Margaret Atwood, whose work has been published in more than forty-five countries, is the author of over fifty books, including fiction, poetry, critical essays, and graphic novels. In addition to The Handmaid's Tale, now an award-winning television series, her works include Cat's Eye, short-listed for the 1989 Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; The Blind Assassin, winner of the 2000 Booker Prize; The MaddAddam Trilogy; The Heart Goes Last; Hag-Seed; The Testaments, which won the Booker Prize and was long-listed for the Giller Prize; and the poetry collection Dearly. She is the recipient of numerous awards, including the Peace Prize of the German Book Trade, the Franz Kafka International Literary Prize, the PEN Center USA Lifetime Achievement Award, and the Los Angeles Times Innovator's Award. In 2019 she was made a member of the Order of the Companions of Honour in Great Britain for her services to literature. She lives in Toronto.
"Intimate and immediate." -- Publishers Weekly"The vein of grieving that moves through this book like a dark tracer runs purest in a series of elegiac poems about the death of the poet's father." -- Tom Clark, San Francisco Chronicle"Atwood's savage, back-talking monologues have become her trademark...Her range is darkened and deepened with a series of elegiac poems about her dying father, and she, the speaker, the daughter, faces the inevitable fall into the future from which her wit and magic can't save her. We know Atwood is a prolific novelist. Remember also her poetic voice." -- Molly Bendall, The Antioch Review
This is Atwood's first poetry collection in a decade, and its publication (her 12th overall) is a reminder that she is as prolific a poet as she is a novelist. As in her fiction, these poems are written with an arched eyebrow toward the foibles of the sexes, but she is at her most barbed when mocking the constraints society imposes on women. In an acerbic series of poems on famous femmes fatales, she empowers her women by lampooning "men and their mournful romanticisms/that can't get the dishes done." Atwood's satiric side is balanced by a darker, almost melancholy lyricism, shadowed by loss and a growing awareness of mortality. One section of the book is devoted to a group of moving poems on the death of her father and how the dead‘"especially those we have loved the most"‘return "from where we have shoved them/from under the ground, from under the water/they clutch at us,/we won't let go." Recommended for contemporary poetry collections and libraries with a strong Atwood following.‘Christine Stenstrom, Brooklyn P.L., N.Y.
"Intimate and immediate." -- Publishers Weekly"The vein of grieving that moves through this book like a dark tracer runs purest in a series of elegiac poems about the death of the poet's father." -- Tom Clark, San Francisco Chronicle"Atwood's savage, back-talking monologues have become her trademark...Her range is darkened and deepened with a series of elegiac poems about her dying father, and she, the speaker, the daughter, faces the inevitable fall into the future from which her wit and magic can't save her. We know Atwood is a prolific novelist. Remember also her poetic voice." -- Molly Bendall, The Antioch Review
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