A brisk, informative, and startling look at Shakespeare.
Chemist, journalist, and blogger Harkup examines the many ways Shakespeare chose to kill off his characters—something that happens in most of his plays.
“Shakespeare’s tragedies and histories,” writes the author, “are littered with the bodies of characters who got in the way of someone’s ambition or were cut down because of some perceived insult.” Readers will need a strong stomach to get through many of Harkup’s descriptions: of the process of hanging, drawing, and quartering, for example, where convicted individuals were cut down from the scaffold before death “and were still able to watch as their entrails and heart were drawn out of their abdomen and burnt on a fire in front of them.” Or consider the visceral effects of various poisons: Cyanide, for one, causes “massive cell death,” resulting in “headache, dizziness and convulsions, as well as vomiting and rapid pulse, before collapse and death.” Cleopatra’s snake bite was not likely to have been “soft as air,” as Shakespeare described it, since Egyptian cobra bites are very painful, especially on the breast, which is where Cleopatra placed the snake. Most of Shakespeare’s victims die in sword fights; Harkup notes that his actors were expected to be skilled at swordsmanship, and many trained at fencing schools. With battles an important feature in Shakespeare’s histories, it’s no wonder that death by sword recurred, but there were other causes, too, including smothering, beheading, drowning, and suicide. In an appendix, the author provides a chart listing all of the plays’ victims and the means by which they died. A few, like Othello, took their own lives out of guilt; others, like Lady Montague in Romeo and Juliet, died of grief. Besides investigating the plays, Harkup gives historical background about Elizabethan perils, such as executions, plague, syphilis, death in childbirth, tuberculosis, and infected wounds. She speculates about what Shakespeare knew about causes of death; like other contemporary playwrights, he did know that audiences loved violence.
A brisk, informative, and startling look at Shakespeare.Pub Date: May 5, 2020
ISBN: 978-1-4729-5822-8
Page Count: 368
Publisher: Bloomsbury Sigma
Review Posted Online: Jan. 20, 2020
Kirkus Reviews Issue: Feb. 15, 2020
BOOK REVIEW
BOOK REVIEW
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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