Individual pieces cover a broad range of topics and forms, and with many, Atwood presents a mix of digression into autobiographical vignettes (counting bugs in the Canadian woods with her father, semi-disastrous forays into fashion, discovering Tarot, leaky roofs) with cultural critique (from Simone de Beauvoir and second wave feminism to the treatment of female students at Harvard), and then looping back to the stated topic again. A common refrain in these highly discursive pieces is, 'but I digress,' which, with any writer of lesser skill, would be annoying. But it’s not, she’s not. Because many of these pieces were written as lectures or speeches for various groups (students, lawyers, neurologists, nurses), we can hear Atwood’s voice leap off the page. Others written as book reviews and introductions for everyone from Bradbury to her own husband’s posthumous reissues, are just as vibrant because, of course, Atwood’s writing voice is both accessible and compelling: she invites you in, and you want to keep reading..