Finding Grace, finding ourselves in Mary Harron's Alias Grace.

This article examines Mary Harron's 2017 six-part miniseries adaptation of Margaret Atwood's 1996 novel *Alias Grace*, focusing on how both works engage with the historical ambiguities surrounding Grace Marks, a 19th-century Canadian servant convicted as an accessory to murder. Drawing on Gina Wisker’s identification of two main scholarly approaches—historical contextualization of women’s representation and the problematization of historical truth—the analysis highlights how Harron's adaptation not only reflects these themes but also implicates viewers in their own interpretative biases. Using Caroline Levine’s theory of form and hierarchy, the article argues that the miniseries deliberately unsettles definitive judgments about Marks’s guilt or innocence, emphasizing the complexities of her character and the limitations of historical records. Ultimately, the adaptation serves as a meditation on the nature of storytelling, truth, and the viewer’s role in constructing meaning from incomplete histories.