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<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"bob dylan or fellini<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"Layout":"","footnotes":""},"categories":[240],"tags":[629,630,631],"class_list":["entry","author-rockbob","has-excerpt","post-216","post","type-post","status-publish","format-standard","category-performing","tag-bob-wiseman-and-margaret-atwood","tag-does-margaret-atwood-play-music","tag-what-musicians-have-payed-with-margaret-atwood"],"_links":{"self":[{"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=\/wp\/v2\/posts\/216","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=216"}],"version-history":[{"count":0,"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=\/wp\/v2\/posts\/216\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=216"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=216"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bobwiseman.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=216"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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This was like meeting Bob Dylan or Fellini. A great honour to improvise behind her poem about natural catastrophes. Proud of not going on and on to her about how I cried at the end of the “Blind Assassin” & “Alias Grace”,\u00a0 about wondering who Zenia really was based on from “The Robber Bride” or for thanking her for the vivid portrayal of the cruel future (and present) machinery of faceless animal farming etc. in “Oryx and Crake”. I watched other people gush and sensed it better to just be quiet and play the piano and not unnecessarily distract her excellent poem.<\/p>\n