ðˌoʊ ðeɪ kəntˈɪnjuːd tə ɡɛt pˈɑːzᵻtˌɪv ɐtˈɛnʃən, ɪŋklˈuːdɪŋ ɐ nˌɑːmᵻnˈeɪʃən ʌv wˈaɪld mˈaʊs fɚðə nˈaɪntiːnhˈʌndɹɪd nˈaɪnti nˈaɪn sˈɪɾi ʌv tɚɹˈɑːntoʊ bˈʊk ɐwˈɔːɹd, ænd ðɪ ɪŋklˈuːʒən ʌvðə hˈɔːntᵻd hˈɪlbɪli ɔnðə ɡlˈoʊb ænd mˈeɪl ænd vˈɪlɪdʒ vˈɔɪs lˈɪsts ʌvðə bˈɛst bˈʊks ʌvðə jˈɪɹ fɔːɹ tˈuː θˈaʊzənd fˈoːɹ, mə kˈɔːɹmæk ɪz nˈaʊ fˈɜːmli ɐ nˈɪtʃ ɔːɹ kˈʌlt ɹˈaɪɾɚ ɹˈæðɚ ðɐn pˈɑːɹt ʌv mˈeɪnstɹiːm kɐnˈeɪdiən lˈɪɾɚɹˌɛɹi kˈʌltʃɚ.
Though they continued to get positive attention, including a nomination of Wild Mouse for the 1999 City of Toronto Book Award, and the inclusion of The Haunted Hillbilly on The Globe and Mail and Village Voice lists of the best books of the year for 2004, McCormack is now firmly a niche or cult writer rather than part of mainstream Canadian literary culture.