Love, loss and dead cats jammed into the freezer: Margaret Atwood in Toronto

Margaret Atwood spoke about her newest release of short stories, Old Babes in the Wood, to a packed Hot Docs Ted Rogers Theatre

By: Anna-Giselle Funes-Eng

Two people sit on a raised stage facing each other with microphones in front of them. Behind them is the lower half of a screen casting them onto it.

Legendary author Margaret Atwood discussed her latest release of short stories with journalist Matt Galloway at the Ted Rogers Hot Docs Cinema on March 6, 2023. (Courtesy of Gabriel Li)

There are few names more synonymous with the realm of Canadian literature than that of Margaret Atwood, the unequivocally brilliant author whose widely anticipated collection of short stories, Old Babes in the Wood, released on March 7, 2023.

The author spoke with CBC’s Matt Galloway at the Ted Rogers Hot Docs Theatre in Toronto, promoting the release of her latest collection. This is her first release of short fiction since Stone Mattress in 2014.

Atwood’s works are known for exploring a far-reaching scope of genres and themes, from speculative fiction dystopias to grief and werewolves. Old Babes in the Wood consists of 15 new stories which, according to Penguin Random House Canada, draw from grief, folklore and fairy tales.

“You publish stories like this and you find out who needs them. As it turns out, quite a few people,” Atwood said at Hot Docs, commenting on the overarching theme of losing people with age.

She said that she didn’t necessarily set out to write on grief for herself, but for the reader.

Many of the stories featured in the collection draw from Atwood’s real-life experiences, including her misadventures with frozen cat corpses and her relationship with aging and grief.

Some pieces in the collection have been published before, such as “freeforall” which was originally printed in the Toronto Star as an alternative sister story to The Handmaid’s Tale in 1986.

Seven of the 15 stories feature Nell and Tig, a fictional couple who have appeared before in Atwood’s work in Moral Disorder. They were based on Atwood and her late partner of over 50 years, writer Graeme Gibson, who died in 2019. Atwood spoke about how Gibson’s presence is still strongly felt both in her writing and daily life.

When asked how Gibson is still with her, Atwood said, “Let me count the ways. He’s finding a lot of this quite funny. He also finds it funny that he’s become kind of a saint,” she said, listing some of the scholarships they’ve named after him. “He’s having quite a chuckle.”

Atwood said she found that writing about her loss came more naturally — rather than painfully — to her.

“I’m not a masochist […] I enjoy writing. Some people do find it very hard to write and some people are writing about things very painful to them. But I’m not one of those people.”

Two people stand in the middle of a stage, holding hands raised triumphantly above their heads.

Margaret Atwood spoke on a wide range of topics, including lousy ChatGPT imitations of her work and the COVID-19 pandemic. (Courtesy of Gabriel Li)

Atwood announced that she is currently working on her memoir, though there was not much she could comment on about it. She also made no promises that it will see the light of day.

“I’m not supposed to talk about it […] anything you haven’t actually finished is theoretical, is it not? When I start getting more interested in historical romance than I am in writing, that’s a bad sign,” Atwood said, evoking laughter from the audience.

The author also touched on her writing process and answered some pre-submitted audience questions. Despite the dystopian themes often presented in her works and in the world today, she does still find that her life is filled with hope and joy.

“I am by nature a hopeful person, and no matter how gloomy their work may be, every writer is a hopeful person too. Let me demonstrate: they start a book, they hope they’ll finish it […] that’s a lot of hope.”

Atwood said she is disinterested in writing about utopias and perfect people because she finds them boring. Instead, she said she’d rather write about the hope found in the shadowed sides of human nature that more accurately reflects the world we live in.

“No matter how awful things may seem, we do hope that things will make a turn for the better.”

Hot Docs Podcast Festival 2019: A live podcast with 'Still Processing' from the New York Times

Co-hosts of the New York Times podcast ‘Still Processing’ Jenna Wortham and Wesley Morris came with some "Top" energy

Still Processing co-hosts Jenna Wortham and Wesley Morris standing on the Hot Docs stage in Toronto on Nov. 12 2019. (CanCulture/Brooke Houghton)

Still Processing co-hosts Jenna Wortham and Wesley Morris standing on the Hot Docs stage in Toronto on Nov. 12 2019. (CanCulture/Brooke Houghton)

By Brooke Houghton

Hot Docs’ fourth annual podcast festival in Toronto closed its curtains on Nov. 12 with an uncensored conversation between Jenna Wortham and Wesley Morris of the New York Times award-winning podcast Still Processing

The culture podcast covers hot topics, films and general societal issues through a queer and POC perspective. The podcast is co-hosted by Wesley Morris, a pulitzer prize winning film critic, and Jenna Wortham, a culture writer for the New York Times.

The co-hosts discussed  “top” and “bottom” energy, the Popeyes Chicken Sandwich, anal pleasure and personal anecdotes of uncomfortable racial situations from hair touching to personal style. 

The show opened with Morris and Wortham emerging from the audience and playfully dancing their way upstage and into their seats. 

After a warm and quippy introduction about Wortham googling 'Hot Toronto news' Morris transitioned into a personal experience of his from earlier in the week.

Morris recalled shopping in a small store where he was the only customer and the cashier started to play Solange's song Don’t Touch My Hair

"It was so weird!" said Morris. "… It was like she wanted me to know she knew not to touch my hair." 

Wortham chimed in on this issue with her own experiences of dealing with people asking, "Where is that from? I must have it!" (imagine a bad French accent) about her lock-pad necklace and personal style in general. 

She went on to suggest that these occurrences are manifestations of white guilt. Where although their intentions may be to show solidarity, their execution is uncomfortable, to say the least. 

This conversational discussion shines a light on a serious issue in a relatable, funny and empathetic way that listeners of Still Processing are more than familiar with.

The pair quickly moved on to an interactive game in which the audience had to decide whether the meaning behind a photo had “top” or “bottom” energy. 

Their first image was a zoomed-in photo of Mark Zuckerberg's hairline. The energy in question? His barber. The audience immediately took to the game and energetically participated in screaming, “Top!”, “Bottom!”, whooping and generally having a great time.

Other notable contestants on Top or Bottom included the Popeyes Chicken Sandwich, Frank Ocean’s "Prep" party, the Joker dancing, and the Trump impeachment informant. 

Wortham and Morris closed the show with a Q&A from the audience where they talked about how anal pleasure does not make you gay, queer identity and who can identify as queer, and the current books they're reading. 

On stage the co-stars proved their infectious charisma is not limited to their scripted podcast but simply inherent in their dynamic.

Still Processing just wrapped up its second season and will be returning for a third season with the New York Times in 2020.