Original title of the paper: Gender, Feminism, and Marrying the Hangman In Atwood’s Marrying the Hangman the reader finds a tale, based on a true story, in which a woman found guilty of stealing pretty clothes, must then beguile a man, sight unseen, in order to avoid being executed. And while she is written as a victim of patriarchal circumstance, she does, in the end create her own salvation via this beguiled man. Both the antique protagonist, and the poem’s modern “friends” with their “horror stories” all showcase the gender role these women are assigned and expected/allowed to live within, the lack of sisterly bonding between women, and how survival often requires a certain amount of what society might have judged as ‘unfeminine’ selfishness. Gender is a “social class” (Cudd & Anderson 158) constructed by other people’s “cultural responses to the body” (Cudd & Anderson 166) which, in turn, positions that body (and whomever inhabits it) “with