When Nobel nomination season hits, I always raise Atwood’s name; to me, she is one of the most talented female writers working today. With that said, I think that most of her more poetic, political, and engaging novels are rooted firmly in the past: her recent work is a smorgasbord with some hits—like the wonderfully unique The Penelopiad which still showcased her trademark humor and incisive wit—and some misses like the dystopian Oryx and Crake.I would hate to divide Atwood’s output into “literary fiction” and “speculative fiction,” and more than that, I would hate to pit these genres against one another. Atwood can do dystopian fiction very well as The Handmaid’s Tale demonstrates rather profoundly even to this day. But her recent turn toward dystopian fiction loses the gallows humor, the engagement with issues of gender and sexuality, and the poetic inventiveness of her other work. Instead of using poetry to convey loss and grief as in Surfacing, Atwood’s linguistic turn in the newer dystopian fiction tends to be more toward inventing catchy phrases for consumer goods, characters, or grids on a map than the brutally powerful knack she had for mixing poetic and fictional prose in other work, such as Cat’s Eye.I’m Starved for You berates the community of Consilience/Positron for being gimmicky and playing into anxieties and paranoias, but this entire book—in all its short 60 pages—feels like a part of that gimmick. The text is fractured and verbose more on the underlying social chaos that caused Consilience to become a marketable community for the future than on the psychological states of the characters themselves. In other work, Atwood uses her characters fragmented and chaotic states of mind to critique society; here, when this would serve her well, her focus is instead on the machinations of daily life in Consilience and/or Positron, making this novella very superficial and hardly worth the read.I will continue to read Atwood’s books as she publishes them; having long been a fan of her work, I still cling to the hope that she will produce another gem like The Blind Assassin. While all of her work undoubtedly maintains a dialogue with current social, cultural, and political issues with which we are all dealing in today’s world, it does so lately only with a very clinical eye, forgetting the depths she explored so realistically and horrifyingly in the past.