That’s not to say she tempers her wit and infamous ink-black humor when she’s on any stage: not in the least, thank goodness, but the personal she saves for personal interactions, and, more vitally for her readers, she saves her real subversion, just how transgressive, deliciously dangerous, even outrageous, she can and needs to be, for the page. In public, the author, who’s also my friend from some years of working together on various projects, is a model of self-restraint. I’m not sure she can either, as they accrue, and if the media’s voracity overwhelms her, she’s not likely to admit it. I can’t count the number of interviews she’s given-in print, online, on TV-as part of The Testaments tour. Her latest novel, The Testaments, the long-hoped-for sequel to The Handmaid's Tale, is already in its third printing in only weeks after its release. These have been translated into more than 25 languages The Handmaid’s Tale has sold over eight million copies and counting the Hulu television series based on her 1985 novel has won fourteen Emmy’s and is in its third season. When Margaret Atwood is discussed these days, numbers necessarily lead the way in, to underscore and give full accounting to the Atwood phenomenon: She’s written more than 50 books.
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