Canadian literature can be considered peripheral from the point of view of the international book market, also less well-known compared to other literatures written in English or French. It is perhaps not surprising that this was no different before the political change. It is worth noting, however, that in the examined reader’s reports, the personal interest of the reviewers is directed not only towards Atwood but also to Canadian literature in general. In the opinions on Atwood’s literary work, we find strong images, associations of Canada, for example “raw, stark naturalism in the depiction of details can be noticed in the work of other Canadian writers as well; this shifts sometimes to the almost mythical, pagan worship of the Canadian, wild, natural environment” (1974). In the literary works, the “Canadian wilderness” (1981) is contrasted with urban life. This dichotomy is also pointed out by another reviewer: “in modern Canadian literature, the themes of the city and countryside, urban environment and natural landscape bring forth rather interesting literary developments in their anachronistic rawness, at least for us” (1981). The reviewer of Bluebeard’s Egg in 1984 mentions the influence of Canada on the literary work as the most important factor. “Themes in Atwood’s works have always been determined by her life experiences of being Canadian, a woman, and her relationship with nature.” These three themes appear in Atwood’s oeuvre. One of the reviewers of Bodily Harm reflect on the reception of Canadian literature in 1982:

 

 

This opinion is strengthened by an opinion dated 1986 about Dancing Girls, whose reviewer does not recommend the whole book for publishing, and notes that the reason for selection is that “very little of Canadian literature reaches our country” (without date). This observation still holds up till today, although thanks to Margaret Atwood and Alice Munro, Canadian literature is becoming more widely known these days.