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Margaret Atwood

“Atwood provides a window into her own early writing days . . . a treasure for readers interested in Canadian literature because this is where it all began.” —Prairie Fire Review of Books

“The outburst of cultural energy that took place in the 1960s was in part a product of the two decades that came before. It’s always difficult for young people to see their own time in perspective: when you’re in your teens, a decade earlier feels like ancient history and the present moment seems normal: what exists now is surely what has always existed.”

In this short work, Margaret Atwood, author of The Handmaid’s Tale and “Canada’s most famous writer” (The New Yorker), compares the Canadian literary landscape of the 1960s to the Burgess Shale, a geological formation that contains the fossils of many strange prehistoric life forms. The Burgess Shale is not entirely about writing itself, however: Atwood also provides some insight into the meager writing infrastructure of that time, taking a lighthearted look at the early days of the institutions we take for granted today—from writers’ organizations, prizes, and grant programs to book tours and festivals.

“Allows the reader a brief glimpse into the mind of a great writer and her perspective and experience living through what would now seem to many the Stone Age of the Canadian writing scene . . . invaluable and very readable.” —Canadian Literature

The University of Alberta Press

The CLC Kreisel Lecture Series

The Burgess Shale: The Canadian Writing Landscape of the 1960s

Michael Crummey

The prizewinning author of The Innocents examines the relationships among fact, fiction, fictionalization, and appropriation in this thought-provoking work.

“In all creative writing, the question of what is true and what is real are two very different considerations. Figuring out how to dance between them is a murky business.”

In Most of What Follows Is True, Michael Crummey examines the complex relationship between fact and fiction, between the “real world” and the stories we tell to explain it. Drawing on his own experience appropriating historical characters to fictional ends, he brings forward important questions about how writers use history and real-life figures to animate fictional stories. Is there a limit to the liberties a writer can take? Is there a point at which a fictionalized history becomes a false history? What responsibilities do writers have to their readers, and to the historical and cultural materials they exploit as sources? Crummey offers thoughtful, witty views on the deep and timely conversation around appropriation.

Most of What Follows is True: Places Imagined and Real

The CLC Kreisel Lecture Series - The book series

The CLC Kreisel Lecture Series - The book series

The CLC Kreisel Lecture Series books in order

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