers have not claimed the certainty of identity,have not<br />

obscured the problem of its production… To confer upon the autobiography, the<br />

authority of a person or to read her and her agency as inevitably the same thing is to<br />

repeat the referential fallacy that consigns all autobiographers and their authors to the<br />

same space in history. I see this strategy as profoundly limiting toa feminist study of<br />

autobiography and women’s self representation. Autobiographical identity and agency are<br />

historically dynamic. There is no single transhistorical identity that all autobiographers<br />

invariantly produce or strive to produce. 31<br />

Thus, questions of identity and agency are central to discussions of autobiography. Since<br />

individuals are never fixed but rather always in a state of becoming, identities and agencies should be<br />

perceived as historically dynamic. As Gilmore points out looking for a stable, “transhistorical identity”<br />

is an exercise in futility.<br />

It would be far fetched to argue that Atwood is the same person she was when she first wrote her<br />

autobiography. People change during the time period the work is written and following its<br />

publication. Every one of us is changing continuously. Identity is not rigid, it is fluid, it is always in the<br />

making. Life events that happen bring to our lives various changes, leave their mark upon the<br />

individual. Atwood also remarks that the reader will judge the characters himself/herself since<br />

he/she will come up with his/her own interpretation. We all interpret, every day – we must interpret,<br />

not only language, but a whole environment which this means that “little green man means cross the<br />

street little red man means don’t –and if we didn’t interpret we’d be dead.” 32<br />

Atwood claims that most writers think about their readers as well as reader’s expectations. Who<br />

will read their books? What is the reader’s reaction going to be? It is rare that the writer says I am<br />

writing for myself only. How can we, as readers, relate to the reality and the writer represented in<br />

the written text? As Atwood suggests: “All writing is motivated deepdown by a fear of and<br />

fascination with mortality–by a desire to make the risky trip to the Underworld and to bring

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