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A New York Times Notable Book
A Washington Post Notable Book
A Best Book of the Year: The Guardian, NPR, The Christian Science Monitor, The Globe and Mail
A GoodReads Reader's Choice
Bringing together Oryx and Crake and The Year of the Flood, this thrilling conclusion to Margaret Atwood's speculative fiction trilogy points toward the ultimate endurance of community, and love.
Months after the Waterless Flood pandemic has wiped out most of humanity, Toby and Ren have rescued their friend Amanda from the vicious Painballers. They return to the MaddAddamite cob house, newly fortified against man and giant pigoon alike. Accompanying them are the Crakers, the gentle, quasi-human species engineered by the brilliant but deceased Crake. Their reluctant prophet, Snowman-the-Jimmy, is recovering from a debilitating fever, so it's left to Toby to preach the Craker theology, with Crake as Creator. She must also deal with cultural misunderstandings, terrible coffee, and her jealousy over her lover, Zeb.
Zeb has been searching for Adam One, founder of the God's Gardeners, the pacifist green religion from which Zeb broke years ago to lead the MaddAddamites in active resistance against the destructive CorpSeCorps. But now, under threat of a Painballer attack, the MaddAddamites must fight back with the aid of their newfound allies, some of whom have four trotters. At the center of MaddAddam is the story of Zeb's dark and twisted past, which contains a lost brother, a hidden murder, a bear, and a bizarre act of revenge.
Combining adventure, humor, romance, superb storytelling, and an imagination at once dazzlingly inventive and grounded in a recognizable world, MaddAddam is vintage Margaret Atwood—a moving and dramatic conclusion to her internationally celebrated dystopian trilogy.
From the Hardcover edition.
- Sales Rank: #21870 in eBooks
- Published on: 2013-09-03
- Released on: 2013-09-03
- Format: Kindle eBook
Amazon.com Review
An Amazon Best Book of the Month, September 2013: Margaret Atwood’s genius is fed by her appetite for synthesis: she sees every consequential cultural and tech trend (the realized and the possible) and spins them out into a near-future that’s both freakishly strange and horrifyingly plausible. MaddAddam concludes the trilogy she started with Oryx and Crake and The Year of the Flood, simultaneously set stories of the survivors (and the late creator) of a deliberately unleashed plague that’s left a few ragged stragglers—the fever-dreaming Snowman, remnants of a peaceful God’s Gardeners cult and eco-warrior MaddAddamites, psychotic escapees from the Painball arena, and humanity’s bioengineered “replacements,” the bizarrely placid Crakers—all bushwhacking through a trashed world of animal mash-ups (including some wicked-smart Pigoons). Depending on your outlook, she’s a scathing satirist, an alarmist, or an oracle. But the world she imagines feels near enough that you won’t soon forget it. --Mari Malcolm
From Publishers Weekly
Starred Review. The final entry in Atwood's brilliant MaddAddam trilogy roils with spectacular and furious satire. The novel begins where Oryx and Crake and The Year of the Flood end, just after most of the human species has been eradicated by a man-made plague. The early books explore a world of terrifying corporate tyranny, horrifying brutality, and the relentless rape of women and the planet. In Oryx and Crake, the pandemic leaves wounded protagonist Jimmy to watch over the Crakers, a humanoid species bioengineered to replace humankind by the man responsible for unleashing the plague. In The Year of the Flood, MaddAddamites wield science to terrorize corporate villains while God's Gardeners use prayer and devotion to the Earth to prepare for the approaching cataclysm. Toby, a God's Gardener and key character in the second book, narrates the third installment, in which a few survivors, including MaddAddamites, God's Gardeners, Jimmy, and the Crakers, navigate a postapocalyptic world. Toby is reunited with Zeb, her MaddAddamite romantic interest in Year of the Flood, and the two become leaders and defenders of their new community. The survivors are a traumatized, cynical group with harshly tested self-preservation skills, but they have the capacity for love and self-sacrifice, which in a simpler story would signal hope for the future of humankind. However, Atwood dramatizes the importance of all life so convincingly that readers will hesitate to assume that the perpetuation of a species as destructive as man is the novel's central concern. With childlike stubbornness, even the peaceful Crakers demand mythology and insist on deifying people whose motives they can't understand. Other species genetically engineered for exploitation by now-extinct corporations roam the new frontier; some are hostile to man, including the pigoons—a powerful and uniquely perceptive source of bacon and menace. Threatening humans, Crakers, and pigoons are Painballers—former prisoners dehumanized in grotesque life-or-death battles. The Crakers cannot fight, the bloodthirsty Painballers will not yield, and the humans are outnumbered by the pigoons. Happily, Atwood has more surprises in store. Her vision is as affirming as it is cautionary, and the conclusion of this remarkable trilogy leaves us not with a sense of despair at mankind's failings but with a sense of awe at humanity's barely explored potential to evolve. Agent: Vivienne Schuster, Curtis Brown Literary Agency (U.K.). (Sept.)
From Booklist
*Starred Review* Ten years after Oryx & Crake (2003) rocked readers the world over, Atwood brings her cunning, impish, and bracing speculative trilogy—following The Year of the Flood (2009)—to a gritty, stirring, and resonant conclusion. In the wreckage of a maniacal bioengineering empire, Toby, a can-do gal and a key member of the once thriving God’s Gardeners, a peaceful green resistance group, reconnects with her great unrequited love, Zeb, of the MaddAddamite bioterrorists. All tactical differences evaporate in the wake of the apocalyptic pandemic as their small band of survivors fights off fiendishly violent Painballers and marauding part-pig, part-human pigoons. The bioengineered Crakers—purring, kudzu-eating, sexually rambunctious, story-demanding quasihumans—worship Jimmy, whom they call Snowman. When he falls ill, Toby steps up. Her pseudoreligious attempts to explain life to the Crakers are hilarious and poignant, compared to Zeb’s shocking and riveting stories about his father, the malevolent head of the Church of PetrOleum, and what turned Zeb into MaddAddam. Atwood is ascendant, from her resilient characters to the feverishly suspenseful plot involving battles, spying, cyberhacking, murder, and sexual tension. Most resounding is Atwood’s vibrant creation of a scientifically plausible, regenerating, and evolving world driven not simply by the reproductive imperative but also by a cell-deep need for stories. The coruscating finale in an ingenious, cautionary trilogy of hubris, fortitude, wisdom, love, and life’s grand obstinacy. HIGH-DEMAND BACKSTORY: Atwood will tour the country and appear on major broadcast and social media to exuberantly promote the extraordinary closing novel in her best-selling trilogy. --Donna Seaman
Most helpful customer reviews
132 of 148 people found the following review helpful.
Terrifying but uplifting conclusion to Atwood's "MaddAddam Trilogy"
By Kathy Cunningham
I've been a fan of post-apocalyptic fiction since I first read EARTH ABIDES when I was in high school. I've probably read them all, to greater or lesser degrees of enjoyment. It's rare to find such a novel written by a literary great - a George Orwell, or an Aldous Huxley, or a Cormac McCarthy. Or a Margaret Atwood. Her HANDMAID'S TALE is one of my all-time favorites, and I gobbled up ORYX AND CRAKE when it was released in 2004. MADDADDAM is the third in what has been called Atwood's "MaddAddam Trilogy," and it concludes the story began in ORYX AND CRAKE and continued in THE YEAR OF THE FLOOD.
The story begins just as YEAR OF THE FLOOD ends - Toby and Ren have rescued Amanda from the vile Painballers who had kidnapped her, the two villains have been tied to a tree for safekeeping, Snowman (guardian of the so-called "Children of Crake," or "Crakers") is gravely ill from an infection, and the gentle Crakers are singing their strange songs. What happens in MADDADDAM is mainly Toby's story, and Zeb's story, told through Toby. Much of it is told in flashbacks (things that happened in the years before the "Waterless Flood" destroyed all human life on Earth, and in the years just after that pandemic). But in the novel's final act, things happen that conclude the trilogy in a very satisfying way.
For those who have not read the first two novels (or those - like me - who have forgotten major details of the story), Atwood provides a brief introduction called "The Story So Far." This is a great help, and will refresh readers as to who these characters are and how the world came to be as it is. In ORYX AND CRAKE, we learned how Crake engineered a pandemic that wiped out most human life. But first, he created the Crakers through genetic engineering, a race of gentle, kind humanoid beings without violent tendencies or dangerous human emotions - the Crakers have natural insect repellent in their blood, eat only leaves and grass, and mate only when they are in estrus (or "heat"). There is no jealousy among them, no pettiness, no greed - none of the things that led the human race to turn the world into a virtual garbage can. In some ways, the Crakers are reminiscent of the Eloi (from Wells's THE TIME MACHINE), a sheep-like herd of newly-evolved humans without either a competitive drive or a natural instinct for self-preservation. But Atwood's Crakers are much, much more than that, as MADDADDAM reveals.
In YEAR OF THE FLOOD, we met Toby and the other "God's Gardeners" (a "green religious group" focused on reverence for the earth), and Zeb and Adam (who fought the Corps that controlled the world through the MaddAddam Chat Room), and the evil Painballers (who survived the Corps-sponsored battles in the Painball Arenas and became rapists, murderers, and cannibals).
The world Atwood has created in this trilogy is one that seems totally believable, a natural progression from the political fallout of our twenty-first century world. The clash between those who worship oil and wealth, and those committed to protecting the Earth, has morphed into a reality in which corporations (supported by religion) control everything and science has been perverted into a means of creating genetically engineered plants and animals to satisfy an increasing demand for "products" (for example, the "Pigoons" were created by splicing human and pig genes to grow organs for human transplant, and the "Mo'Hairs" are able to produce colorful, silky human hair for wigs). This is a depressing and horrific vision of a future that might actually happen, that is perhaps already happening in subtle, insidious ways. And as such MADDADDAM is decidedly terrifying.
At the same time, Atwood's vision of a future in which the dominant races may not be totally human is ultimately hopeful. The Pigoons, it turns out, are not just pigs with human genetic material, and the Crakers are not just placid, mindless singers. By the end of MADDADDAM I was reminded of Octavia Butler's LILITH'S BROOD, in which humanity is virtually lost but becomes something else altogether, something very different but perhaps just as wondrous.
Atwood's writing is challenging, and there's no way to read MADDADDAM for its plot (which is the least important aspect of the novel). Instead, read it for its vision into what being human has become, what it once was, and what it could be in a future of our own making. In ORYX AND CRAKE, Crake wiped out most of the human race, hoping to "reboot" the world, to begin again in a different way. In MADDADDAM, Atwood gives us a glimpse of what that rebooted world might be like and what it might mean for the handful of human beings left alive. It's a terrifying, beautiful, and uplifting story, all at once. I recommend it to any fan of post-apocalyptic fiction, or to any lover of great literature. Atwood is a wonderful writer, and MADDADDAM is a satisfying ending to a great trilogy.
115 of 130 people found the following review helpful.
Maddening MaddAddam
By zashibis
Clearly, I'm in a small minority here, but I was utterly disappointed by MaddAddam. It's not only a limp conclusion to the trilogy; it's a sequel that is so badly conceived--so slipshod in its plotting, such a betrayal of the characterization of the first two works, and so much a boring retread of themes more cleverly presented the first two times around--that it actually diminishes the achievement of the earlier novels. It may, in fact, be the worst follow-up to a successful novel that I've ever read. If Oryx & Crake is Star Wars, then this novel is The Phantom Menace.
*SPOILERS ALERT*
There's simply no way to talk about the novel's failures without referring to specific plot points, so read no further if you intend to read MaddAddam but haven't read it yet.
The first problem is, having contrived to have Snowman and the Crakers meet up with the survivors of the MaddAddam / God's Gardener's group at the end of both of the previous novels, Atwood was, very clearly, at a total loss as to what to do with them next, how to move the story forward. Therefore, the "forward" plot movement of the novel only starts in earnest after p. 261, when it is (very implausibly) revealed that the Crakers (the genetically-modified humans) can communicate with the pigoons (the genetically-modified pigs) and the latter want the the normal Homo Sapiens's help with killing the two "painballers" captured at the end of Year of the Flood, but who were allowed to escape at the very beginning of this novel (another feeble implausibility). This, despite the fact that the MaddAddamites themselves have also been killing and eating the pigoons all along. So, the remaining humans, relying on the pigoons' sense of smell and a Craker translator, track the two killers down, but not before Snowman and Adam One are allowed to die comically melodramatic, self-sacrificing deaths, worthy of the most sentimentally piffling of Dickens's endings.
Atwood does understand that this wee episode--"bad guys escape; good guys hang around doing nothing in particular for several months; good guys track down bad guys"--isn't nearly enough of a plot to construct an entire novel around. So, most of the novel has nothing to do with that. Instead, it's backstory--yet more backstory, in a series of novels that has already consisted largely of flashbacks--this time about the previously peripheral character of Zeb.
Alas, this new backstory must rank as some of the very worst writing Atwood has ever done. It is completely haphazard, un-thought-out, driveling, and trivial. It reads, for all the world, like a very bad parody of Thomas Pynchon. Zeb steals millions of dollars from his father, a corrupt fraud of a fundamentalist preacher, and goes on the lam, spending hundreds of pages flitting from one nonsensical disguise to another: a pilot for an environmental group aiding polar bears, a burger flipper, a professional hacker, a magician's assistant, a toilet cleaner, a bouncer, a gardener, a data-entry drone...and probably others I'm forgetting. Not a single one of these incarnations is well-developed...or even lasts long enough long enough for me to begin to be interested in the new environment where Atwood has randomly inserted Zeb, always for only a single chapter, with no rhyme or reason. Whether working the most menial of jobs or more middle-class covers there's *never* actually a compelling reason for Zeb to be where he finds himself, especially since he supposedly has millions in the bank. It's all a chaotic, vapid shaggy dog story with no punchline at the end, told largely in annoyingly ersatz Raymond Chandler-eque "tough guy" speak.
Worse than the unnecessariness of Zeb's story, though, is the sheer sloppiness of its plotting. At one point, for instance, Zeb is assigned the important task of smuggling some dangerous new bio-engineered pills out of the HelthWyzer West compound where he has been working. The description of this goes on for pages and pages: the precautions Zeb takes when leaving the compound; the precautions taken hiding them at his new place of employ; how careful they are not to reveal the hiding place. Then, on a whim, he uses half of the pills in an act of revenge, and mayhem ensues. Following this, the person who asked him to smuggle the pills in the first place, Pilar, decides it might just be a good idea to find out what's actually in them. But then that plan to analyze the pills is casually abandoned, and the mysterious pills are simply retained by Pilar. And then, equally casually, after some years, they are sent to the young Crake as a legacy after Pilar's demise. And then Crake (it is presumed) uses them as the basis for his own BlyssPlus pills that destroy humanity.
Huh?
What a muddle. All these cloak-and-dagger peregrinations and machinations...but then Crake gets the keys to destroying humanity almost as an afterthought? Or did the saintly Pilar of YOTF actually intend that he use them in precisely that way? Atwood's intentions here are entirely opaque. It's especially frustrating, as the long-hinted-at connection between the God's Gardeners and Crake otherwise never comes to full fruition. Likewise, Zeb and Adam have to live in hiding for years and years, but then end up living together openly in the same community using their real names? It hardly makes any sense.
In all, MaddAddam reads like a first draft that nobody dared question or revise--an improvisation in which loose ends, instead of being tied up, are multiplied exponentially.
Also, as a scant handful of insightful reviewers here have pointed out, the characters of Toby, Ren, Amanda, and Snowman (irritatingly referred to here mostly as "Snowman-the-Jimmy") bear only a passing resemblance to the major characters of the same name in the earlier novels. Tough, self-reliant Toby of YOTF has become a simpering and pathetically insecure helpmate to Zeb--forever girlishly worried that he's eyeing one of the younger surviving women. Ren is a virtual non-entity, relegated to one or two unmemorable lines every 50 pages or so. And Snowman spends most of the book in a coma...and when he finally wakes up, he's without a scintilla of the self-awareness or irony that animated the narrative voice of Oryx & Crake. The "continuity" failure in relation to the previous novels is almost complete. And the brief reappearance of Adam as a hostage at the end of novel proves to be pointless as well as being utterly beyond belief.
Being Atwood, the novel is, of course, not 100% bad. There's a good deal of wit in Toby's attempts to render Zeb's stories about his life into a form the innocent Crakers can comprehend and use as the basis for a newly-minted bible / creation myth of their own. And some of the details about day-to-day life in a post-Apocalyptic world are cleverly worked out.
On the whole, however, this is a very sorry misstep from an author I've previously admired very much. I rather wish I hadn't read it and had spared myself this saccharine and third-rate chaser to the enjoyable Oryx & Crake and Year of the Flood.
40 of 43 people found the following review helpful.
Atwood's Dystopian Trilogy Reaches A Tidy Conclusion: Gentler And More Amusing Than Its Predecessors
By K. Harris
I think it's fair to say that I am a huge fan of the works of Margaret Atwood. In fact, "The Year of the Flood" was my personal choice as Best Book of 2009. So I have been eagerly awaiting the arrival of "MaddAddam," the concluding chapter of the MaddAddam trilogy. With her previous efforts, the aforementioned "Flood" and its predecessor "Oryx and Crake," the brilliant Atwood set her sights on a dystopian future that was alternately savage and satirical. The fact that Atwood's bleak vision seemed both far off and eerily plausible was a testament to her extraordinary storytelling ability. She so expertly straddled the line between science fiction and social commentary, it was almost impossible not to admire the complexities and challenges she had to offer in her unquestionably unique voice.
While "Oryx and Crake" and "The Year of the Flood" had some overlap, each was a relatively independent novel from a character standpoint. Of course, the principle plot points driving the narrative were common to both books (but seen from a different vantage point), but either could be enjoyed separately. I've often thought of them more as companion pieces as opposed to one being the sequel to another. Not so, however, for "MaddAddam." Bringing together the characters from the prior novels, I would not necessarily recommend it as a stand alone read. At the beginning of "MaddAddam," Atwood wisely includes a recap of the story so far. Wow! While certainly a helpful refresher, I can't imagine a newbie tackling these dense few pages and making much sense of them. Each book is whittled away to about a page and half of recap which will surely scare away the uninitiated!
Although the cast is filled with familiar personalities, some of your favorite characters might have been relegated to smaller roles (Ren, for example). Toby (The Year of The Flood) remains central to everything, Jimmy (Oryx and Crake) plays a key role, and Zeb's story becomes the central narrative that drives this piece. In fact, more than anything, "MaddAddam" seems concerned with story telling. The book is structured in snippets of actual history interspersed with communicated interpretations of actual events. A group of engineered Crakers have joined the group. Gentle and very literal by nature, they struggle to understand the complexities of the world and their place in it. First through stories and then through writing, Toby (always the record keeper) helps them to make sense of the history of this new world. Balancing the horrors of the past with the hope for the future, "MaddAddam" is all about how the survivors will now make peace with their new circumstances.
In tone, the book is much gentler than its predecessors. And while I appreciate what Atwood was attempting, the novel felt a lot less urgent and spellbinding. Where I puzzled over the mysteries of "Oryx and Crake" and was riveted by the harrowing circumstances of "The Year of the Flood," my primary reaction to "MaddAddam" was one of amusement. I was entertained and usually had a smile on my face. It's an engaging read, sure enough, but somehow less compelling (at least to me). In essence, history is writing itself in these chapters to be passed down to future generations. While there is danger, death, and ultimate truths revealed--most of these are shared second hand. Everything is viewed through a gauzy filter and the dramatic consequences don't have the emotional resonance that I felt in the other books. Still, as a lover of this tale, this is still required reading. It pulls a lot of things together and gives the trilogy true closure. Ultimately, I liked "MaddAddam" as opposed to loving it. Four years after reading "The Year of the Flood," the experience is still emblazoned in my memory. For my personal taste, I don't see this one having the same enduring appeal. KGHarris, 8/13.
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