Poem Tricks with Mirrors i It's no coincidence this is a used furniture warehouse. I enter with you and become a mirror.
This light side with its own tight-lipped truth behind it engenders the various songs of transformations of the men-turned-to-animals in the Circe sequence, which, though they have good lines, seem more often the work of the fancy than of the imagination, and are occasionally willed into being.
Nonetheless, Atwood lets very little dross into her volumes, and she always repays rereading. Even the first section, in which the protagonist expresses grief, regret and remorse as well as anger over the failure of a past relationship, is warmer and more sympathetic than any of Atwood's earlier icy and often accurate analyses of the wicked ways of men, women and modern urban societies.
My favourites among her earlier books, Surfacing and The Journals of Susanna Moodie, perhaps foreshadowed the development that is found here. Her new poems are earthier in the best and most positive sense.
All life is predatory, and all of us are transformed to corpses in the end. The section concludes with the suggestion that perhaps the lovers are not after all trapped in that unhappy story. In the fourth section, "There is only one of everything," a man and a woman appear to move, at first tentatively and then with joyous confidence, toward the new kind of relationship described above.
The cruelty of myth has been left behind; the sacrifice and offering are voluntary, and in this there is freedom. In earlier Atwood collections one felt that even the body was regarded as a prison, but here it is singled out for praise.
The book seems, then, to be a turning point in the poet's development. Technically, too, it is an advance over Power Politics. Many individual poems from that book tend to lose their force when removed from the context of the whole sequence; moreover, some of the shock-tactics and surreal effects seem to me inadequate to the psychological processes they are attempting to represent.
Here there is more technical variety than in the past, manifesting itself partly in an effective use of the prose poem; one feels that most poems are autonomous and interesting in and for themselves, as is each of the four sections, and yet all contribute to a coherent whole—a human statement, a journey.
I think we may be grateful to Margaret Atwood for facing up to the most difficult facts of our existence and for putting the case for joy so minimally and so well. Margaret Atwood is all things to all people.
If you want, she's a nationalist. If you want, she's essentially a feminist or a psychologist or a comedian. She's a maker and breaker of myths or she's a gothic writer. She's all these things, but finally she's unaccountably Other.
Her writing has the discipline of a social purpose but it remains elusive, complex, passionate. It has all the intensity of an act of exorcism….
Selected Poems has the coherence of a grand design.
By the end of the book you can't help seeing that there's a consistent goal underlying all Atwood's poetic adventures.
She has a poem, "Tricks with Mirrors," where the mirror is addressing a narcissistic lover: I like to read it as a parable about her art. Don't assume it is passive or easy, this clarity with which I give you yourself. Consider what restraint it takes: Metaphors aside, this craft is easy for mirrors and hard for poets.
It's especially hard if you're trying to reflect a country which has no image of itself, and this is the premise of The Circle Game. On the surface, it's a conventional book, a parable of the mids, featuring an exodus from the city to the wilderness in search of the real Canada. Industrial expansion, for her, means that the machine takes over mind and body, making people into lethal robots: Irony, of course, is the weapon of a civilized mind.
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For the duration of the book, Atwood reinstates the mind which was renounced in The Circle Game and will again be abdicated in The Journals of Susanna Moodie …. I have a special fondness for Atwood in her ironical aspect, but Susanna Moodie, in its way, is a perfect book.
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This story contains spoilers for The Handmaid's Tale episode While everyone is, "under his eye," in Gilead, some are more under siege than others in this complex power structure that is a.
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Tricks With Mirrors by Margaret Atwood In Part I of Tricks With Mirrors, Atwood uses a seemingly vague introduction to the subject matter, but gets straight to the point.
In Part I of Tricks With Mirrors, Atwood uses a seemingly vague introduction to the subject matter, but gets straight to the point.
Within five lines, she distinctly identifies her role as a mirror as she says, “I enter with you and become a mirror,” (). Auto Suggestions are available once you type at least 3 letters. Use up arrow (for mozilla firefox browser alt+up arrow) and down arrow (for mozilla firefox browser alt+down arrow) to review and enter to select.