Margaret Atwood knows a thing or two million about the dystopian novel. Atwood’s latest, The Heart Goes Last (Nan A. Talese/Doubleday; 320 pages), begins familiarly: in the midst of a dire economic and social depression, a young couple chooses between freedom and chaos or comfort and constraint. As The Heart Goes Last develops, though, the form evolves from sociological study to fable. People and places turn out to not be what they seem, offering complexity but also dream-like distortions. Stan and Charmaine, the couple at the center, discover that the pressure for them to choose between good and bad, right […]