It’s an inventive, slightly surreal programme of events that – like Atwood – is a bit political, a bit geeky, a bit cerebral and unapologetically big on silly hats. At 8.15pm doors will open to a four-storey Gileadean Glastonbury, featuring guest appearances from actor Romola Garai, activist Caroline Criado-Perez, Guilty Feminist podcaster Deborah Frances-White, plus a discussion of Atwood’s legacy with authors Jeanette Winterson, Elif Shafak, Neil Gaiman and AM Homes. On the evening of 9 September, 400 people will gather outside the doors of Waterstones’ Piccadilly store in London for the midnight release of the sequel to The Handmaid’s Tale, her dystopian novel-turned-feminist touchstone-turned-meme-machine.įans, invited to dress up in the regulation ankle-length cloaks and bonnets worn by the handmaids in Atwood’s fundamentalist republic of Gilead, will snake round the block waiting for what Waterstones is calling a “one-night festival” of, immersive theatre, political speeches and themed cocktails.
T he hoopla around the launch of Margaret Atwood’s The Testaments is more reminiscent of the unveiling of an iPhone or something Pokémon-related than that of a mere book.
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