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ISBN: 9780063032514

Content: " A new book of poetry from internationally acclaimed, award-winning and bestselling author Margaret Atwood In Dearly, Margaret Atwood's first collection of poetry in over a decade, Atwood addresses themes such as love, loss, the passage of time, the nature of nature and - zombies. Her new poetry is introspective and personal in tone, but wide-ranging in topic. In poem after poem, she casts her unique imagination and unyielding, observant eye over the landscape of a life carefully and intuitively lived. While many are familiar with Margaret Atwood's fiction including her groundbreaking and bestselling novels The Handmaid's Tale, The Testaments, Oryx and Crake, among others she has, from the beginning of her career, been one of our most significant contemporary poets. And she is one of the very few writers equally accomplished in fiction and poetry. This collection is a stunning achievement that will be appreciated by fans of her novels and poetry readers alike. "

Content: Biographisches: " Margaret Atwood , whose work has been published in more than forty-five countries, is the author of more than fifty books of fiction, poetry, critical essays, and graphic novels. In addition to The Handmaid's Tale , now an award-winning TV series, her novels 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 ,and Hag-Seed . 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 services to literature and her novel The Testaments won the Booker Prize and was longlisted for The Giller Prize. She lives in Toronto. " Rezension(2): "Chicago Tribune:Margaret Atwood deserves an adjective - Atwoodian - in recognition of her virtuoso wit and unmistakeable style. " Rezension(3): "Library Journal " Rezension(4): "Washington Post:For the first time in more than a decade, Atwood —" Rezension(5): "The Scotsman:The soaring quality of the verse itself . [is] always illuminated by characteristic flashes of brilliance and wit, and powered by a pure force of creative energy. . Atwood's poetry is vibrant with purpose, brilliant, hard-edged, and instantly legible,and they will doubtless become classics of our troubled time." Rezension(6): "Wall Street Journal:It is sometimes debated whether every great novelist must first be a great poet. If you look at the likes of poets-turned-novelists like Jesse Ball or Denis Johnson, you might be inclined to agree. Don't forget Margaret Atwood, who began publishing poetry in the early-1960s, self-publishing her first collection, Double Persephone, in 1961. Her latest poems collected in Dearly include melancholy meditations on life and death and the gender of werewolves." Rezension(7): "Good Morning America:Aging, rituals, and the environment are a few topics [Atwood] spins her magic yarn around in this structurally creative, soulfully stirring slim tome. . We need [Atwood], now." Rezension(8): "Publishers Weekly (starred review) :Atwood... returns with a sardonic and sagacious masterpiece to add to her significant oeuvre...Atwood has a knack for creating piquant emotional textures, infusing ideas, experiences, and objects with palpable life...Combining dignified vulnerability, lyrical whimsy, and staunch realism, Atwood offers a memorable collection that emboldens readers to welcome disillusionment." Rezension(9): "〈a href=https://www.booklistonline.com target=blank〉〈img src=https://images.contentreserve.com/booklist_logo.png alt=Booklist border=0 /〉〈/a〉: October 1, 2020 Atwood's first books were poetry collections,decades later, she infuses her newest poems with the flinty wit and surefire lucidity readers cherish in her best-selling, influential fiction, including The Testaments (2019). Spiked with surprising juxtapositions and wily delight in language, at times mordant, frequently hilarious, and always unflinching, Atwood's poems are rooted in nature, with spotlights on spiders, cicadas, and slug sex. Droll spoofs on werewolves, the Wizard of Oz, and movies about aliens offer incisive contrasts between reality and the imagination, while romantic sentiments are decisively detonated. Birds are ever-present, tragically so when they crash into our bright night windows. With a cascade of environmental concerns in mind, the poet asks: Oh children, will you grow up in a world without birds? Naming our era the Plasticene, Atwood decries the plague of plastic destroying our oceans. Contrasting our deep past with our reckless present, she muses: Everything once had a soul. The loss of a loved one, the ravages of age, and stark generational changes prompt Atwood, as the collection's title suggests, to embrace her dearly beloved and call on us to hold all of life dearly.(Reprinted with permission of Booklist, copyright 2020, American Library Association.) " Rezension(10): "Library Journal: Starred review from November 1, 2020 Elegiac yet cautionary, Atwood's first new collection since 2007's The Door revolves around themes of mortality, environmental jeopardy, memory, feminism, and loss. These carefully tuned lyric poems, many lightly rhymed, often bear bitter witness to humankind's self-destructive treatment of both planet (Whatever we touch turns red) and spirit (we don't have minds/ as such these days, but tiny snarls/ of firefly neural pathways/ signalling no/yes/no ). A lifelong activist, Atwood nicknames our geologic age The Plasticine, characterized by a civilization spewing out mountains of whatnot, filling oceans with a neo-seaweed/ of torn bags, cast wrappers, tangled rope/ shredded by tides and rocks. The final section of poems, haunted by the shape of an absence, are poignant with the memory of novelist Graeme Gibson, her partner for nearly a half-century who passed in 2019. VERDICT Atwood's flare for precise metaphor in no way softens her delivery, as when she observes We are a dying symphony. Combining the wit of Dorothy Parker with the wisdom of Emily Dickinson, Atwood adds a steely grace and richness all her own. If there is beauty in despair, one may find it here. --Fred Muratori, Cornell Univ. Lib., Ithaca, NYCopyright 2020 Library Journal, LLC Used with permission. " Rezension(11): " Publisher's Weekly : Starred review from November 16, 2020 Atwood ( The Testaments ) returns with a sardonic and sagacious masterpiece to add to her significant oeuvre. Fantasy, love, sex, feminism, and mortality are explored with discursive poise and narrative cohesion. Atwood has a knack for creating piquant emotional textures, infusing ideas, experiences, and objects with palpable life, as when she envisions the negative space that will remain after the death of her partner: “That’s who is waiting for me:/ an invisible man/ defined by a dotted line:// the shape of an absence/ in your place at the table,// ...a rustling of the fallen leaves,/ a slight thickening of the air.” Time is perhaps the most ubiquitous variable in her poems,Atwood fuses past and present, resulting in prescient nostalgia for the current moment and for the future. But there is hope here, too, in spaces created by voids. In “If There Were No Emptiness,” she writes: “That room has been static for me so long:/ an emptiness a void a silence/ containing an unheard story/ ready for me to unlock.// Let there be plot.” Combining dignified vulnerability, lyrical whimsy, and staunch realism, Atwood offers a memorable collection that emboldens readers to welcome disillusionment."

Language: English

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Author information: Atwood, Margaret