Join Amazon Prime and ship Two-Day for free and Overnight for $3.99. Already a member? Sign in.
|
|||||||||||||
Better Together
Customers Who Bought This Item Also Bought
The Tent by Margaret Atwood  (10)
$9.56
|
Negotiating with the Dead: A Writer on Writing by Margaret Atwood  (21)
$10.40
|
Murder in the Dark: Short Fictions and Prose Poems by Margaret Eleanor Atwood  (1)
$2.98
|
The Penelopiad: The Myth of Penelope and Odysseus (Myths) by Margaret Atwood (46)
$12.24
|
Waltzing Again: New & Selected Conversations with Margaret Atwood by Margaret Atwood
$13.22
|
Editorial Reviews
From Publishers Weekly
In her first poetry collection since 1987's Selected Poems II, Atwood brings a swift, powerful energy to meditative poems that often begin in domestic settings and then broaden into numinous dialogues. In "In the Secular Night," the speaker, who has wandered through her house talking to herself of the "sensed absences of God," realizes "Several hundred years ago/this could have been mysticism/ or heresy. It isn't now." In five roughly thematic sections, Atwood often displays incisive humor ("Ava Gardner Reincarnated as a Magnolia"). The most vivid poems forge an apprehensible human aspect from scholarly fields of science, history and religion: in "Half-hanged Mary" a woman who was being hanged for witchery, survives and tolls each hour until she is cut down. The final grouping seems compiled from the charred remains of a deeply examined life, where only "the power of what is not there" may transcend. Atwood's lean, free-verse style renders these apocryphal poems intimate and immediate.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
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.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
In her first poetry collection since 1987's Selected Poems II, Atwood brings a swift, powerful energy to meditative poems that often begin in domestic settings and then broaden into numinous dialogues. In "In the Secular Night," the speaker, who has wandered through her house talking to herself of the "sensed absences of God," realizes "Several hundred years ago/this could have been mysticism/ or heresy. It isn't now." In five roughly thematic sections, Atwood often displays incisive humor ("Ava Gardner Reincarnated as a Magnolia"). The most vivid poems forge an apprehensible human aspect from scholarly fields of science, history and religion: in "Half-hanged Mary" a woman who was being hanged for witchery, survives and tolls each hour until she is cut down. The final grouping seems compiled from the charred remains of a deeply examined life, where only "the power of what is not there" may transcend. Atwood's lean, free-verse style renders these apocryphal poems intimate and immediate.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
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.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Product Details
|
