An in-depth look at the science behind the creative methods Shakespeare used to kill off his characters.
In Death By Shakespeare, Kathryn Harkup, best-selling author of A is for Arsenic and expert on the more gruesome side of science, turns her expertise to Shakespeare and the creative methods he used to kill off his characters. Is death by snakebite really as serene as Cleopatra made it seem? How did Juliet appear dead for 72 hours only to be revived in perfect health? Can you really kill someone by pouring poison in their ear? How long would it take before Lady Macbeth died from lack of sleep? Readers will find out exactly how all the iconic death scenes that have thrilled audiences for centuries would play out in real life.
In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theater was a fairly likely scenario. Death is one of the major themes that reoccurs constantly throughout Shakespeare's canon, and he certainly didn't shy away from portraying the bloody reality of death on the stage. He didn't have to invent gruesome or novel ways to kill off his characters when everyday experience provided plenty of inspiration.
Shakespeare's era was also a time of huge scientific advance. The human body, its construction and how it was affected by disease came under scrutiny, overturning more than a thousand years of received Greek wisdom, and Shakespeare himself hinted at these new scientific discoveries and medical advances in his writing, such as circulation of the blood and treatments for syphilis.
Shakespeare found 74 different ways to kill off his characters, and audiences today still enjoy the same reactions--shock, sadness, fear--that they did over 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the science to back them up?
I love reading books that provide some kind of external context about other books or works — whether it’s historical context, criticism, and, in the case of Kathryn Harkup’s Death by Shakespeare, scientific context. Death by Shakespeare explores the many deaths in Shakespeare’s plays and provides insightful looks into how contemporaries handled disease and death, and Harkup explores these topics with clarity, empathy, and humor. Shakespeare’s body of work can be daunting and difficult for modern readers, but Harkup presents her research in an engaging way that is entertaining and in reach.
I loved the intersections of contemporary and modern medicine, as well as the examinations of how the deaths in the plays were (or weren’t) performed on stage. Death today seems so far removed from our society, yet in Shakespeare’s day, death was actively part of every day life. This was also something weird to read at this present time with the coronavirus pandemic because I’m confronted by death daily and still so far removed from it because no one I know has contracted it, but Shakespeare and his contemporaries confronted death in all its causes in such close proximity that it was difficult to ignore, even in his own work. The thing I loved most about Death by Shakespeare is the connection of the historical and everyday life with the science because it made everything feel so much more real. Like death, history seems something so far removed from us that we sometimes forget that history is populated by people living lives with emotional scope and depth as people live today, so in a way, putting Shakespeare’s plays into context like, along with any contextual criticism, this brings the humanity of these plays to the surface.
This is something that would be beneficial to anyone reading and studying Shakespeare as it provides an engaging and accessible look into the reasons why Shakespeare likely used certain kinds of poisons, murders, and avenues of death in his work. Personally, I know having this historical/literary/scientific context when I was taking my Shakespeare course in undergrad would have added so much to my enjoyment and understanding of the plays, but I’m glad to have read it now!
Many thanks to Bloomsbury Publishing for sending me an early copy to review! All opinions are my own.
Wyrd and Wonder is a month-long fantasy blog celebration hosted by Lisa, Jorie, and Imyril! I’ve followed for the last two years, but I decided to participate this year!
I’m trying to read more of my own books while on lockdown because I have so many unread. I will obviously read others than this, but here are the three books I really want to get to this month, including the readalong!
Daughter of the Forest – Juliet Marillier :: Marillier recently put out another book (The Harp of Kings) and this reminded me of Daughter of the Forest that I devoured as a teenager because I wanted to read everything fairy tales and retellings. I’ve seen it pop up on bookstagram over the last few months, and now is the perfect time to read it!
The Goblin Emperor – Katherine Addison :: I bought this a year and a half ago because it was getting a new cover and I liked this one better and I wasn’t sure if the bookstore where I worked would stock this mass market size after the (more expensive) trade, but I obviously still haven’t read it. I think Addison is releasing a new one this year or next, and I’ve also seen this one going around bookstagram and various online readalongs (including this one!)!
The Queen of Blood – Sarah Beth Durst :: This is another one that I bought the whole series of based off of someone’s recommendation but never got around to it until seeing it read by someone I follow on social media. Now is the best time to binge read a series, so I’m looking forward to getting to this one!
Have you read any of these? Let me know what you’re reading this month!
A life in snapshots…
Grace knows what people see. She’s the Cinderella story. An icon of glamor and elegance frozen in dazzling Technicolor. The picture of perfection. The girl in white gloves. A woman in living color…
But behind the lens, beyond the panoramic views of glistening Mediterranean azure, she knows the truth. The sacrifices it takes for an unappreciated girl from Philadelphia to defy her family and become the reigning queen of the screen. The heartbreaking reasons she trades Hollywood for a crown. The loneliness of being a princess in a fairy tale kingdom that is all too real. Hardest of all for her adoring fans and loyal subjects to comprehend, is the harsh reality that to be the most envied woman in the world does not mean she is the happiest. Starved for affection and purpose, facing a labyrinth of romantic and social expectations with more twists and turns than Monaco’s infamous winding roads, Grace must find her own way to fulfillment. But what she risks--her art, her family, her marriage—she may never get back.
The first half of this was so good, nuanced and detailed with a lot of sparking humor. I love fiction about Hollywood and the behind the scenes glimpses it gives, but this book fell apart halfway through for me. The characterization of Grace Kelly did a complete turnaround and felt unrecognizable from the character introduced to us in the beginning. Tonally, the book felt like a completely separate title halfway through, and it left me a little disappointed.
Title:Peter Watts Is An Angry Sentient Tumor: Revenge Fantasies and Essays by Peter Watts Published byTachyon Publications Published: November 12 2019 Genres:Non-Fiction Pages: 320 Format:ARC Source:Netgalley Buy: Bookshop(afflilate link) Goodreads
“A brilliant bastard.” —Cory Doctorow“Comfort, of course, is the last thing that Watts wants to give.” —New York Review of Science Fiction
Which of the following is true?
-Peter Watts is banned from the U.S.-Watts almost died from flesh-eating bacteria.-A schizophrenic man living in Watts's backyard almost set his house on fire. -Watts was raised by Baptists who really sucked at giving presents.-Peter Watts said to read this book. Or else.
“Watts, undoubtedly, is a genius.” ―Medium
In more than fifty unpredictable essays and revenge fantasies, Peter Watts — Hugo Award-winning author, former marine biologist, and angry sentient tumor — is the savage dystopian optimist whom you can’t look away from. Even when you probably should.
I didn’t really know anything about Peter Watts before reading this collection of his writing/blog posts, and the resulting collection in an acerbic, entertaining look into a myriad of subjects. It was a lot to take in all at once, so I picked at this over the course of several months. I loved his perspective on a lot of things, so if you like essays about literally anything, definitely take a look at this.
Title:Show Them a Good Time by Nicole Flattery Published byBloomsbury Publishing Published: January 28th 2020 Genres:Fiction Pages: 256 Format:ARC Source:Netgalley Buy: Bookshop(afflilate link) Goodreads
A blisteringly original and wickedly funny collection of stories about the strange worlds that women inhabit and the parts that they must play.
A sense of otherworldly menace is at work in the fiction of Nicole Flattery, but the threats are all too familiar. SHOW THEM A GOOD TIME tells the stories of women slotted away into restrictive roles: the celebrity's girlfriend, the widower's second wife, the lecherous professor's student, the corporate employee. And yet, the genius of Flattery's characters is to blithely demolish the boundaries of these limited and limiting social types with immense complexity and caustic intelligence. Nicole Flattery's women are too ferociously mordant, too painfully funny to remain in their places.
In this fiercely original and blazingly brilliant debut, Flattery likewise deconstructs the conventions of genre to serve up strange realities: In Not the End Yet, Flattery probes the hilarious and wrenching ambivalence of Internet dating as the apocalypse nears; in Sweet Talk, the mysterious disappearance of a number of local women sets the scene for a young girl to confront the dangerous uncertainties of her own sexuality; in this collection's center piece, Abortion, A Love Story, two college students in a dystopian campus reconfigure the perilous stories of their bodies in a fraught academic culture to offer a subversive, alarming, and wickedly funny play that takes over their own offstage lives. And yet, however surreal or richly imagined the setting, Flattery always shows us these strange worlds from startlingly unexpected angles, through an unforgettable cast of brutally honest, darkly hilarious women and girls.
Like the stories of Mary Gaitskill, Miranda July, Lorrie Moore, Joy Williams, and Ottessa Moshfegh, SHOW THEM A GOOD TIME is the work of a profoundly resonant and revelatory literary voice – at once spiky, humane, achingly hilarious-- that is sure to echo through the literary culture for decades to come.
I like reading collections of short stories to break up longer books or when my attention span is fried, so I was happy to read a collection of a new-to-me author. This collection played with the subversion of gender roles and explored the contrasts of women in society. My favorite story of the collection is ‘Show Them a Good Time,’ but the rest began feeling samey and repetitive after a while. This is probably best read one story at a time rather than a few here and there.
Hello, Friday! First Lines Friday is a feature on my blog in which I post the first lines from a book I am interested in reading, either a new release or a backlist title! For the next several Fridays, I will be featuring titles I am going to hopefully read as part of my 12 Decades/12 Months/12 Books challenge (#12decades12books). I still have never read anything of Elizabeth Gaskell’s work, and sometimes I question myself about it as she’s a contemporary of Charlotte Bronte. However, I am working on expanding my horizons during this quarantine time, and I placed an order for Wives and Daughters for my #12decades12books challenge.
To begin with the old rigmarole of childhood. In a country there was a shire, and in that shire there was a town, and in that town there was a house, and in that house there was a room, and in that room there was a bed, and in that bed there lay a little girl; wide awake and longing to get up, but not daring to do so for fear of the unseen power in the next room; a certain Betty, whose slumbers must not be disturbed until six o’clock struck, when she wakened of herself ‘as sure as clockwork,’ and left the household very little peace afterwards. It was a June morning, and early as it was, the room was full of sunny warmth and light.
On the drawers opposite to the little white dimity bed in which Molly Gibson lay, was a primitive kind of bonnet-stand on which was hung a bonnet, carefully covered over from any chance of dust with a large cotton handkerchief; of so heavy and serviceable a texture that if the thing underneath it had been a flimsy fabric of gauze and lace and flowers, it would have been altogether ‘scomfished.’
This is the last of her novels, published serially before she died and completely posthumously, and this was the title of hers (aside from North & South) that spoke to me.
The Handmaid’s Tale meets Alice in Wonderland in this gripping and imaginative historical novel about a shunned orphan girl in 16th century England who is ensnared in a deadly royal plot and must turn her subjugation into her power.
The Sin Eater walks among us, unseen, unheard Sins of our flesh become sins of Hers Following Her to the grave, unseen, unheard The Sin Eater Walks Among Us.
For the crime of stealing bread, fourteen-year-old May receives a life sentence: she must become a Sin Eater—a shunned woman, brutally marked, whose fate is to hear the final confessions of the dying, eat ritual foods symbolizing their sins as a funeral rite, and thereby shoulder their transgressions to grant their souls access to heaven.
Orphaned and friendless, apprenticed to an older Sin Eater who cannot speak to her, May must make her way in a dangerous and cruel world she barely understands. When a deer heart appears on the coffin of a royal governess who did not confess to the dreadful sin it represents, the older Sin Eater refuses to eat it. She is taken to prison, tortured, and killed. To avenge her death, May must find out who placed the deer heart on the coffin and why.
“A keenly researched feminist arc of unexpected abundance, reckoning, intellect, and ferocious survival” (Maria Dahvana Headley, author of The Mere Wife) Sin Eater is “a dark, rich story replete with humor, unforgettable characters, and arcane mysteries. It casts a spell on your heart and mind until the final page” (Jennie Melamed, author of Gather the Daughters).
The Unseen is now seen. The Unheard is now heard. The sins of your flesh become the sins of mine to be borne to my grave in silence. Speak.
Megan Campisi’s Sin Eater defies genre. It is historical fiction, but not completely; it’s fantasy/fabulist¹, but not completely. This indefinite quality adds to its appeal. Sin-eaters did exist, but sin-eaters still remain more in folkloric history in which not much is widely known about them and their practices. Campisi brings an alternate speculative look at Elizabethan England that is rich and detailed, and I wanted more from the world she created. The comp titles listed with this are wide and varied, and for the most part I don’t know if they particularly fit, aside from Margaret Atwood’s The Handmaid’s Tale in the sense that this is a character study of a young woman in a society that prefers she stay in her place and not question anything. If anything, my comp would be The Handmaid’sTale meets Parasite in an alternate Tudor England as this is very much about class, violent deception, and the fear that rules institutionalized religion.
May Owens, the fourteen year old girl sentenced to become a Sin Eater after stealing food, is the perfect set of eyes through which to experience this world, because like her, we are unfamiliar with a lot of the customs outside of our immediate recognition. May’s isolation and loneliness are present on the page, along with her discomfort and estrangement at her own acceptance of her life’s chosen path. When she delves into the mystery surrounding her mentor’s death, May discovers that the court for which she is performing the sin eating is rife with manipulative and deceptive people, and nobody can be trusted but herself, and even then she’s not entirely sure she can trust herself.
This is an excellent intrigue of a novel, grim and gruesome with a lot of heart, and it’s a contender to be one of my favorite reads of the year.
Thank you to Atria Books for a review copy! All opinions are my own.
¹ I’ve begun using “fabulist” for something that isn’t quite “real” and not quite “fantasy” in terms of genre, as “magical realism” is a style specific to Latin American literature.