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818.54/Atwood
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Location Call Number   Status
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Subjects
Published
New York : Nan A. Talese/Doubleday 2006.
Language
English
Main Author
Margaret Atwood, 1939- (-)
Edition
1st ed
Physical Description
158 p. : ill
ISBN
9780385516686
  • I.
  • Life Stories
  • Clothing Dreams
  • Bottle
  • Impenetrable Forest
  • Encouraging the Young
  • Voice
  • No More Photos
  • Orphan Stories
  • Gateway
  • Bottle II
  • II.
  • Winter's Tales
  • It's Not Easy Being Half-Divine
  • Salome Was a Dancer
  • Plots for Exotics
  • Resources of the Ikarians
  • Our Cat Enters Heaven
  • Chicken Little Goes Too Far
  • Thylacine Ragout
  • The Animals Reject Their Names and Things Return to Their Origins
  • Three Novels I Won't Write Soon
  • Take Charge
  • Post-Colonial
  • Heritage House
  • Bring Back Mom: An Invocation
  • III.
  • Horatio's Version
  • King Log in Exile
  • Faster
  • Eating the Birds
  • Something Has Happened
  • Nightingale
  • Warlords
  • The Tent
  • Time Folds
  • Tree Baby
  • But It Could Still
Review by Booklist Review

Pithy and stinging, a master of deadpan humor and pinpoint satire, Atwood has made the brief monologue her own. As in her previous collection of miniatures, Good Bones and Simple Murders0 (1994), Atwood adeptly parodies fairy tales and fables, and offers unnerving twists on confessions, and vignettes, some accompanied by her playful drawings. One narrator recounts a recurring dream of dreadful clothes. Another concise tale perfectly encapsulates the divide between men and women. "Resources of the Ikarians," an account of the remarkably thuggish population of a small, out-of-the-way island, is caustic and hilarious. Impish and incisive, Atwood neatly dissects our habit of seeing the world in terms of "we" and "them," and our refusal to face the facts of environmental degradation. In the poetic title piece, she creates one of the most devastating visions ever penned of a writer's attempt to make a shelter out of words. "All observations about life are harsh, because life is," Atwood writes, and yet we persist, driven by desire and hope, and buoyed by stories. --Donna Seaman Copyright 2005 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Biting anger, humor and interest in the fantastic have marked inimitable Atwood works like The Handmaid's Tale, The Blind Assassin and Oryx and Crake. In this odd set of terse, mostly prose ripostes, Atwood takes stock of life and career-"this graphomania in a flimsy cave"-and finds both come up short. Staged from behind screens of updated fables and myths ("Salome Was a Dancer" begins "Salome went after the Religious Studies teacher"), the pieces rage icily against the constraints of gender, age (witheringly: "I have decided to encourage the young"), fame and even "Voice": "What people saw was me. What I saw was my voice, ballooning out in front of me like the translucent green membrane of a frog in full trill." Along with a few poems and childlike line drawings, what keeps this collection of 30-odd fictions from being a set of rants is the offhanded intimacy and acerbic self-knowledge with which Atwood delivers them: "The person you have in mind is lost. That's the picture I'm getting." Threaded throughout are dead-on asides on the tyrannies of time and the limits of truth telling in society, so that when Hoggy Groggy hires Foxy Loxy to silence Chicken Little forever, there is no doubt with whom the author's sympathies lie. (Jan. 10) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

"Bring Back Mom"; "The Animals Reject Their Names." Just two treats in this fiction/essays combo from the inimitable Atwood. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by School Library Journal Review

Adult/High School-A quirky collection of short tales and a few poems that can be read in any order. Although not all of these selections will appeal to teens, some will, especially "Plots for Exotics," in which the narrator, who has always aspired to be a main character, has to apply for a job at the plot factory, where he learns he is not main-character material. Others, such as "Our Cat Enters Heaven," will also engage teen readers. The pieces are brief and varied in style. The ironic and often sarcastic tone is one that many teens will appreciate. Simple line drawings appear throughout. As a whole, the book should appeal to anyone who appreciates a wry and somewhat biting look at society.-Judy Braham, George Mason Regional Library, Annandale, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Life Stories Why the hunger for these? If it is a hunger. Maybe it's more like bossiness. Maybe we just want to be in charge, of the life, no matter who lived it. It helps if there are photos. No more choices for the people in them -- pick this one, dump that one. The livers of the lives in question had their chances, most of which they blew. They should have spotted the photographer in the bushes, they -shouldn't have chewed with their mouths open, they -shouldn't have worn the strapless top, they -shouldn't have yawned, they -shouldn't have laughed: so unattractive, the candid denture. So that's what she looked like , we say, connecting the snapshot to the year of the torrid affair. Face like a half--eaten pizza, and is that him, gaping down her front? What did he see in her, besides cheap lunch? He was already going bald. What was all the fuss about? I'm working on my own life story. I -don't mean I'm putting it together; no, I'm taking it apart. It's mostly a question of editing. If you'd wanted the narrative line you should have asked earlier, when I still knew everything and was more than willing to tell. That was before I discovered the virtues of scissors, the virtues of matches. I was born , I would have begun, once. But snip, snip, away go mother and father, white ribbons of paper blown by the wind, with grandparents tossed out for good measure. I spent my childhood . Enough of that as well. Goodbye dirty little dresses, goodbye scuffed shoes that caused me such anguish, goodbye well--thumbed tears and scabby knees, and sadness worn at the edges. Adolescence can be discarded too, with its salty tanned skin, its fecklessness and bad romance and leakages of seasonal blood. What was it like to breathe so heavily, as if drugged, while rubbing up against strange leather coats in alleyways? I -can't remember. Once you get started it's fun. So much free space opens up. Rip, crumple, up in flames, out the window. I was born, I grew up, I studied, I loved, I married, I procreated , I said, I wrote , all gone now. I went, I saw, I did . Farewell crumbling turrets of historic interest, farewell icebergs and war monuments, all those young stone men with eyes upturned, and risky voyages teeming with germs, and dubious hotels, and doorways opening both in and out. Farewell friends and lovers, you've slipped from view, erased, defaced: I know you once had hairdos and told jokes, but I -can't recall them. Into the ground with you, my tender fur--brained cats and dogs, and horses and mice as well: I adored you, dozens of you, but what were your names? I'm getting somewhere now, I'm feeling lighter. I'm coming unstuck from scrapbooks, from albums, from diaries and journals, from space, from time. Only a paragraph left, only a sentence or two, only a whisper. I was born. I was. I. Excerpted from The Tent by Margaret Atwood All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.