From the bestselling author of The Handmaid's Tale and The Testaments • By turns satiric, thrilling, and terrifying, Bodily Harm charts the dark currents of the lust for power—both sexual and political—as it builds to a devastating climax.
Rennie Wilford is a journalist who writes about the latest trends and considers herself an expert on the superficial surfaces of life.
When her own life takes a dark turn, she seeks to recuperate by flying to the Caribbean to research a fluffy travel piece. But her carelessly chosen destination, the tiny island of St. Antoine, is on the verge of a violent revolution and Rennie soon finds herself ensnared in a world of corruption and treachery and unsure whom to trust.
“Succeeds in mingling a considerable amount of humor . . . with the malevolent shadows of politics and history.” —The Boston Globe
“It knocked me out. Margaret Atwood seems to be able to do just about everything: people, places, problems, a perfect ear, an exactly right voice—and she tosses off terrific scenes with a casualness that leaves you utterly unprepared for the way these scenes seize you.” —Anatole Broyard, The New York Times
From the bestselling author of The Handmaid's Tale and The Testaments • By turns satiric, thrilling, and terrifying, Bodily Harm charts the dark currents of the lust for power—both sexual and political—as it builds to a devastating climax.
Rennie Wilford is a journalist who writes about the latest trends and considers herself an expert on the superficial surfaces of life.
When her own life takes a dark turn, she seeks to recuperate by flying to the Caribbean to research a fluffy travel piece. But her carelessly chosen destination, the tiny island of St. Antoine, is on the verge of a violent revolution and Rennie soon finds herself ensnared in a world of corruption and treachery and unsure whom to trust.
Praise
“Succeeds in mingling a considerable amount of humor . . . with the malevolent shadows of politics and history.” —The Boston Globe
“It knocked me out. Margaret Atwood seems to be able to do just about everything: people, places, problems, a perfect ear, an exactly right voice—and she tosses off terrific scenes with a casualness that leaves you utterly unprepared for the way these scenes seize you.” —Anatole Broyard, The New York Times
