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Oryx and Crake

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Oryx and Crake

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Oryx and Crake is at once an unforgettable love story and a compelling vision of the future. Snowman, known as Jimmy before mankind was overwhelmed by a plague, is struggling to survive in a world...
Oryx and Crake is at once an unforgettable love story and a compelling vision of the future. Snowman, known as Jimmy before mankind was overwhelmed by a plague, is struggling to survive in a world...
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Description-
  • Oryx and Crake is at once an unforgettable love story and a compelling vision of the future. Snowman, known as Jimmy before mankind was overwhelmed by a plague, is struggling to survive in a world where he may be the last human, and mourning the loss of his best friend, Crake, and the beautiful and elusive Oryx whom they both loved. In search of answers, Snowman embarks on a journey--with the help of the green-eyed Children of Crake--through the lush wilderness that was so recently a great city, until powerful corporations took mankind on an uncontrolled genetic engineering ride. Margaret Atwood projects us into a near future that is both all too familiar and beyond our imagining.

    From the Trade Paperback edition.

 
Awards-
Excerpts-
  • Chapter One Mango
    Snowman wakes before dawn. He lies unmoving, listening to the tide coming in, wave after wave sloshing over the various barricades, wish-wash, wish-wash, the rhythm of heartbeat. He would so like to believe he is still asleep.

    On the eastern horizon there's a greyish haze, lit now with a rosy, deadly glow. Strange how that colour still seems tender. The offshore towers stand out in dark silhouette against it, rising improbably out of the pink and pale blue of the lagoon. The shrieks of the birds that nest out there and the distant ocean grinding against the ersatz reefs of rusted car parts and jumbled bricks and assorted rubble sound almost like holiday traffic.

    Out of habit he looks at his watch - stainless-steel case, burnished aluminum band, still shiny although it no longer works. He wears it now as his only talisman. A blank face is what it shows him: zero hour. It causes a jolt of terror to run through him, this absence of official time. Nobody nowhere knows what time it is.

    "Calm down," he tells himself. He takes a few deep breaths, then scratches his bug bites, around but not on the itchiest places, taking care not to knock off any scabs: blood poisoning is the last thing he needs. Then he scans the ground below for wildlife: all quiet, no scales and tails. Left hand, right foot, right hand, left foot, he makes his way down from the tree. After brushing off the twigs and bark, he winds his dirty bedsheet around himself like a toga. He's hung his authentic-replica Red Sox baseball cap on a branch overnight for safekeeping; he checks inside it, flicks out a spider, puts it on.

    He walks a couple of yards to the left, pisses into the bushes. "Heads up," he says to the grasshoppers that whir away at the impact. Then he goes to the other side of the tree, well away from his customary urinal, and rummages around in the cache he's improvised from a few slabs of concrete, lining it with wire mesh to keep out the rats and mice. He's stashed some mangoes there, knotted in a plastic bag, and a can of Sveltana No-Meat Cocktail Sausages, and a precious half-bottle of Scotch - no, more like a third - and a chocolate-flavoured energy bar scrounged from a trailer park, limp and sticky inside its foil. He can't bring himself to eat it yet: it might be the last one he'll ever find. He keeps a can opener there too, and for no particular reason an ice pick; and six empty beer bottles, for sentimental reasons and for storing fresh water. Also his sunglasses; he puts them on. One lens is missing but they're better than nothing.

    He undoes the plastic bag: there's only a single mango left. Funny, he remembered more. The ants have got in, even though he tied the bag as tightly as he could. Already they're running up his arms, the black kind and the vicious little yellow kind. Surprising what a sharp sting they can give, especially the yellow ones. He rubs them away.

    "It is the strict adherence to daily routine that tends towards the maintenance of good morale and the preservation of sanity," he says out loud. He has the feeling he's quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another. He can't recall ever having read such a thing, but that means nothing. There are a lot of blank spaces in his stub of a brain, where memory used to be. Rubber plantations, coffee plantations, jute plantations. (What was jute?) They would have been told to wear solar topis, dress for dinner, refrain from raping the natives. It wouldn't have said raping. Refrain from fraternizing with the female inhabitants. Or, put some other way . . .

    He bets...
About the Author-
  • Margaret Atwood is the author of more than thirty-five works of fiction, poetry, and essays, published in more than forty countries. Her most recent works include the Booker Prize--winning novel The Blind Assassin and Negotiating with the Dead: A Writer on Writing. Ms. Atwood lives in Toronto.

Reviews-
  • The New Yorker

    "Towering and intrepid. . . . Atwood does Orwell one better."

  • The Baltimore Sun "Atwood has long since established herself as one of the best writers in English today, but Oryx and Crake may well be her best work yet. . . . Brilliant, provocative, sumptuous and downright terrifying."
  • The Seattle Times "Her shuddering post-apocalyptic vision of the world . . . summons up echoes of George Orwell, Anthony Burgess and Aldous Huxley. . . . Oryx and Crake [is] in the forefront of visionary fiction."
  • The San Diego Union-Tribune "A book too marvelous to miss."
  • The Washington Post "Majestic. . . . Keeps us on the edges of our seats."
  • Newsday "A compelling futuristic vision. . . . Oryx and Crake carries itself with a refreshing lightness. . . . Its shrewd pacing neatly balances action and exposition. . . . What gives the book a deeper resonance is its humanity."
  • Time Out New York "[A] stunning new novel--possibly her best since The Handmaid's Tale."
  • The News & Observer (Raleigh, North Carolina) "Truly remarkable. . . . As fun as it is dark. . . . A feast of realism, science fiction, satire, elegy and then some. . . . Atwood has concocted here an all-too-possible vision. . . . [She is] a master."
  • The Economist "A roll of dry, black, parodic laughter. . . . One of the year's most surprising novels."
  • The Denver Post "Sublime. . . . Good, solid, Swiftian science fiction from a . . . literary artist par excellence."
  • People "Dances with energy and sophisticated gallows humor. . . . [Atwood's] wry wit makes dystopia fun."
  • The Guardian "A crackling read. . . . Atwood is one of the most impressively ambitious writers of our time."
  • The Buffalo News "Gorgeously written, full of eyeball-smacking images and riveting social and scientific commentary. . . . A cunning and engrossing book by one of the great masters of the form."
  • The New York Times Book Review "A powerful vision. . . . Very readable."
  • The Atlanta Journal-Constitution "Brilliant, impossible to put down. . . . Atwood . . . is at once commanding and enchanting. Piercingly intelligent and piquantly witty, highly imaginative and unfailingly compassionate, she is a spoonful-of-sugar storyteller, concealing the strong and necessary medicine of her stinging social commentary within the balm of dazzlingly complicated and compelling characters and intricate and involving predicaments."
  • Pittsburgh Post-Gazette "Original and chilling. . . . Powerful, inventive, playful and difficult to resist."
  • The Daily Telegraph "Brilliantly constructed. . . . Jimmy and Crake grip like characters out of Greek tragedy. . . . Atwood herself is one of our finest linguistic engineers. Her carefully calibrated sentences are formulated to hook and paralyse the reader."
  • The Dallas Morning Ne "Atwood does not disappoint."
Title Information+
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    Knopf Doubleday Publishing Group
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  • Copyright Protection (DRM) required by the Publisher may be applied to this title to limit or prohibit printing or copying. File sharing or redistribution is prohibited. Your rights to access this material expire at the end of the lending period. Please see Important Notice about Copyrighted Materials for terms applicable to this content.
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