To begin, “I Dream of Zenia With the Bright Red Teeth” reads at the pace of flash-fiction, although it is a little long to be considered that. It is a bizarre story, but not necessarily fantastic. Zenia incarnated in Ouida is only a theory. As the characters are all older women, it allows for much back story to be mentioned. I think this lends to the character development, which must be done quickly in a story of this length. History between the characters allows Atwood to recall characteristics and instances from a broader span of time; therefore, more opportunities to flesh out a character in a compact space.

The point-of-view is omniscient, and uses rhetorical questions interestingly (158). Perhaps I just have never noticed, but it seems odd to have a rhetorical question in the omniscient third-person – it almost gives the narrator a distinct voice separate from the characters. This is not usually Atwood’s style, as the third-person’s voice usually mimics the main point-of-view character, or even the subject the main POV character is talking about  (204).

As for “The Dead Hand Loves You,” it was hard not to read this story without looking for a connection to the first three stories in this collection. Perhaps that is why the editor placed it further back, as to separate it from the linked stories, but I still couldn’t help but wonder if a familiar name would be dropped. Atwood does a good job of intriguing the reader from the beginning – is this a horror story? Did someone sign a contract with the devil? Who are these three people? It’s the mystery element of the story proper, which includes a mystery story that was written by the POV character. It’s not until over ten pages into the story that the contract is explained and it becomes clear who the three people are. Atwood also implements “asides” often, which I feel like contributes to the development of the POV character’s voice (188).

Looking at these stories through a feminist lens, as we have been loosely doing, both end with the women in charge. For “The Dead Hand Loves You,” the misogyny is clear via descriptions throughout the story. Yet, Jack seems to have a moment of self-realization on page 204. I know this is more plot related, as opposed to craft, but I find this trend in Atwood’s stories interesting.