3179. “Quick. Name 10 Prominent Canadians Who Are Against Kyoto ... (…You Can’t, Can You? Nobody Can).” Globe and Mail 7 November 2002: s.p. Also available as .pdf file http://www.caw.ca/campaigns&issues/ongoingcampaigns/pdf/Sierra_ad.pdf. Atwood is one of about 100 well-known Canadians to sign this open letter in favor of the Kyoto agreement.
3180. “Rereadings: Death and the Maiden.” The Guardian (London) 26 October 2002: 36. An edited extract of Atwood’s Introduction to Hjalmar Soderberg’s Doktor Glas published by Harvil Press.
3181. The Robber Bride. [Electronic resource]. Toronto: CNIB, 2002. 5 computer laser optical discs (20 hr., 56 min.).
3182. Rüs faribkar. Tehran [Iran]: Ququnüs, 2002. Persian translation of The Robber Bride by Shahin Asayash.
3183. Selected poems 1966-1984. [Sound recording]. Winnipeg: CNIB, 2002. 7 sound cassettes (7 h). Based on 1990 edition.
3184. Shi nu de gu shi = The Handmaid’s Tale. Taipei: Ten Points, 2002. Chinese translation by Xiaowei Chen. Title in Chinese and English; text in Chinese only. Title romanized.
3185. “Silence Is Not the Answer.” Globe and Mail 17 December 2002: A21. Atwood, along with more than 100 others, calls for tolerance at Canadian universities in the midst of bitter tensions between Palestinians and Jews, which have particularly affected Jews.
3186. Slepy zabojca. Poznan: Zysk i S-ka, 2002. Polish translation of The Blind Assassin by Małgorzata Hesko-Kołodzinska.
3187. Surfacing. [Sound recording]. Read by Karen DeVito. Vancouver, BC: Crane Resource Centre, 2002. 5 sound cassettes. Based on 1994 New Canadian Library edition.
3188. “Taking Everyman by the Hand; Noticing the Impact of Impacts.” Chronicle of Higher Education 48.23 (15 February 2002): B6. Atwood reflects on some university reading.
3189. “A Tasty Slice of Pi and Ships.” Sunday Times (London) 5 May 2002: Section: Features. Review of Yann Martel’s Life of Pi. (858 w).
3190. Telesna Povreda. Belgrade: Filip Viðnjic, 2002. Serbian translation of Bodily Harm by David Albahari.
3191. “They Eat Out.” Off the Wall. Ed. Niall MacMonagle. Dublin: Marino, 2002. 132-133. Poem.
3192. “Three Chronicles.” Ms. 12.3 (Summer 2002): 30-34. Short story.
3193. “Tiff: A Tribute.” Globe and Mail 22 June 2002: R1, R11. From a speech by At-wood at a tribute evening to Timothy Findley at the International Authors’ Festival in Toronto, October 2001.
3194. “Tiff and the Animals.” Brick: A Literary Journal 70 (Winter 2002): [157]-159. In the piece Atwood discusses Timothy Findley’s relationship with Beatrix Potter’s The Tale of Peter Rabbit on the occasion of the Timothy Findley Memorial Evening, Convocation Hall, University of Toronto, 29 September 2002. Title in the table of contents of this journal: “A Tribute to Timothy Findley.”
3195. “Tishomingo Blues.” New York Review of Books 49.9 (23 May 2002): 21-23. Review of Elmore Leonard’s 37th novel.
3196. “Variation on the Word Sleep.” Poetry in Motion from Coast to Coast: One Hundred and Twenty Poems from the Subways and Buses. Ed. Elise Paschen and Brian Fletcher Lauer. New York; London: Norton, 2002. 140. An excerpt from this poem (the last 4 lines). Reprinted from Selected Poems II: Poems Selected and New 1976-1986, ©1987.
3197. “Who Do You Think You Are?” Globe and Mail 2 Mar. 2002: D8-D9, D12. Excerpt from Negotiating with the Dead.
3198. “The Wrong Box: Matt Cohen, Fabulism and Critical Taxonomy.” Uncommon Ground: A Celebration of Matt Cohen. Ed. Graeme Gibson et al. Toronto: Alfred A. Knopf Canada, 2002. 66-82.
3199. Yami no satsujin gemu: Tanpen shosetsu to sanbunshi = Murder in the Dark: Short Fictions and Prose Poems. Tokyo: Hokuseidō Shoten, 2002. Japanese translation by Keiko Nakajima. Title romanized.
3200. “You Begin.” Gifts: Poems for Parents. Ed. Rhea Tregebov. Toronto: Sumach Press, 2002. 27-28. Reprinted from Two Headed Poems (Toronto: Oxford UP, 1978).
3201. “You Fit into Me.” To Hell with Love: Poems to Mend a Broken Heart. Ed. Mary D. Esselman and Elizabeth Ash Vélez. New York: Warner, 2002. 9.
Adaptations of Atwood’s Works
3202. The Atwood Stories. [Videorecording]. Kelowna, BC: Shaftesbury Films, 2002. A dramatic anthology of stories based on Atwood’s short stories. The series pairs award-winning writers and directors in the exploration of themes contained in At-wood’s work. Each title is available on a single tape. Titles include: “Polarities,” “Man from Mars,” “Betty,” “Death by Landscape,” “Isis in Darkness,” “The Sunrise,” Originally broadcast on the W Network.
3203. The Handmaid’s Tale. Santa Monica: MGM Home Entertainment, 2002. Video-cassette (109 min.). Originally released as motion picture in 1990.
3204. CARLEY, Dave. The Edible Woman. Winnipeg: Scirocco Drama, 2002. Play based on the novel.
3205. PENNYCOOK, Bruce. Selected Compositions. [Sound recording]. Lakeway, TX: Penntech Records, 2002. Compact disc, 1 sound disc. Includes adaptation of At-wood’s poem “Speeches for Dr. Frankenstein.”
Quotations
3206. “[[Mis]Quote].” Catholic New Times 28 (10 October 2002): 2. “Powerlessness and silence go together. We should use our privileged positions not as a shelter from the world’s reality, but as a platform from which to speak. A voice is a gift. It should be cherished and used.” From an address to Amnesty International in Second Words: Selected Critical Prose (Toronto: Anansi, 1982): 396, which is quite different from this version. The original reads: “We in this country should use our privileged position not as a shelter from the world’s realities but as a platform from which to speak. Many are denied their voices; we are not. A voice is a gift; it should be cherished and used, to fully utter human speech if possible. Powerless-ness and silence go together; one of the first efforts made in any totalitarian takeover is to suppress the writers, the singers, the journalists, those who are the collective voice. Get rid of the union leaders and pervert the legal system and what you are left with is a reign of terror.”
3207. “[Quote].” Canadian Speeches 16.2 (May-June 2002): 56-60. Ballerina Karen Kain quotes Atwood, who once said of Canada: “You really have to choose this country, because it’s so easy to leave.”
3208. “[Quote].” Charlottetown Guardian 11 May 2002: C1. Article by Sandra Devlin on motherhood, quotes Atwood: “Who gives birth? And to whom is it given? Certainly it doesn’t feel like giving, which implies a flow, a gentle handing over, no coercion….Maybe the phrase was made by someone viewing the result only.”
3209. “[Quote].” Evening Standard (London) 9 April 2002: 18. “Wanting to meet an author because you like his work is like wanting to meet a duck because you like pâté.”
3210. “[Quote].” Hill Times (Ottawa) 28 January 2002: s.p. Available from Lexis-Nexis. Article on Canadian Senate by Bill Curry quotes Atwood, who once called the Senate “a feather bed for fallen Liberals.”
3211. “[Quote].” Korea Herald 8 March 2002: s.p. Available from Lexis-Nexis. “An eye for an eye only leads to more blindness.”
3212. “[Quote].” Melus (Los Angeles) 27.4 (Winter 2002): 137-154. In an interview with poet Luz Maria Umpierre, author quotes Atwood on food: “Eating is our earliest metaphor, preceding our consciousness of gender difference, race, nationalism and language” and then asks for comment. Maria DiFrancesco, “Poetic Dissonance: An Interview with Luz Maria Umpierre.”
3213. “[Quote].” The National (CBC) 25 January 2002. Available from Lexis-Nexis. A CBC news broadcast quotes Atwood, among others, discussing Peter Gzowski’s significance on the occasion of his death: “I think he opened up a lot of Canada to the rest of Canada because our problem has always been that we are a very large country geographically and very spread out.”
3214. “[Quote].” Ottawa Citizen 21 April 2002: C6. Atwood on Carol Shields: “Because she’s a comic writer and genuinely funny, early on, she was put in the ‘sweet’ box, where she does not belong….The fact is, there’s a dark thread in everything she writes.” From article on Shields by Maria Russo.
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5. “[Quote].” The Times (London) 25 September 2002: Section: Features: 23. “If the national mental illness of the United States is megalomania, then that of Canada is paranoid schizophrenia.” Atwood quoted in connection with commentary about Canadians short-listed for Booker.
Interviews
3216. “Looking Back at the Life of Peter Gzowski.” The National (CBC) 24 January 2002: s.p. Available from Lexis-Nexis. On occasion of Gzowski’s death, CBC replayed a number of the interviews he conducted as a CBC host, including one with Atwood in the late 1970s or early ’80s. “GZOWSKI: Do you think you frighten people? Do you ever get that sense? ATWOOD: Oh, yeah, sure, I frighten people. G: Have you any idea why? A: I’ll frighten them less as I get older. G: Why? A: People are more frightened of young women who do things than they are of old women who do things. Don’t ask me why. It’s not my problem.”
3217. Margaret Atwood. [Videorecording]. Princeton: Films for the Humanities & Sciences, 2002. 1 videodisc (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 and Cat’s Eye are read by actress Nadia Cameron. Originally broadcast in 1993 as an episode of the television program The South Bank Show.
3218. BROWN, DeNeen L. “Split Personality: In Margaret Atwood Reside Both the ‘Ordinary’ Person and the Extraordinary Writer.” Washington Post 6 April 2002: C01.
3219. DONNELLY, Pat. “Atwood to Appear at Salon du Livre: Guest of Honour—Lady of Letters Has Proven Popular in Translation.” Montreal Gazette 9 November 2002: H1. Interview prior to her visit. Atwood was the only English-language author in the Salon’s 9-member “invités d’honneur” list. She contrasted the Salon to the Frankfurt Book Fair: “Everybody always says they hate Frankfurt and they always go. I think the main thing is getting through it.” Vitamins help, she added. “I always got through it (Frankfurt) because I took massive doses of Vitamin C.” Any such event is not “fun.” “It’s like saying to an actor, ‘Is it fun?’ No. Actually, it’s my job. I suppose if it wasn’t fun in some way, I wouldn’t do it. But the criteria isn’t, are you going to have fun? The criteria is, are you going to get there on time?”
In the interview, Atwood announced she will be contributing to a volume prepared by a colleague in England on authors’ accounts of their most humiliating experiences in public and that her new novel (Oryx and Crake) was just finished and would appear the following April.
Atwood also commented on being translated. She has had the same French (from France) translator, Michèle Albaret-Maatsch, for her last two books. “It has been very difficult because Alias Grace had a lot of archaic words and Blind Assassin had this bizarre, newspaper style. You had to get the equivalent in French. So it really requires a mastery. It’s not literal, word by word. She’s wonderful. We confer a lot and work on it to get the right thing.”
Does she feel alienated from her work when she reads it in French? “No. I feel that I have several different personalities and that’s one of them.” Atwood’s books have been translated into about 35 languages. With other languages, she’s not as hands-on. “I’d like to say I was, but, you know, Serbo-Croatian, I don’t have a handle on.” In those circumstances, “You just have to trust the publisher. There’s nothing else you can do. And you never know.”
3220. DUNN, Sharon. “The Great Ones Are Always Unflappable: Margaret Atwood Discusses Canada’s ‘Strange’ Literary Past.” National Post 21 October 2002: AL2. Dunn catches up with Atwood and partner Graeme Gibson at the Art Gallery of Ontario during the opening of the Gauguin to Matisse Exhibition. The interview focuses on Ground Works, a collection of experimental fiction written between 1965 and 1985 and edited by Christian Bök. Atwood wrote the introduction.
3221. GEORGE, Lianne. “Roughing It in the Bush League: With Ground Works, a New Anthology of Avant-Garde Canadian Writing, Margaret Atwood Wanted to Remind Readers of the Pioneering Work Created Before There Was Such a Thing as CanLit.” National Post 7 October 2002: AL3. Atwood reflects on what it was like to write before the age of big literary prizes and huge book sales. Atwood interviewed at book launch held at The Mockingbird on King Street West in Toronto.
3222. GZOWSKI, Peter. A Celebration of Peter Gzowski. [Sound recording]. [Toronto]: CBC Audio, 2002. Compact disc, 2 sound discs (ca. 2 hr.). Collection of interviews from Peter Gzowski’s radio programs and excerpts from tributes to him broadcast after his death. Participants: Peter Gzowski; others include Atwood, along with Shelagh Rogers, Margaret Visser, Joe Ghiz, Stuart McLean, John Diefenbaker, Jean Chretien, Pierre Trudeau, Natalie McMaster, Dan Aykroyd, Sylvia Tyson, Rick Mercer, Wayne Gretzky, W. O. Mitchell, and Robertson Da-vies.
3223. HEER, Jeet. “Literary Gathering Intended to Be a Celebration of Carol Shields: Atwood, Ondaatje and Urquhart among Speakers at Tonight’s Event.” National Post 2 April 2002: B6. Atwood interviewed in connection with an event celebrating Carol Shields. Commenting about the dark thread in Shields’s work, Atwood notes that it is frequently missed although “obviously not [by] moi.” Ultimately, Atwood believes, Shields is not taken seriously “because she’s cute, short and a blond. If she were tall, brunette with a pointy nose, nobody would have missed it. I’m a blend. I’m short, dark with a pointy nose, so I can swing either way.”
3224. JACOB, Didier. “Margaret et les extraterrestres: Elle publie Le Tueur aveugle.” Le Nouvel Observateur 1953 (11 April 2002): 66. Interview (in French) with Atwood who talks about her childhood and her book The Blind Assassin.
3225. MARTIN, Sandra. “When a Good Idea Goes Bad.” Globe and Mail 29 June 2002: R9. Short piece, part of a series of other pieces, in which writers such as Atwood are interviewed about on “roads not taken.” In the article, Atwood reflects on the origins of The Blind Assassin and Alias Grace.
3226. O’DOWD, Nora. “Margaret Atwood: A Writer on Writing.” Newshouse News Service 12 April 2002: Entertainment. Atwood’s reflections on writing, sparked by appearance of Negotiating with the Dead. Atwood notes she is “at work on a new book” and she expects it to be published “in about a year.”
3227. POLANYI, Margaret. “Atwood on Atwood: One of Canada’s Most Famous Authors Talks about Her Upbringing, Celebrity and Fears as a Writer.” Reader’s Digest (Canadian edition) (April 2002): 58-67.
3228. REHM, Diane. [Margaret] Atwood The Handmaid’s Tale. [Sound recording]. Washington, DC: WAMU, American University, 2002. Cassette tape, 1 sound cassette (ca. 60 min.). Interview with Atwood originally broadcast 18 January 2002.
3229. ______. Margaret Atwood Negotiating with the Dead. [Sound recording]. Washington, DC: WAMU, American University, 2002. Cassette tape, 1 sound cassette (ca. 60 min.). Interview with Atwood originally broadcast 9 April 2002.
3230. REYNOLDS, Margaret. “Interview with Margaret Atwood.” Margaret Atwood: The Essential Guide: The Handmaid’s Tale, Bluebeard’s Egg, The Blind Assassin. By Margaret Reynolds and Jonathan Noakes. London: Vintage, 2002. 11-25. Originally conducted at the Hay-on-Wye Book Festival, 26 May 2001.
3231. SACUTA, Norm. “The Messenger Never Arrives.” Where the Words Come Reprinted from Canadian Poets in Conversation. Ed. Tim Bowling. Roberts Creek, BC: Nightwood Editions. 2002. 213-224.
Scholarly Resources
3232. BARRY, Peter. “Contemporary Poetry and Ekphrasis.” Cambridge Quarterly 31.2 (2002): 155-165. Extensive discussion of Atwood’s poem, “This Is a Photograph of Me.”
3233. BENNETT, Donna. “Nation and Its Discontents: Atwood’s Survival and After.” Canadística Canaria (1991-2000): Ensayos Literarios Anglocanadienses. Ed. Juan Ignacio Oliva et al. La Laguna, Spain: Universidad de La Laguna, 2002. 13-29.
3234. BERARD, Nicole Julia. “Wandering Women: The Emergence of the Picaresque in Postmodern, Feminist Canadian Literature (Margaret Atwood, Susan Swan, Aritha Van Herk).” MA thesis. Acadia University, 2002. 115 pp. Also available on microfiche from Canadian Theses Service (2002). �
�The picaresque genre developed as a result of class disparity in Spain during the sixteenth century. Successive generations of authors have adapted the defining characteristics of the picaresque genre in order to subvert the social structures most pressing during their eras and the latest generation of authors to take up the tenets of the picaresque are postmodern feminist Canadian authors writing in the late twentieth century. Margaret At-wood’s Lady Oracle and The Robber Bride, Susan Swan’s The Biggest Modern Woman of the World and Aritha van Herk’s No Fixed Address: An Amorous Journey are all examples of this new transformation of the picaresque tradition.” (Author). For more see MAI 41.02 (April 2003): 385.
3235. BETTS, Lenore. “Puffball and The Handmaid’s Tale: The Influence of Pregnancy on the Construction of Female Identity.” MA thesis. University of Stellenbosch, 2002. 84 pp. Puffball was written by Fay Weldon.
3236. BIRDEN, Lorene M. “‘Sortir de l’auberge’: Strategies of (False) Narration in At-wood and Triolet.” Comparative Literature Studies 39.2 (2002): 120-145. A comparative study of the narrative strategies of Atwood and Elsa Triolet. Western European feminist movements argue that a commonality of origins in feminist opposition to patriarchy exists on some level. This philosophy suggests that a commonality of approaches and devices seems to exist within feminist discourse across national and cultural boundaries. This implies that a transcendence of cultural or social differences is attainable, that literary comparisons can be made between texts from different cultural traditions. In the context of modernist and postmodernist writing, the writer demonstrates the similarity of writing strategies employed by Atwood and Triolet, two women from different sides of the Atlantic, and writing at different times.
3237. BOYNTON, Victoria. “The Sex-Cited Body in Margaret Atwood.” Studies in Canadian Literature / Études en littérature canadienne 27.2 (2002): 51-70. Focus on Lady Oracle.
3238. BRADY, Lenore Lillian. “With Clear Epistolary Intent: A Cross-Cultural Study of Unsent Letters in Contemporary Women’s Fiction.” PhD thesis. University of Arizona, 2002. 153 pp. “While many contemporary scholars have examined the function and trajectory of the epistolary novel, most have paid little or no attention to letters in works of fiction that are written but not sent. Existing within the framework of the epistolary genre, the unsent letter is a site of complex self-disclosure closely associated with the categories of autobiography, diary, confession, memoir and testimony. Unsent letter or letter-like communications in Ama Ata Aidoo’s Our Sister Killjoy, Margaret Atwood’s The Handmaid’s Tale, Edwidge Danticat’s Children of the Sea, Christina Garcia’s Dreaming in Cuban, Sylvia Molloy’s Certificate of Absence, and Toni Morrison’s Beloved are potent discursive forces in the production, exploration and assertion of identity within the cross-cultural universes of these texts.” (Author). For more see DAI-A 63.11 (May 2003): 3941.
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