Tempting Morsels

The Tent, by Margaret Atwood is a beautifully bound little hard back book, offering small bites of carefully produced writing.   It will be devoured with pleasure by her wide readership with its fine red silky bookmark as the icing on the cake.   It is a testament to Atwood’s fine ability to capture her audience using very few words.  Some of the pieces are barely a page long and the collection is not described as short stories, but ‘smart and entertaining fictional essays’.  And they are.
Two previous books, ‘Murder in the Dark’ and ‘Dead Bones’, were presented in a similar way.
‘They are the short pieces I find myself writing.’ She says. ‘Then put together over about two years.’  The writing is predominantly in first person although the ‘I’ is not necessarily Atwood.  In ‘Plots for the Exotic, the theme is institutional racism. 
‘Although it could be any group or individual who does not fit in.’ Atwood explains.  ‘It could be anybody who is considered not the right type.’  She continues  ‘But it’s my cat that goes to heaven – quite definitely.’  She is referring to the amusing ‘Our Cat Enters Heaven’.  The cat discovers that God is feline and the little pink things running around like mice are the souls of bad human beings.  ‘Our heaven is their hell,’ said God. ‘I like a balanced universe’
Another clever story, ‘Horatio’s Version’ was inspired by Hamlet and the manner in which stories are retold and read in newspapers. 
All of The Tent is easily recognisably ‘Atwoodian’ with frequent references to nature and the role of women.  Atwood was originally published in the early 1960’s at the time of the first wave of modern feminism.  She has since always been identified with the feminist movement and the natural environment.  She maintains a substantial readership among women who have grown up during the last forty years and still attracts large numbers of young readers.  She does not know why.

‘I can’t divine the motive of my readers.  You’ll have to ask them.’    Meanwhile, during her writing career, she has achieved 35 books and almost single-handedly established the legitimacy of Canadian literature.  She is recognised internationally for her contribution to contemporary writing as a novelist, poet and literary critic.  This was not always her ambition.
            ‘In my distant past, I wanted to be a painter.  Then I wanted to be a dress designer. ’ She remembers. ‘In High School, I ran a puppet business for children’s parties.’  It was at the age of 16 that Atwood decided to be a writer although she has always maintained her love of the visual arts. She ran a silk screen printing business, creating theatrical posters at college and has continued to paint and draw throughout her life.  All of the stylised illustrations in The Tent were drawn by Atwood.  They are of women with curlicues spouting from their mouths or sprouting from their heads,  with birds or plants perched on top.  Despite their simplicity, the artwork is accomplished.  Atwood admits to having a strong visual side to her personality.
            ‘If you have a visual side, you are interested in what everything looks like.’ She says. ‘Some people are much more interested in what things sound like.’  Atwood suggests that the way people dress and present themselves send signals about whether or not they are friendly and approachable.  Before any conversation takes place, the appearance of someone categorises them.    
‘If searching for directions,’ she says. ‘We won’t approach someone we think looks unfriendly or frightening.’   Although this is a very simplistic explanation, Atwood says that the visual connection is important in her work and that she sees every scene she writes.
As well as writing, until the early 1970’s Atwood also taught widely in North
America.  Today, apart from the odd lecture, her teaching has reduced to mentoring a graduate student on the Creative Writing programme at Toronto University. Payments received are donated to issues that concern her. 
‘I’m very stuck into the world of birds and saving bits of this and that, habitat.’  The environment and nature is a constant presence in Atwood’s work and private life.  Its importance goes back to her childhood in Ontario.
  Being Canadian has also been integral to her writing although early in Atwood’s career, there were very few possibilities open in Canada to young authors.  However, then as now, she believes,   
‘If you are really determined and have talent, you’ll succeed’. 
The Tent collection is part of the continuum of Atwood’s success.  It is the perfect size to carry in your pocket or handbag and bring out to enjoy a piece at a time, like a luxury sweat meat.  But as ever, Atwood’s wit is deceptive and although short, you will savour many of the stories long after you have read them.     

© Judith Cameron