A landmark collection from one of contemporary poetry's most highly regarded names
Margaret Atwood is the author of more than fifty books of fiction,
poetry and critical essays. She first rose to prominence as a poet,
and has published eighteen collections including The Circle Game
(1964), Interlunar (1984), Morning in the Burned House (1995) and
The Door (2007). Her poetry has won a Governor General's Award, the
Union Poetry Prize, the Bess Hoskins Prize and the Golden Wreath
Award.
Her novels include Cat's Eye, The Robber Bride, Alias Grace, The
Blind Assassin and the MaddAddam trilogy. Her 1985 classic, The
Handmaid's Tale, was followed in 2019 by a sequel, The Testaments,
which was a global number one bestseller and won the Booker
Prize.
Atwood has been awarded the Arthur C. Clarke Award for Imagination
in Service to Society, the Franz Kafka Prize, the Peace Prize of
the German Book Trade, the PEN USA Lifetime Achievement Award and
the Order of the Companions of Honour. She has also worked as a
cartoonist, illustrator, librettist, playwright and puppeteer. She
lives in Toronto, Canada.
Here we see Atwood at the height of her poetic powers
*New York Times Book Review*
A poignant yet playful collection of verse, about endings and
departures, it is sliced with clever, sharp humour
*Daily Telegraph*
This collection of poems is a reckoning with the past that comes
from a place of wisdom and control . . . You can almost hear her
speaking voice, see the twinkle in her eye . . . wonderfully
observed
*Observer*
Atwood's first poetry collection in over a decade is intimate,
lingering delicately between the human and the natural, and this
world and the next
*New Statesman*
She's become world famous for The Handmaid's Tale, and jointly won
the 2019 Booker Prize for The Testaments, but Canadian author
Margaret Atwood was once better known as a poet . . . this new
volume brings together some of her favourite themes, from zombies,
werewolves and aliens, to the passage of time and the most pressing
political issues of the day
*Evening Standard*
She turns her eye to the past, to nature, to fantasy, to current
affairs, all with the calm eye of a writer who has nothing to
prove
*Financial Times Books of the Year*
Atwood is surely one of our planet's most priceless commodities
*Goodreads Choice Awards 2020*
Margaret Atwood has always been a poet; her poetry collections make
visible the taproot of the wry wise metaphysic that runs through
her fiction and essays, and in a precarious time her new
collection, Dearly, is a source of uncompromising elemental
warmth
*Observer, *Books of the Year**
I finished this collection deeply impressed by Atwood's capacity
for powerful, lyric description
*i*
A new volume of poetry by the writer of wit and optimism . . . Just
when we needed her most
*Gentlewoman*
This whole collection stands as a mighty demonstration of how great
poetry can embody and celebrate the sheer vibrancy and beauty of
life, in the face of the most profound sorrow and terror. Read
these poems aloud, read them carefully, read them with joy and
tears; savour the raw power of their rhythms and assonances, and
the sheer mastery with which Atwood, at the height of her powers,
transforms anger and grief into glinting beauty and brilliance. And
then ask yourself whether, if humanity survives, any future
historian could ever find a richer, more courageous or more
truthful account of what it was, and how it felt, to be alive in
these times; and give yourself the answer - no, most truly, she
could not
*Scotsman*
Elegaic yet cautionary, Atwood's first new collection since 2007's
The Door revolves around themes of mortality, environmental
jeopardy, memory, feminism, and loss . . . 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
*Library Journal*
She's one of the few contemporary writers whose poetry and prose
receive equal amounts of praise. Dearly, which collects her first
new poems in 10 years, covers love and loss, humanity and nature.
Also: Zombies. She's keeping us on our toes, as usual
*Washington Post*
Atwood, one of the most celebrated, decorated and admired novelists
in the world, started out as a poet
*Sunday Times*
Poems, Atwood argues, aren't the rhetoric of the immediate; they
emerge slowly out of human understanding's glacial melt . . . Here
we see Atwood at the height of her poetic powers: her imagery made
tangible with sound . . . The more Atwood wields specifics, the
more of the world she skewers with her fantastically sharp
imagination
*New York Times Book Review*
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