1031. The Robber Bride. Toronto: McClelland and Stewart; New York: Nan A. Talese / Doubleday, 1993. Large print edition.
1032. The Robber Bride. [Sound recording]. Read by Blythe Danner. New York: Bantam Doubleday Dell Audio Pub., 1993.
1033. “The Robber Bridegroom.” Book Group Companion to Margaret Atwood’s The Robber Bride. New York: Nan A. Talese / Doubleday, 1993. 20. Reprinted from Selected Poems II: Poems Selected and New 1976-1986, ©1986.
1034. Rouva Oraakkeli. Helsinki: Kirjayhtymä, 1993. Finnish translation of Lady Oracle by Marja Haapio.
1035. “The Santa Claus Trap.” Canadian Christmas Stories in Prose and Verse. Ed. Don Bailey and Daile Unruh. Toronto: CNIB, 1993. Braille ed., 4 v. Based on 1990 edition.
1036. Senhora do Oráculo. [Lisbon]: Circulo de Leitores, 1993. Portuguese translation of Lady Oracle by Maria Antónia Vasconcelos.
1037. “She.” Book Group Companion to Margaret Atwood’s The Robber Bride. New York: Nan A. Talese / Doubleday, 1993. 21-22. Poem. Reprinted from Selected Poems II: Poems Selected and New 1976-1986.
1038. “Siren Song.” Book Group Companion to Margaret Atwood’s The Robber Bride. New York: Nan A. Talese / Doubleday, 1993. 20-21. Poem. Also published in The Green Book of Poetry. Compiled and ed. Ivo Mosley. Kirstead, UK: Frontier, 1993, 252-253, and in Poetry: A HarperCollins Pocket Anthology. Ed. R. S. Gwynn. New York: HarperCollins College Publishers, 1993. 290-291. Reprinted from You Are Happy, ©1974.
1039. “Spotty-Handed Villainesses: Problems of Female Bad Behaviour in the Creation of Literature.” Originally delivered as an address in the Cheltenham Lecture Series, University of Gloucester, 8 October 1993. Later published in Moving Targets: Writing with Intent 1982-2004. By Margaret Atwood. Toronto: Anansi, 2004. 157-172, and in Curious Pursuits: Occasional Writing 1970-2005. London: Virago, 2005, 171-186, as well as in Writing with Intent: Essays, Reviews, Personal Prose, 1983-2005. New York: Carroll & Graf Publishers, 2005. 125-138.
1040. “There Was Once.” Mississippi Review 21.1-2 (Spring 1993): 69-71. “Excerpted from Good Bones.”
1041. “This Is a Photograph of Me.” Book Group Companion to Margaret Atwood’s The Robber Bride. New York: Nan A. Talese / Doubleday, 1993. Back cover. Reprinted from The Circle Game, ©1966.
1042. “This Is a Photograph of Me.” The Broadview Anthology of Poetry. Ed. Herbert Rosengarten and Amanda Goldrick-Jones. Peterborough, ON: Broadview Press, 1993. 827. Reprinted from Selected Poems 1966-1984, ©1990.
1043. “Thoughts from Underground.” The Broadview Anthology of Poetry. Ed. Herbert Rosengarten and Amanda Goldrick-Jones. Peterborough, ON: Broadview Press, 1993. 834-835. Reprinted from Selected Poems 1966-1984, ©1990.
1044. Tip Om Overlevelse: Noveller. [Copenhagen]: Lindhardt og Ringhof, 1993 ©1991. Danish translation of Wilderness Tips by Lisbeth Møller-Madsen.
1045. “Tricks with Mirrors.” The Broadview Anthology of Poetry. Ed. Herbert Rosengar-ten and Amanda Goldrick-Jones. Peterborough, ON: Broadview Press, 1993. 836-838. Reprinted from Selected Poems 1965-1975.
1046. Ukabiagaru = Surfacing. Tokyo: Shinsuisha, 1993. Japanese translation of Surfacing. Title romanized.
1047. “Unpopular Gals.” Mississippi Review 21.1-2 (Spring 1993): 72-74. “Excerpted from Good Bones.”
1048. “Variation on the Word Sleep.” Into the Garden: A Wedding Anthology. Ed. Robert Haas and Stephen Mitchell. New York: HarperCollins, 1993. 30-31. Reprinted from Selected Poems II: Poems Selected and New 1976-1986, ©1987.
1049. “Variations on the Word Love.” Love’s Witness: Five Centuries of Love Poetry by Women. Ed. Jill Hollis. New York: Carroll & Graf, 1993. 20-21. Reprinted from True Stories, Cape.
1050. Verletzungen: Roman. Hildesheim: Claassen, 1993. German translation of Bodily Harm by Werner Waldhoff.
1051. “The Victory Burlesk.” Myths and Voices: Contemporary Canadian Fiction. Ed. David Lampe. Fredonia, NY: White Pine Press, 1993. 59-60. Reprinted from Murder in the Dark.
1052. “Waking at 3 A.M.” On William Stafford: The Worth of Local Things. Ed. Tom Andrews. Ann Arbor: University of Michigan Press, 1993. 249-252. Reprinted from Field 41 (Fall 1989).
1053. “Werewolf Movies.” The Faber Book of Movie Verse. Ed. Philip French and Ken Wlaschin. London; Boston: Faber and Faber: 1993. 339-340. Reprinted from Poems 1976-1986 (1992) and from Selected Poems II: Poems Selected & New 1976-1986 (1986).
1054. “Why I Write: To Give as Well as Receive.” Quill and Quire 59.8 (August 1993): 1, 21. “Text of a talk given at the American Booksellers Association convention in June.” See also: Toronto Star 5 June 1993: Section: Weekend: G11. (1053 w).
1055. Wilderness Tips. New York; Toronto; London; Sydney; Auckland: Bantam Books, 1993. 297. Same stories as US and Canadian hardcover editions, 1991. At end, 16 unnumbered pages of excerpts from other Atwood titles published by Bantam: The Edible Woman, Bodily Harm, Dancing Girls and Other Stories, Cat’s Eye.
1056. Wilderness Tips. Bath [England]: Chivers Press; Hampton, NH: Eagle Large Print, 1993, 1991. Large print edition.
1057. Wilderness Tips. [Sound recording]. Read by Denica Fairman. Bath, UK: Sterling Audio: Chivers Audio, 1993. 6 sound cassettes (8 hr., 18 min.).
1058. “A Woman’s Issue.” Ain’t I a Woman! A Book of Women’s Poetry from Around the World. Ed. Illona Linthwaite. New York; Avenel, NJ: Wings Books, 1993. 135-136. Reprinted from True Stories, Oxford UP, ©1981.
1059. “Women’s Novels.” Harper’s 286.1716 (May 1993): 32-33. Reprinted from Murder in the Dark, ©1983.
Adaptations of Atwood’s Works
1060. Bestiary: For Soprano, Clarinet, Horn and Piano. Musical Score: Printed music , 1993. 1 score (31 p.) + score in C (36 p.) + parts. Includes Atwood poem, “Land-crab” set to music by David Garner for San Francisco’s Beaumont Ensemble. Copy of score available in the San Francisco Academy of Music. (Worldcat); see also Garner’s website http://www.davidgarner.com /pages/Chamber_ Music7.php?project_id=7.
Quotations
1061. “[Quote].” 21st Century Dictionary of Quotations. Ed. The Princeton Language Institute. Produced by The Philip Lief Group, Inc. New York: Dell (Laurel), 1993. 469.
1062. “[Quote].” In advertisement in The Green Bird playbill, Yale Repertory Theatre, 27 November-18 December 1993: 19.
1063. “[Quote].” Toronto Star 7 March 1993: Section: People: D4. In article headed “What Canadians Say,” Atwood is quoted: “A divorce is like an amputation; you survive but there is less of you.” [1972].
1064. “[Quote].” Toronto Star 1 May 1993: Section: Weekend: J16. Atwood quoted in connection with upcoming joke book, All Men Are Bastards: “What do you call field full of men? A vacant lot.”
1065. “[Quotes].” The Columbia Dictionary of Quotations. Compiled by Robert Andrews. New York: Columbia UP, 1993. 96, 116, 352, 575, 711, 994, 1019.
1066. “[Quotes].” The Harper Book of Quotations. 3rd ed. Ed. Robert I. Fitzhenry. New York: HarperCollins (HarperPerennial), 1993. 78, 159, 269, 484. Four Atwood quotes. “This book is published in Canada by Fitzhenry and Whiteside Limited under the title The Fitzhenry and Whiteside Book of Quotations, Revised and Enlarged.”
1067. “[Quotes].” Northrop Frye: A Visionary Life. By Joseph Adamson. Toronto: ECW Press, 1993. passim. Various comments on Frye from Atwood’s written and spoken tributes. Includes 1983 photo (66) of Frye, George Ignatieff, and Atwood when she received an honorary degree at the University of Toronto.
1068. “[Quotes].” The Penguin Dictionary of Twentieth-Century Quotations. Compiled by J. M. Cohen and M. J. Cohen. London; New York; Victoria; Toronto; Auckland: Viking, 1993. 16-17. Six quotes.
Interviews
1069. BANCROFT, Colette M. “Author Atwood Is Fascinated with Dynamics of Her Villain.” Arizona Daily Star (Tucson), 7 November 1993: LIT NewsBank 1993: 94: B3-4.
1070. CLOSE, Ajay. “Thief of Hearts.” Scotland on Sunday 10 October 1993: s.p. (1349 w). Available from Lexis-Nexis.
1071. CRAIG, Paul
. “Atwood Shares Tales, Truths in Davis.” Sacramento Bee 16 February 1993: LIT NewsBank 1993: 26: B3-4.
1072. DENISON, D. C. “The Interview: Margaret Atwood.” Boston Globe 19 December 1993: LIT NewsBank 1993: 6: B11-12.
1073. GOOCH, Brad. “A Handmade Tale.” The Advocate (Los Angeles) 2 November 1993: 52-53.
1074. GRAEBER, Laurel. “Zenia Is Sort of Like Madonna.” New York Times Book Review 31 October 1993: 22. Sidebar to Moore’s review of The Robber Bride (see 1201).
1075. ITALIE, Hillel. “Atwood Enjoys Surprising Readers.” Chicago Sun-Times 26 December 1993: Section: Show: 16C. (761 w). On occasion of the publication of The Robber Bride.
1076. KELLAWAY, Kate. “Oracle and Private Joker.” The Observer (London) 10 October 1993: 16. (1109 w). Excerpt: “As a young writer, she was patronised or described as ‘cute.’ When she was the same age as her interviewers, they were ‘jealous’ of her achievements and now that she is older than most of the journalists she meets, she enjoys being the sage, likes to give advice. ‘If I were an uncle I would be avuncular. I say things like ‘Time will heal all—I even have the shawl.’ Does she also like to ask for advice? ‘I have no need to ask for advice, except on technical matters.’”
1077. LEVESQUE, John. “In This Corner: Margaret Atwood.” Hamilton Spectator (ON) 1 November 1993: Section: Now: D1. (931 w). In anticipation of a reading in Hamilton. A testy interview.
1078. LYALL, Sarah. “An Author Who Lets Women Be Bad Guys.” New York Times 23 November 1993: Section: C: 13. (1221 w). Atwood on the women in The Robber Bride. Zenia has “been around since Delilah, so why wouldn’t she come back? She’ll be back in another form, in another book.”
1079. MARCHAND, Philip. “Atwood’s Warrior Woman Confronts Feminist Notion.” Toronto Star 9 October 1993: Section: Weekend: J5. (846 w). About Atwood’s interest in military history and how military historians are much like novelists.
1080. McELROY, James. “The Ancient Mariner Experience: An Interview with Margaret Atwood.” Writing on the Edge 5.1 (Fall 1993): 45-52.
1082. RICHARDS, Beth. “Interview with Margaret Atwood.” Prairie Schooner 67.4 (Winter 1993): 8-12. Focus on Cat’s Eye.
1083. RITCHIE, Harry. “Come into the Garden.” Sunday Times Books 10 October 1993: Section 6: 8-9. Photograph of Atwood by Sally Soames. An interview conducted in the back yard of her home. On the Margaret Atwood Society: “I don’t think you should give it the same weight as the Rolling Stones Fan Club. It seems to be an assemblage of academics. I thought of sending them a T-shirt for their opening meeting with ‘Atwood Lives’ on it. The best thing that an academic ever said to me was, ‘You’ve written enough for us by now.’ In other words, drop dead and we can deal with your texts. Some critics prefer a writer to be dead, because then the writer can never write anything that will contradict what has been said by the critic.”
1084. ROSS, Val. “Playing the Atwood Guessing Game.” Globe and Mail 7 October 1993: Section: C: 1-2.
1085. SMITH, Stephen. “Atwood Tells Story Behind Latest Novel.” Financial Post 87.40 (2 October 1993): S6.
1086. STEPHENSON, Anne. “Atwood at Her Best: ‘Feminist’ Novelist Achieves Acclaim as Author, Respect as Person.” Arizona Republic (Phoenix) 15 November 1993: LIT NewsBank 1993: 94: B1-2.
1087. WACHTEL, Eleanor. Writers and Company. Toronto; New York; London; Sydney; Auckland: Alfred A. Knopf Canada, 1993. 190-203. “Interview prepared in collaboration with Sandra Rabinovitch.”
1088. WINEGAR, Karin. “Atwood Gives Us a Wicked Woman.” Star Tribune (Minneapolis, MN): Section: Variety: 1E. (1232 w). Interview by telephone about The Robber Bride in advance of Atwood’s visit to Minneapolis. This tricky, shape-shifting Zenia, says Atwood, is most like the author herself. “She tells huge whoppers that she tries to get other people to believe, and what is a novel but huge whoppers that you try to get other people to believe?” said Atwood. “The difference is I put labeling on mine that says at the front ‘this is fiction.’ And Zenia doesn’t. But if she weren’t such a manipulative operator, maybe she’d be a novelist.” She added: “The original story, ‘The Robber Bridegroom’ is a tale of a wicked maiden-devouring monster—so why did I change it? Well, I was sitting around one day thinking to myself, where have all the Lady Macbeths gone? Gone to Ophelias, every one, leaving the devilish tour de force parts to be played by bass-baritones. Or to put it another way: if all women are well behaved by na-ture—or if we aren’t allowed to say otherwise for fear of being accused of anti-femaleism—then they are deprived of moral choice, and there isn’t much left for them to do in books except run away a lot. Or, to put it another way: equality means equally bad as well as equally good.”
Scholarly Resources
1089. “Atwood, Margaret (1939– ).” Modern Mystery, Fantasy and Science Fiction Writers. Compiled and ed. Bruce Cassiday. New York: Continuum, 1993. 30-37. Collection of excerpts from reviews and essays on The Handmaid’s Tale.
1090. Book Group Companion to Margaret Atwood’s The Robber Bride. New York: Nan A. Talese / Doubleday, 1993. 28 pp. Intended to promote reading and discussion of Atwood’s new novel; contents are “Introduction to the Book Group Companion,” “Margaret Atwood: Biography,” “From Sandra Martin’s Review of The Robber Bride from Quill and Quire,” “Margaret Atwood’s Address to the American Booksellers Association Convention 1993,” “‘The Robber Bridegroom’ by the Brothers Grimm, Translation by Jack Zipes,” “Selected Poems of Margaret Atwood,” “Topics for Group Discussion,” “Miscellany”; primary items and review excerpt cited separately in this section. Also available online: http://www.randomhouse.com/resources/bookgroup/robberbride_bgc.html.
1091. AGUIAR, Sarah Appleton. “Nolite Te Bastardes Carborundorum: Body Politics and The Handmaid’s Tale.” Postscript: A Journal of Graduate School Criticism and Theory 1.1 (1993): 49-63.
1092. AHEARN, Catherine. “An Archetype of Pain: From Plath to Atwood and Mus-grave.” Still the Frame Holds: Essays on Women Poets and Writers. Ed. Sheila Roberts and Yvonne Pacheco Tevis. San Bernardino: Borgo, 1993. 137-156.
1093. AHERN, Stephen. “‘Meat like You like It’: The Production of Identity in At-wood’s Cat’s Eye.” Canadian Literature 137 (Summer 1993): 8-17. Elaine is unable to resolve her problem because she is treated both as a subject, able to work toward her own goals, and as an object, judged by a society rooted in patriarchal ideology.
1094. ANDRIANO, Joseph. “The Handmaid’s Tale as Scrabble Game.” Essays on Canadian Writing 48 (Winter 1992-93): 89-96. Analysis of the game and its use of words in the nonword Gilead.
1095. BACCOLINI, Raffaella. “‘What’s in a Name?’: Language and Self-Creation in Women’s Writing.” The Representation of the Self in Women’s Autobiography. Ed. Vita Fortunati and Gabriella Morisco. Bologna: Univ. of Bologna, 1993. 44-64. Focus on Atwood.
1096. BARR, Marleen S. Lost in Space: Feminist Science Fiction and Beyond. Chapel Hill; London: University of North Carolina Press, 1993. See especially “Ms. Sammler’s Planet: Margaret Atwood, Saul Bellow, and Joanna Russ Rescue the Female Child’s Story.” 196-222. Barr sees Cat’s Eye as logical follow-up to the dystopian The Handmaid’s Tale; speculative science fiction allows the female childhood story to be recaptured.
1097. BEDDOES, Julie. “Changing Moodie: Author Constructions in a Canadian ‘Classic.’” English Studies in Canada 19.3 (September 1993): 363-377. Comments upon Atwood’s influence in recognizing Moodie and quotes from Atwood’s “Afterword” in her The Journals of Susanna Moodie.
1098. BERAN, Carol. Living over the Abyss: Margaret Atwood’s Life Before Man. Toronto: ECW Press, 1993. 99 pp. Presents background to novel and summary of its critical reception as well as exploring the novel’s themes and issues.
1099. BIEBER, David C. “The Machinery of Patriarchy: Masculinity in the Fiction of Margaret Atwood.” MA thesis. Carleton University, 1993. Also available on microfiche from Canadian Theses Service (1993). “Critical discussion of Margaret Atwood’s fiction
has centred upon her representation of femininity as a subject position within patriarchy; her female characters reveal a limited range of acceptable roles for women, ones which fit into and perpetuate the power relations of a society that Atwood has described as a machine which either incorporates or destroys the individual. Recent work in gender theory strengthens the argument that masculinity is also a subject position created by the culture accompanying a patriarchal order. Atwood’s male characters accordingly reveal the constructed nature of conventional masculinity, and its function in positioning individual men into roles which work to maintain the machine of the given social order. Atwood subverts the (re)production of patriarchy at the level of the individual subject by positioning some of her male characters outside the hierarchical roles of dominance or submission forming the parameters of conventional gender difference. The result is a body of work which explores the conservative nature of masculinity as the function of an historically specific hierarchical social organization.” (Author). For more see MAI 32.03 (June 1994): 804.
1100. BIGNELL, Jonathan. “Lost Messages: The Handmaid’s Tale, Novel and Film.” British Journal of Canadian Studies 8.1 (1993): 71-84.
1101. BLODGETT, E. D. “Is a History of the Literatures of Canada Possible?” Essays on Canadian Writing 50 (Fall 1993): 1-18. Uses Atwood’s Lady Oracle and The Handmaid’s Tale as examples of literary history. Also quotes Atwood’s Survival to support the concept of literary history.
1102. BOILY, Lise. “On the Semiosis of Corporate Culture.” Semiotica 93.1-2 (1993): 5-31. Atwood’s Survival is used to support the concept that Canadian literature reflects the sociocultural context.
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