Through her eyes, we see ... heads on pikes on London Bridge? Yes. Skillful and not-so-skillful bartering? Yes. And we see the "poetic license" of a not-yet-famous playwright, the strategizing of a master spy, the quick, self-organized gathering of men and women when there's a fire to be put out. We watch Constance react to seductive people, and we cheer when she kicks an attempted rapist. Her conversations with her friend Madge prove how clearly ordinary people can see the boundaries their society has drawn for them, and how easily and deliberately they sometimes ignore those boundaries. We see them strong, and at times weak. It's a beautiful book.
Shakespearean adaptations and "fan fiction" about the writer have been around for centuries-from seventeenth century mashups and happy ending versions of Romeo and Juliet to Sarah Sterling's 1905 Shakespeare's Sweetheart (narrated by the poet's wife, who runs off to London disguised as a boy actor), to Virginia Woolf's famous meditations on how gender limited Judith Shakespeare's opportunities, and on to Norman and Stoppard's Shakespeare in Love with its close attention to-among other things--how theaters operate.
Fans of this sort of fiction generally recognize something in it which resonates across time. Some pay most attention to families or communities, some to romance, some to the arts, some to political passions, or to the means by which wealth or poverty are created or maintained. In the 21st century, gender-blends and boundaries have sparked much interest and inventive casting.
In Shakespeare's Younger Sister, Geoffrey Craig pays attention to all of these. His particular contribution to the genre-Constance Shakespeare and her companions--comes from his wide experience with people and his unfailing curiosity about them. He's lived among the elite and among the impoverished, helped young entrepreneurs establish themselves, stood for the rights of women, worked in the corporate world, befriended and supported individuals whose choices were difficult and unconventional. And thus he's qualified to create Constance, to tweak-and-twiddle with Will, and to populate their world with convincingly human characters.
Some adult content.
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