By love-89.com In a recent interview, acclaimed author Ali Smith shared her thoughts on Margaret Atwood’s new collection, *Paper Boat: New and Selected Poems 1961-2023*. She expressed a desire for it to be “a small book, a small, slight book, easy to carry, the sort of book you would tuck in at the last minute to read on a plane.” It’s hard to overlook the irony of finding a poem titled *Small Book* on page 520 of such an extensive work.
*Paper Boat* takes readers on a journey through Atwood’s remarkable literary career, bringing together her earliest published poems alongside all 14 of her poetry collections to date. The collection notably includes complete reprints of *Power Politics* (1971) and *Dearly* (2020), both of which explore the complexities of love in strikingly different ways. While *Power Politics* offers an intense exploration of relationships, *Dearly* probes deeply into themes of love and loss, evolving into a rich tapestry of emotions that transcends the term “moving.”
Throughout her career, Atwood’s poetry has continually challenged expectations and invited fresh perspectives. One example is *Reindeer Moss on Granite*, where moss clinging to a stone becomes a “tiny language” that intertwines with the natural world. Another is *Another Joan of Arc Poem*, in which she reimagines the iconic figure as a glass sphere, washed ashore and encased in modern debris, with a message trapped inside—each letter legible, every word shrouded in mystery.
Reflecting on her art, Atwood once noted in a 1970s interview, “There are always concealed magical forms in poetry.” This sentiment resonates strongly with *Paper Boat*, which, while monumental in scope, remains approachable and insightful, revealing a life that traverses the transient nature of existence. The collection is rich with Atwood’s contemplations on mortality and the raw brutality of the natural world, capturing “fears hairy as bears.”
Vibrant and teeming with life, Atwood’s work is sprinkled with her signature wit and incisive commentary. In *Ariadne Sends a Message*, for instance, she candidly states, “I might as well tell you, the minotaur was my friend,” showcasing her sharp observations on themes of courage and atrocity. In *The Loneliness of the Military Historian*, she encourages readers to confront the past with sincerity.
Atwood’s enduring fascination with transformation is a recurring theme throughout her poems. She has often described poetry as “the most joyful” of literary forms, and this joy permeates her writing, reflecting on significant social movements—from the rise of feminism in the 1960s to contemporary climate activism—earning her rightful appreciation within the Canadian literary landscape.
Towards the end of the collection, Atwood offers a warm autobiographical reflection, situating each of her previous works within contemporary contexts. She recounts the humble origins of *Double Persephone*, which she handcrafted in 1961 and sold for a mere 50 cents.
The opening poem, *Formal Garden*, from her debut collection, introduces a girl burdened with a “gorgon touch,” struggling to find authentic life in an imitative world. From the outset, Atwood confronts profound issues, wrestling with humanity’s myths, grappling with nature’s violence, and striving to capture reality in her art.
Her insights resonate powerfully today, as illustrated in a poem from *The Circle Game* (1964), which eerily anticipates a future grappling with environmental crisis. The collection concludes with a series of new, uncollected poems that could easily stand on their own. One of them, *Small Book*, starts on a light note but soon morphs into a poignant meditation on melancholy and disconnection, mirroring the search for meaning in a consumer-oriented society.
Ultimately, *Paper Boat* is an extraordinary collection that ensnares readers with its depth and complexity. It’s a companion that is both straightforward and enigmatic, beginning with questions and gradually leading towards understanding. The final two poems resonate with striking simplicity, focusing on the words “thank you,” “now,” and “love.” This collection stands as a testament to voice, narrative, and liberation—truly a joy to engage with.
In addition, Ali Smith’s latest novel, *Gliff*, has been published by Hamish Hamilton, while Margaret Atwood’s *Paper Boat: New and Selected Poems 1961-2023* is released by Chatto & Windus, priced at £25.