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"The novel is largely unencumbered by the feminist ideology that weighed down such earlier Atwood novels as THE EDIBLE WOMAN and THE HANDMAID'S TALE, and for the most part it is also shorn of those books' satiric social vision. In fact, of all the author's books to date, THE BLIND ASSASSIN is most purely a work of entertainment--an expertly rendered Daphne du Maurieresque tale that showcases Ms. Atwood's narrative powers and her ardent love of the Gothic."

Michiko Kakutani, New York Times, 09/08/2000

"If we apply the old Forsterian standard that round characters are ones 'capable of surprising in a convincing way,' Atwood's new novel, for all its multilayered story-within-a-story-within-a-story construction, must be judged flat as a pancake. In THE BLIND ASSASSIN, overlong and badly written, our first impressions of the dramatis personae prove not so much lasting as total....[T]he two parts of Atwood's big new book feel like separate projects that have been soldered together rather than thematically connected. Worse still, nothing in either part gives a reader much desire to forge connections through inference."

Thomas Mallon, New York Times Book Review, 09/03/2000

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