Will not endear Heylin to academics, but does disperse some smoke while fanning the flames of this fiery debate.
The author of Bob Dylan: Behind the Shades (1991) and Bootleg: The Secret History of the Other Recording Industry (1995) concludes that an even more famous bard was both victim and beneficiary of “booklegging” when Shake-speares Sonnets appeared in 1609.
Heylin alludes frequently to his hero Dylan (“the Shakespeare of his day?”) and sees numerous correlations between the mysterious case of the Sonnets and the bootlegging of rock recordings. But he has also done his homework and presents in often frisky language some convincing answers to questions that have perplexed scholars for centuries. Did Shakespeare approve the publication of these intimate poems? Who was the “W.H.” of the dedication? Who were the real-life prototypes for the Dark Lady, the Fair Youth and the Rival Poet? Did he write those last two weak Cupid sonnets? Or “A Lover’s Complaint,” that long boring poem published with the Sonnets? Heylin demonstrates a scholar’s diligence and even makes a quick allusion to Jonathan Bate’s forthcoming Soul of the Age: A Biography of the Mind of William Shakespeare. But the author has come to bury, not praise most previous scholars and theorists, including venerable Shakespearean A.L. Rowse. Heylin is particularly disparaging about the work of Katherine Duncan-Jones, editor of Arden’s 1997 edition of Shakespeare’s Sonnets. Only near the end does he credit Duncan-Jones for being “the first modern academic” to recognize that the 108 “Fair Youth” sonnets are “a sequence unto themselves.” Heylin’s primary complaint about most of the experts is their determination to make what few facts there are conform to preconceptions—e.g., that Shakespeare could not have been bisexual. The author nominates minor poet John Davies as the most likely candidate to have snitched the sonnets and composed “A Lover’s Complaint.”
Will not endear Heylin to academics, but does disperse some smoke while fanning the flames of this fiery debate.Pub Date: June 1, 2009
ISBN: 978-0-306-81805-9
Page Count: 288
Publisher: Da Capo
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2009
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.
The undisputed champion of the self-conscious and the self-deprecating returns with yet more autobiographical gems from his apparently inexhaustible cache (Naked, 1997, etc.).
Sedaris at first mines what may be the most idiosyncratic, if innocuous, childhood since the McCourt clan. Here is father Lou, who’s propositioned, via phone, by married family friend Mrs. Midland (“Oh, Lou. It just feels so good to . . . talk to someone who really . . . understands”). Only years later is it divulged that “Mrs. Midland” was impersonated by Lou’s 12-year-old daughter Amy. (Lou, to the prankster’s relief, always politely declined Mrs. Midland’s overtures.) Meanwhile, Mrs. Sedaris—soon after she’s put a beloved sick cat to sleep—is terrorized by bogus reports of a “miraculous new cure for feline leukemia,” all orchestrated by her bitter children. Brilliant evildoing in this family is not unique to the author. Sedaris (also an essayist on National Public Radio) approaches comic preeminence as he details his futile attempts, as an adult, to learn the French language. Having moved to Paris, he enrolls in French class and struggles endlessly with the logic in assigning inanimate objects a gender (“Why refer to Lady Flesh Wound or Good Sir Dishrag when these things could never live up to all that their sex implied?”). After months of this, Sedaris finds that the first French-spoken sentiment he’s fully understood has been directed to him by his sadistic teacher: “Every day spent with you is like having a cesarean section.” Among these misadventures, Sedaris catalogs his many bugaboos: the cigarette ban in New York restaurants (“I’m always searching the menu in hope that some courageous young chef has finally recognized tobacco as a vegetable”); the appending of company Web addresses to television commercials (“Who really wants to know more about Procter & Gamble?”); and a scatological dilemma that would likely remain taboo in most households.
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.Pub Date: June 1, 2000
ISBN: 0-316-77772-2
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2000
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