Weyward


Book Description

INSTANT NEW YORK TIMES BESTSELLER WINNER OF TWO GOODREADS CHOICE AWARDS (Best Debut Novel & Best Historical Fiction) An Indie Next March 2023 Pick • A LibraryReads March 2023 Pick • An Amazon "Best Books of the Year So Far" 2023 Pick "A brave and original debut, Weyward is a spellbinding story about what may transpire when the natural world collides with a legacy of witchcraft." ––Sarah Penner, New York Times bestselling author of The London Séance Society I am a Weyward, and wild inside. 2019: Under cover of darkness, Kate flees London for ramshackle Weyward Cottage, inherited from a great-aunt she barely remembers. With its tumbling ivy and overgrown garden, the cottage is worlds away from the abusive partner who tormented Kate. But she suspects that her great-aunt had a secret. One that lurks in the bones of the cottage, hidden ever since the witch-hunts of the 17th century. 1619: Altha is awaiting trial for the murder of a local farmer who was stampeded to death by his herd. When Altha was a girl, her mother taught her their magic, a kind not rooted in spell casting but in a deep knowledge of the natural world. But unusual women have always been deemed dangerous, and as the evidence of witchcraft is laid out against Altha, she knows it will take all her powers to maintain her freedom. 1942: As World War II rages, Violet is trapped in her family's grand, crumbling estate. Straitjacketed by societal convention, she longs for the robust education her brother receives––and for her mother, long deceased, who was rumored to have gone mad before her death. The only traces Violet has of her are a locket bearing the initial W and the word weyward scratched into the baseboard of her bedroom. Weaving together the stories of three extraordinary women across five centuries, Emilia Hart's Weyward is an astonishing debut, and an enthralling novel of female resilience.




The Plays


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Shakespeare and the Editorial Tradition


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Shakespeare has never been more ubiquitous, not only on the stage and in academic writing, but in film, video and the popular press. On television, he advertises everything from cars to fast food. His birthplace, the tiny Warwickshire village of Stratford-Upon-Avon, has been transformed into a theme park of staggering commercialism, and the New Globe, in its second season, is already a far bigger business than the old Globe could ever have hoped to be. If popular culture cannot do without Shakespeare, continually reinventing him and reimagining his drama and his life, neither can the critical and scholarly world, for which Shakespeare has, for more than two centuries, served as the central text for analysis and explication, the foundation of the western literary canon and the measure of literary excellence.The Shakespeare the essays collected in these volumes reveal is fully as multifarious as the Shakespeare of theme parks, movies and television. Indeed, it is part of the continuing reinvention of Shakespeare. The essays are drawn for the most part from work done in the past three decades, though a few essential, enabling essays from an earlier period have been included. They not only chart the directions taken by Shakespeare studies in the recent past, but they serve to indicate the enormous and continuing vitality of the enterprise, and the extent to which Shakespeare has become a metonym for literary and artistic endeavor generally.




Outsiders


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Macbeth


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"The tragedy of Macbeth is filled with blood and darkness, and is a morally and politically complex study of ambition, power and guilt. This guide offers practical aids to study and fresh new ways of responding to the play's ever-expanding critical possibilities" -- Back cover.







Strangeness in Jacobean Drama


Book Description

Callan Davies presents “strangeness” as a fresh critical paradigm for understanding the construction and performance of Jacobean drama—one that would have been deeply familiar to its playwrights and early audiences. This study brings together cultural analysis, philosophical enquiry, and the history of staged special effects to examine how preoccupation with the strange unites the verbal, visual, and philosophical elements of performance in works by Marston, Shakespeare, Middleton, Dekker, Heywood, and Beaumont and Fletcher. Strangeness in Jacobean Drama therefore offers an alternative model for understanding this important period of English dramatic history that moves beyond categories such as “Shakespeare’s late plays,” “tragicomedy,” or the home of cynical and bloodthirsty tragedies. This book will be of great interest to students and scholars of early modern drama and philosophy, rhetorical studies, and the history of science and technology.




Shakespeare and Latinidad


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Shakespeare and Latinidad is a collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on Latinx productions and appropriations of Shakespeare’s plays.




Shakespeare's Modern Collaborators


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Recent work in Shakespeare studies has brought to the forefront a variety of ways in which the collaborative nature of Shakespearean drama can be investigated: collaborative performance (Shakespeare and his fellow actors); collaborative writing (Shakespeare and his co-authors); collaborative textual production (Shakespeare and his transcribers and printers). What this leaves unaccounted for is the form of collaboration that affects more than any other our modern reading experience of Shakespeare's plays: what we read as Shakespeare now always comes to us in the form of a collaborative enterprise - and is decisively shaped by the nature of the collaboration - between Shakespeare and his modern editors. Contrary to much recent criticism, this book suggests that modern textual mediators have a positive rather than negative role: they are not simply 'pimps of discourse' or cultural tyrants whose oppressive interventions we need to 'unedit' but collaborators who can decisively shape and enable our response to Shakespeare's plays. Erne argues that any reader of Shakespeare, scholar, student, or general reader, approaches Shakespeare through modern editions that have an endlessly complicated and fascinating relationship to what Shakespeare may actually have intended and written, that modern editors determine what that relationship is, and that it is generally a very good thing that they do so.




Weyward


Book Description