2688. “Giving Birth.” Mothers and Daughters in the Twentieth Century: A Literary Anthology. Ed. Heather Ingman. Edinburgh: Edinburgh UP, 1999. 253-271. Reprinted from Dancing Girls, ©1977.
2689. “Going to the Wall for Toronto.” Globe and Mail 29 January 2000: A21. The city doesn’t get the respect or the arts funding it deserves, and the case in point is a new home for the Canadian Opera Company. See two letters in response in the Globe and Mail on 31 January 2000: A14.
2690. “Great Aunts.” Wrestling with the Angel: Women Reclaiming Their Lives. Ed. Caterina Edwards and Kay Stewart. Calgary: Red Deer Press. 15-27. Autobiographical.
2691. “Habitation.” Pride and Prejudice and Related Readings. New York: Glencoe/ McGraw-Hill, 2000. 306. Reprinted from Selected Poems 1966-1984, ©1990.
2692. “Hairball.” Bearing Life: Women’s Writings on Childlessness. Ed. Rochelle Rat-ner. New York: The Feminist Press at the City University of New York, 2000. 190-199. Reprinted from Wilderness Tips, ©1991.
2693. “If Our Society Wants to Have Art, Someone Will Have to Cough Up…” Globe and Mail 30 March 2000: A15. Based on a speech by Atwood celebrating the Rogers Communications Writers’ Trust Fiction and Pearson Writers’ Trust Non-Fiction prizes. The speech was originally delivered at a Canadian Club luncheon on Tuesday, 29 March, at Toronto’s Royal York Hotel.
2694. Juegos De Poder = Power Politics. Madrid: Hiperión, 2000. Bilingual edition introduced, with notes, by Pilar Somacarrera Íñigo.
2695. “[Juvenilia].” First Words. Collected and ed. Paul Mandelbaum. Chapel Hill, NC: Algonquin Books, 2000. 3-15. Chapter includes introduction, five short pieces, with commentaries by the editor which reflect on the future appearance of some of Atwood’s juvenile ideas in her mature work. Contains “A Representative” [4], a poem; “Three Cheers for Corona!” [4-6], a short essay arguing for a women’s right to smoke cigars; “1956—and For Ever [6], poem; “The English Lesson” [7-9], short essay; “A Cliché for January” 10-[15], another short story. The latter is accompanied by a two-page photo of parts of Atwood’s original manuscript.
2696. “The Landlady.” A Magical Clockwork: The Art of Writing the Poem. Ed. Susan Ioannou. Toronto: Wordwrights Canada, 2000. 48-49.
2697. Le tueur aveugle. Paris: R. Laffont, 2000. French translation of The Blind Assassin by Michèle Albaret-Maatsch.
2698. “Let’s Not Paint Artists into a Patronage Corner.” Globe and Mail 19 January 2000: A17. Letting the wealthy choose our art does not enrich our culture.
2699. “Lichen and Reindeer Moss on Granite.” [Port Townsend, WA]: Copper Canyon Press; [Seattle, WA]: Elliott Bay Books, 2000. Broadside poem. “Two hundred fifty copies designed and printed by Sam Hamill and Nellie Bridge, September, 2000.”
2700. “Looking Backward 2100-2000.” Globe and Mail 1 January 2000: M4. Short story.
2701. Luna Nueva. Barcelona: Icarus, 2000. Poetry translated into Spanish by Luis Marigómez.
2702. “Modrofúzovo Vajce.” Tichá Hudba: Antológia Ango-Kanadských Poviedok. Bratislava: Branko Gorjup, 2000. 136.
2703. “My Life as a Bat.” In Our Nature: Stories of Wildness. Selected and introduced by Donna Seaman. New York: Dorling Kindersley, 2000. 60-66. Reprinted with permission from Good Bones and Simple Murders, ©1994.
2704. Nightingale. Toronto: Harbourfront Reading Series Chapbook, 2000. Includes three stories: Bottle” (1-4), “It’s Not Easy Being Half-Divine” (5-8), “Nightingale” (9-15). From the colophon: “This book is published in three editions totaling 556 copies. Thirty-one copies are printed on premium paper and are handbound in a quarter calf with cloth sides cover and marbled endpapers. This edition features a limited-edition print by the author. Twenty-six copies of this edition are signed and lettered from A to Z by the author and five are hors de commerce. Seventy-five copies are printed on premium paper and are handbound in full Japanese paper over board cover with marbled endpapers. Thirty-nine of these copies are signed and numbered in Roman numerals (from I to XXXIX) by the author and feature a limited-edition print by the author. Thirty-one copies of the book are signed and numbered in Roman numerals (from XL to LXX) by the author. Five are hors de commerce. Four hundred and fifty copies, of which 150 are signed and numbered by the author and fifty are hors de commerce, are printed on acid-free paper and staple-bound.”
2705. Nimeltään Grace. Helsinki: Otava, 2000. Finnish translation of Alias Grace by Kristiina Drews.
2706. “Notes Towards a Poem That Can Never Be Written.” A Magical Clockwork: The Art of Writing the Poem. Ed. Susan Ioannou. Toronto: Wordwrights Canada, 2000. 98.
2707. “Pinteresque.” Pinter Review: Annual Essays, 2000: 5. Atwood looks at the relationship to the Old Testament in Harold Pinter’s work.
2708. “Reminiscences of Robley Wilson: Editor, North American Review 1968-2000.” North American Review 285.6 (2000): 4-7. Atwood and others remember the editor. Atwood worked with him when she was “just starting my job at St. Lawrence University as an Assistant Professor.”
2709. Second Words: Selected Critical Prose 1960-1982. Toronto: Anansi, 2000. Reprint of 1982 edition.
2710. “[Selections].” Hablar/Falar De Poesia: Revista Hispano/Portuguesa De Poesia 3 (2000): 14. Reprinted from Luna Nueva. Includes “Las Palabras Siguen su Viaje,” “La Luz,” “La Casa Quemada,” “La Taza Blanca,” “Una Piedra.”
2711. “Significant Moments in the Life of My Mother.” Snapshots: 20th Century Mother–Daughter Fiction. Ed. Joyce Carol Oates and Janet Berliner. Boston: Godine, 2000. 24-38. Reprinted from Bluebeard’s Egg, ©1993.
2712. Sokea Surmaaja. Helsinki: Otava, 2000. Finnish translation of The Blind Assassin by Hanna Tarkka.
2713. Survival: A Thematic Guide to Canadian Literature. Toronto: CNIB, 2000. Braille ed., 6 v. of title published in 1972.
2714. Tichá hudba: Antológia anglo-kanadských poviedok. Bratislava: Juga, 2000. 222. Slovak translations of several Atwood short stories by Alojz Keníz and Marián Gazdík.
2715. Tornare a galla. Milan: Baldini & Castoldi, 2000. Italian translation of Surfacing by Fausta Libardi.
2716. “Variation on the Word Sleep.” Americans’ Favorite Poems: The Favorite Poem Project Anthology. Ed. Robert Pinsky and Maggie Dietz. New York: Norton, 2000. 12-13. Reprinted from Selected Poems II: Poems Selected and New 1976-1986, ©1987.
2717. “‘We Have Been Given Up as a Lost Cause.’” Globe and Mail 1 July 2000: A12-A13. Trapped in Quebec City as the English lay siege, Marie Payzant keeps a secret journal for her children. This story, an original work, is part of a series inspired by a pivotal moment in Canadian history.
2718. Wilderness Tips. [Sound recording]. Read by Denica Fairman. Sterling: Dist. by Chivers AudioBooks, 2000. 8-1/4 hours.
2719. “Yo, Ella y Eso.” Borges Múltiple: Cuentos y Ensayos de Cuentistas. Comp. Pablo Brescia y Lauro Zavala. México: Universidad Nacional Autónoma de Mexico, 1999. 29-30. Spanish translation of “Me, She, and It” (which originally appeared in Antaeus 73.74 [1994]: 7) by Alfonso Montelongo.
Adaptations of Atwood’s Works
2720. The Handmaid’s Tale. [Sound recording]. London; Hampton, NH: BBC Worldwide, 2000. The novel dramatized by John Dryden. 2 sound cassettes (3 hours).
2721. RATHBUN, Andrew, composer. True Stories. [Sound recording]. [Barcelona]: Fresh Sound (New Talent), 2000. Compact disc, 1 sound disc. CD includes a testament to two of Atwood’s lesser-known poems, “True Stories” and “Bluejays.” Rathbun, in email conversation with Atwood, claimed “she was pleased with my choices and the subsequent CD.”
2722. RUDERS, Poul, composer. “Tjenerindens Fortælling [Sound recording].” Copenhagen: Dacapo, 2000. Opera based on The Handmaid’s Tale. Librettist, Paul Bent-ley. 2 sound discs in 1 container.
2723. VORES, Andy. “Six Songs on Poems of Margaret Atwood: For Mezzo-Soprano and Piano.” [Musical score]. s.l.: s.n., 2000. score ([v], 49 pp.). Poems include “Circe,” “They Eat Out,” “Siren Song,” “At First,” “Owl
Song,” “Tricks with Mirrors.”
Quotations
2724. “[Quote].” Bath Chronicle 6 March 2000: 19. “Fat women all look the same; they all look 42.”
2725. “[Quote].” Carnal Nation. Ed. Camellia Brooks and Brett Josef Grubisic. Vancouver, BC: Arsenal Pulp Press, 2000. 7. Includes Atwood quote: “The question we must ask is why no Canadian writer has seen fit—or found it imaginable—to produce a Venus in Canada.”
2726. “[Quote].” Daily Mail [London] 22 September 2000: 13. In article on Salman Rushdie, Christopher Hudson quotes Atwood declaring: “We should have a Tomb of the Unknown Writer, killed in the wars of the imagination.”
2727. “[Quote].” Daily Mail [London] 19 October 2000: 26. Atwood quoted in article about women’s sense of humor: “Women are putting off marriage for as long as they can because every wedding has to have a bridegroom.”
2728. “[Quote].” Essays on Canadian Writing 70 (Spring 2000): 252. In article by Robert McGill, “The Sublime Simulacrum: Vancouver in Douglas Coupland’s Geography of Apocalypse,” the author quotes Atwood’s remark on the city in Cat’s Eye: “Vancouver is the suicide capital of the country. You keep going west until you run out. You come to the edge. Then you fall off.”
2729. “[Quote].” The Guardian [Charlottetown, PEI] 9 November 2000: A6. Regarding the Booker Award which she won that year for The Blind Assassin: “It’s a very deep honour and deeply gratifying but I also know having been there that one can not win the Booker and survive it and that life can go on.”
2730. “[Quote].” National Post 15 December 2000: A20. When Atwood entered the front door of Chapters Books in Toronto for a book signing, Chris O’Keefe, a 20-year-old employee, mistook her for a customer. “I asked her if she was here for the book-signing,” said Mr. O’Keefe. “And she dead-panned, ‘I am the book-signing.’”
2731. “[Quote].” Ottawa Citizen 13 June 2000: A15. In letter arguing for support of culture, Shirley Thomson, Director of the Canada Council for the Arts, quotes At-wood: “The taxpayers’ investment in me through this tiny $7,000 grant (in 1969) is probably the best investment they ever made. If I’d been a penny stock, I’d be written up in every financial journal on the planet.”
2732. “[Quote].” Ottawa Citizen 9 September 2000: A16. Atwood, speaking at anti-free-trade rally in 1988, referred to Prime Minister Brian Mulroney: “He’s the kid known as Brian, a name we know that’s ‘brain’ with the letters scrambled.” Article also quotes her from an earlier appearance before the Standing Committee on External Affairs and International Trade: “Canada as a separate but dominated country has done about as well under the US as women worldwide have done under men. About the only position they have ever adapted towards us, country to country, has been the missionary position, and we were not on top.”
2733. “[Quote].” Saturday Night 115.4 (20 May 2000): 63-70. Article on Canadian designers quotes Atwood: “Not surprisingly in a country with such a high ratio of trees, lakes and rocks to people, images from Nature are almost everywhere. Added up, they depict a Nature that is often dead and unanswering or actively hostile to man; or, seen in its gentler spring and summer aspects, unreal.” From Survival, ©1972.
2734. “[Quote].” Toronto Life 34.1 (January 2000): 55-61. Article on Toronto Dollars quotes Atwood, who spoke at a benefit for this charity on 4 June 1999: “We have all been brainwashed into believing that there is only one kind of money—one kind of wealth—and only one measure of human worth—how much money you have—and one kind of exchange—buying and selling. And only one motive to do so—the Siamese twins of consumer greed and the profit motive.”
2735. “[Quote].” Toronto Star 22 April 2000: 1. Atwood quoted from a recent magazine article in which she told a joke about writers: “The devil appears to a writer and offers to make him a best-selling author and Nobel Prize laureate—he’ll be critically acclaimed, world-famous and rich. Of course, he’ll have to pay the price: ‘There’s your soul, of course,’ the devil says. ‘And then, let’s see, I’ll want your wife, your first-born child, your mother, your grandmother….’ The writer grabs a pen and is about to sign on the dotted line when he pulls up short with a suspicious glint in his eye. ‘Okay,’ he says, ‘what’s the catch?’”
2736. “[Quote].” Toronto Star 5 November 2000: Section: Entertainment. Atwood on Booker: “An exercise in human sacrifice. The morning after the dinner, the winner gets massacred in the press for being unworthy, and the jurors get massacred for having made the wrong decision.”
2737. “[Quote].” Vancouver Sun 8 April 2000: E7. In promo for National Poetry Month: “Poetry is the innermost core of language. It’s where words are honed and re-forged. That’s why it’s sharp and hot.”
2738. “[Quotes].” John Robert Colombo’s Famous Lasting Words. By John Robert Colombo. Vancouver, BC: Douglas & McIntyre, 2000. Atwood quoted 25 times.
Interviews
2739. “Light & Dark Margaret: Margaret Atwood Can Be, Um, Moody on the Road.” Ottawa Citizen 29 October 2000: C16. Excerpts from Atwood’s interviews with Mary McNamara (Los Angeles Times), Linda Matchan (Boston Globe), Susan Flockhart (Sunday Herald), Dan Cryer (Newsday), John Marshall (Seattle Post Intelligencer), and Jackie McGlone (Scotland on Sunday).
2740. “Literary Pulp.” Inside Borders (September 2000): 8-9. Atwood interviewed about The Blind Assassin for the US bookstore’s magazine.
2741. Margaret Atwood. [Videorecording]. Princeton, NJ: Films for the Humanities & Sciences, 2000. VHS tape, 1 videocassette (52 min.). In this interview, Atwood discusses topics such as how she became a writer and how the women’s movement, World War II, and her home city of Toronto have influenced her writing. Excerpts from The Robber Bride—her recasting of the Grimms’s tale “The Robber Bridegroom”—and Cat’s Eye are read by actress Nadia Cameron.
2742. “Margaret Atwood Talks about Her Newest Novel.” Canada AM (5 September 2000). Available from Lexis-Nexis. An interview with Valerie Pringle in which Atwood comments not only about the Blind Assassin but also upon the two biographies written about her, only one of whose titles she can remember. “I don’t think you should write biographies of people who aren’t dead. And it is my view that I am not dead.”
2743. “Writer Margaret Atwood Talks about Her New Book.” Show: The National Magazine 4 September 2000. Available from Lexis-Nexis. A feature interview with Carol Off;
2744. ABLEY, Mark. “Dire Things: Margaret Atwood.” Dream Elevators: Interviews with Canadian Poets. Ed. Beverley Daurio. [Toronto]: Mercury Press, 2000. 9-26. Reprint of interview which appeared in Poetry Canada Review 15.2 (June 1995): 1, 3+.
2745. BATTERSBY, Eileen. “Unbuttoning Atwood.” Irish Times 3 October 2000: Section: Arts: 11.
2746. BEMROSE, John. “Margaret’s Museum.” Maclean’s 113.37 (2000): 54. Atwood on the writing of The Blind Assassin as well as on surviving book tours. Because the Canadian, American, British, Dutch, and German editions of the book came out simultaneously, Atwood talks about plans to do a Canadian tour, followed by an American one, and then a long stint in Europe.
2747. BIGSBY, Christopher. Writers in Conversation. Vol. 1. Norwich [UK]: Arthur Miller Centre for American Studies, 2000. See “In Conversation with Margaret Atwood,” [45]-55. A nice overview of her career.
2748. CROOK, Barbara. “Atwood Shrugged.” Homemaker’s Magazine September 2000: 27-28.
2749. FICHTNER, Margaria. “Margaret Atwood: Cultivating the Wolves in Her Gothic Vision.” Miami Herald 9 November 2000: Section: Entertainment News. Available from Lexis-Nexis. On The Blind Assassin. Reprinted in the Milwaukee Journal Sentinel 12 November 2000: Section: Cue: O6E under title “Margaret Atwood Calls Out the Wolves.”
2750. FLOCKHART, Susan. “The Character Assassin: Margaret Atwood Tells Susan Flockhart That She Has the Right to Dislike Some People but Still Manages to Be a Gentle-Voiced Charmer.” Sunday Herald [Scotland] 8 October 2000: 3. Why does Atwood dwell so excruciatingly on pain? “Let me tell you a story,” she r
eplies. “Yesterday, I had a wonderful breakfast, went for a beautiful walk in the sunshine, had an excellent lunch with my best friends. Now at what point in that story did your attention begin to wander? Pretty soon, I guess. Nobody would read a novel composed of nothing but wonderful experiences.”
2751. FORTNEY, Valerie. “For the Love of the Game—Atwood the Tease: The Booker Prize Winner Is as Animated as the Characters in Her Novels, and Seems to Revel in Her Role of National Literary Icon.” Edmonton Journal 12 November 2000: E13. Atwood on men: “I’m quite fond of men so long as they have a sense of humour. If they don’t have a sense of humour, they’re really just…they can be so difficult. I would say it’s the guys without the sense of humour who do all this wife murdering.”
2752. FRASER, John. “An Atwood Concordance: The Novelist as Ringmaster, Mentor and Reluctant Garage Sale Participant.” National Post 26 August 2000: B1. The Master of Massey College profiles a Senior Fellow based on current and past interviews with her.
2753. FREEMAN, Alan. “Belle of the Booker.” Globe and Mail 9 November 2000: Section: Globe Review: R1. Though thrilled to score the coveted Booker, Atwood says that nothing beats winning on her home turf.
2754. GERARD, Jasper. “The First Lady of Letters Is Smiling at Last.” Sunday Times [London] 12 November 2000: Section: Features. Interviewer didn’t like The Blind Assassin but would “cheerfully have given her the Booker on personality alone.” One earlier interviewer asked Atwood if she were good at housework. Her response: “Check under the sofa.” Another demanded to know if she liked men, and also if she were attractive to them. This is said to have elicited the response: “Are you attractive to women? You certainly aren’t to me.” Interview reprinted in the Ottawa Citizen 13 November 2000: A7.
2755. GESSELL, Paul. “I May Never Write Again.” Ottawa Citizen 25 August 2000: E1. Atwood refuses to have a scripted, predictable life, and won’t say what gives her a thrill. “You never know until they arrive. I saw my first grizzly bear last summer. That was a thrill. Luckily, it was going the other way.” Atwood acknowledges earlier plans for an opera based on the life of Pauline Johnson have fallen through because “she’s not mean enough for an opera.”
Margaret Atwood Page 43
