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William Shakespeare's The Tempest retold as Hag-Seed
�
Felix is at the top of his game as Artistic Director of the Makeshiweg Theatre Festival. His productions have amazed and confounded. Now he's staging a Tempest like no other: not only will it boost his reputation, it will heal emotional wounds.
�
Or that was the plan. Instead, after an act of unforeseen treachery, Felix is living in exile in a backwoods hovel, haunted by memories of his beloved lost daughter, Miranda. And also brewing revenge.
�
After twelve years, revenge finally arrives in the shape of a theatre course at a nearby prison. Here, Felix and his inmate actors will put on his Tempest and snare the traitors who destroyed him. It's magic! But will it remake Felix as his enemies fall?
�
Margaret Atwood’s novel take on Shakespeare’s play of enchantment, retribution, and�second chances leads us on an interactive, illusion-ridden journey filled with new surprises and wonders of its own.
- Sales Rank: #14158 in Books
- Published on: 2016-10-11
- Released on: 2016-10-11
- Original language: English
- Number of items: 1
- Dimensions: 8.26" h x 1.04" w x 5.32" l, 1.25 pounds
- Binding: Hardcover
- 320 pages
Review
"A marvel of gorgeous yet economical prose, in the service of a story that's utterly heartbreaking yet pierced by humor, with a plot that retains considerable subtlety even as the original's back story falls neatly into place."—New York Times Book Review
“What makes the book thrilling, and hugely pleasurable, is how closely Atwood hews to Shakespeare even as she casts her own potent charms, rap-composition included… Part Shakespeare, part Atwood, “Hag-Seed” is a most delicate monster — and that’s “delicate” in the 17th-century sense. It’s delightful.”—The Boston Globe
“Atwood has designed an ingenious doubling of the plot of “The Tempest”: Felix, the usurped director, finds himself cast by circumstances as a real-life version of Prospero, the usurped Duke. If you know the play well, these echoes grow stronger when Felix decides to exact his revenge by conjuring up a new version of “The Tempest” designed to overwhelm his enemies.”—The Washington Post
�
“A funny and heartwarming tale of revenge and redemption, this latest release in the Hogarth Shakespeare project, whose aim it is to retell Shakespeare's most beloved works through the works of bestselling authors like Anne Tyler and Gillian Flynn, Hag-Seed�is a remarkable contribution to the canon.”—Bustle
“Atwood’s canny remix offers multiple pleasures…[marvel] at the ways she changes, updates, and parallels the play’s magic, grief, vengeance, and showmanship.” –Publishers Weekly, starred review
�
�“…Inventive, heartfelt, and swiftly rendered.” –Library Journal, starred review
"Atwood brilliantly pulls off the caper in a short novel that should be assigned to high school students as a hilarious riff on one of Shakespeare's more mystifying plays. It's much more than a retelling; it's an ingenious analysis and critique rolled into one."—St. Louis Post-Dispatch
"Margaret Atwood's modern retelling is an entertaining romp of revenge, redemption."—Minneapolis Star-Tribune
"A triumph [...] The book illuminates the breadth and depth of the whole play. The troupe's workshops on it fizz with perception as Atwood transmits the pleasurable buzz of exploring a literary masterpiece. There won't be a more glowing tribute to Shakespeare in his 400th anniversary year."–Peter Kemp,�Sunday Times
"The novel shines a thrilling new light on�The Tempest's themes of revenge and forgiveness [...] as well as making a strong case for art's ability to "set you free" by helping you understand yourself."–Helen Brown,�Sunday Telegraph
"Surpassingly brilliant [...] without question the cleverest "neo-Shakespearean novel" I have ever read [...] the learning and the critical analysis are worn exceptionally lightly, always subordinated to wit, invention, characterisation and slick twists of plot [...] wonderfully ingenious."–Jonathan Bate,�The Times
“…you don't need to be a Shakespeare geek like me to enjoy Hag-Seed; it's a good story, and will introduce you to the play gently, with Felix himself as your guide.”–NPR Books
“Hag-Seed is a treat. It’s a beautifully constructed adaptation, one that stands on its own but is even richer when read against its source — and can, in turn, enrich its source material. It’s playful and thoughtful, and it singlehandedly makes a good argument for the value of adapting Shakespeare.”–Vox
“Atwood has tremendous fun with Hag-Seed. Those who know the play will especially enjoy her artful treatment of its more poignant storylines. But even someone unfamiliar with Shakespeare will be entertained by this compelling tale of enchantment and second chances, and the rough magic it so delightfully embodies.”-Bookpage
“Readers looking for Atwood’s wit and mastery of language will find it at work here… Atwood more than does justice to the Bard.”-Chicago Review of Books
“One needn’t be a Shakespeare fan in order to love this retelling of The Tempest…This book is funny and wonderful. Highly recommended for Shakespeare lovers and those seeking revenge.”-Seattle Book Review
About the Author
MARGARET ATWOOD, whose work has been published in thirty-five countries, is the author of more than forty books of fiction, poetry, and critical essays. In addition to�The Handmaid's Tale, her novels include�Cat's Eye, short-listed for the 1989 Booker Prize;�Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy;�The Blind Assassin, winner of the 2000 Booker Prize;�Oryx and Crake, short-listed for the 2003 Man Booker Prize;�The Year of the Flood; and her most recent,�MaddAddam.She is the recipient of the Los Angeles Times Innovator's Award, and lives in Toronto with the writer Graeme Gibson.
Excerpt. � Reprinted by permission. All rights reserved.
PROLOGUE:
Screening
Wednesday, March 13, 2013.
The house lights dim. The audience quiets.
ON THE BIG FLATSCREEN: Jagged yellow lettering on black:
THE TEMPEST
By William Shakespeare
with
The Fletcher Correctional Players
Onscreen: A hand-printed sign, held up to the camera byAnnouncer,wearing a short purple velvet cloak. In his otherhand, a quill.
Sign: A SUDDEN TEMPEST
Announcer: What you’re gonna see, is a storm at sea:Winds are howlin’, sailors yowlin’,Passengers cursin’ ’em, ’cause it gettin’ worse:Gonna hear screams, just like a ba-a-d dream,But not all here is what it seem,Just sayin’.
Grins.
Now we gonna start the playin’.
He gestures with the quill. Cut to: Thunder and lightning, in funnel cloud, screengrab from the Tornado Channel. Stock shot of ocean waves. Stock shot of rain. Sound of howling wind.Camera zooms in on a bathtub-toy sailboat tossing up and down on a blue plastic shower curtain with fish on it, the waves made by hands underneath.Closeup of Boatswain in a black knitted tuque. Water is thrown on him from offscreen. He is drenched.
BOATSWAIN: Fall to’t yarely, or we run ourselves aground!
Bestir, bestir!
Yare! Yare! Beware! Beware!
Let’s just do it,
Better get to it,
Trim the sails,
Fight the gales,
Unless you wantin’ to swim with the whales!
VOICES OFF: We’re all gonna drown!
BOATSWAIN: �Get outta tha’ way! No time for play!
A bucketful of water hits him in the face.
VOICES OFF:�Listen to me! Listen to me!
Don’t you know we’re royalty?
BOATSWAIN: �Yare! Yare! The waves don’t care!
The wind is roarin’, the rain is pourin’,
All you do is stand and stare!
VOICES OFF: �You’re drunk!
BOATSWAIN: �You’re a idiot!
VOICES OFF: �We’re doomed!
VOICES OFF: �We’re sunk!
Closeup of Ariel in a blue bathing cap and iridescent ski goggles, blue makeup on the lower half of his face. He’s wearing a translucent plastic raincoat with ladybugs, bees, and butterflies on it. Behind his left shoulder there’s an odd shadow. He laughs soundlessly, points upward with his right hand, which is encased in a blue rubber glove. Lightning flash, thunderclap.
VOICES OFF: �Let’s pray!
BOATSWAIN: �What’s that you say?
VOICES OFF: �We’re goin’ down! We’re gonna drown!
Ain’t gonna see the King no more!
Jump offa the ship, swim for the shore!
Ariel throws his head back and laughs with delight. In each of his blue rubber hands he’s holding a high-powered flashlight, in flicker mode.
The screen goes black.
A VOICE FROM THE AUDIENCE: �What?
ANOTHER VOICE:�Power’s off.
ANOTHER VOICE:�Must be the blizzard. A line down somewhere.
Total darkness. Confused noise from outside the room. Yelling.
Shots are fired.
A VOICE FROM THE AUDIENCE:�What’s going on?
VOICES, FROM OUTSIDE THE ROOM: �Lockdown! Lockdown!
A VOICE FROM THE AUDIENCE:�Who’s in charge here?
Three more shots.
A VOICE, FROM INSIDE THE ROOM: �Don’t move! Quiet!
Keep your heads down! Stay right where you are.
Most helpful customer reviews
38 of 38 people found the following review helpful.
Shakespeare in Prison
By Roger Brunyate
The outer gate swings open, propelled by invisible hands. My
thanks, ye demi-puppets, Felix addresses them silently, ye
elves of barbed wire, tasers, and strong walls, weak masters
though ye be. As he drives away downhill the gate closes behind
him, locking itself with a metallic thud, Already the air is
darkening; behind him, the searchlights blare into life.
Felix Phillips, renowned theater director fallen on hard times, drives home to his two-room shack after a day rehearsing his production of The Tempest at Fletcher County Correctional Institute. That's right, he is staging Shakespeare in a prison. After being ousted from his post as artistic Director of the Makeshiweg Festival (think Stratford, Ontario) through the machinations of his once-loyal right-hand man Tony, Felix goes to ground and contemplates revenge. Under a pseudonym, he takes a part-time job as instructor in the Literacy Through Literature program at the prison, where he produces an annual Shakespeare play. This time, his choice is THE TEMPEST, and he intends to use it to turn the tables on those who once deposed him.
By now, I am a confirmed fan of the Hogarth Shakespeare series, which commissions famous novelists to write their own takes on Shakespeare plays. The series started well with Jeanette Winterson's THE GAP OF TIME (THE WINTER'S TALE), then just got better and better with Howard Jacobson's SHYLOCK IS MY NAME (THE MERCHANT OF VENICE), Anne Tyler's VINEGAR GIRL (THE TAMING OF THE SHREW), and now Margaret Atwood's HAG-SEED, the best of the lot. THE TEMPEST, she says, is a play about a man (Prospero) staging a play in order to exact revenge on his adversaries. What more natural (and more Shakespearean) than to add a further layer, and make this adaptation about a wronged director staging this play that itself contains a play within the play? Well, to be honest, there were a few chapters early on when I feared that the approach might be too cute for words. But I forgot such thoughts as soon as Felix entered that prison. For what we get there—and this is the larger part of the book—is a brilliant example not only of Shakespeare interpretation but also of superb teaching. As Felix breaks the play down and works with the prisoners to analyze the characters and themes, I—who have taught Shakespeare for thirty years, directed the show twice, and written my own operatic adaptation of THE TEMPEST—was drop-jawed with amazement. Perhaps Atwood occasionally allows herself to play the professor rather than the novelist, but there is a lot of fun too. For example, Felix's rule that the only swear words allowed in the class are those taken from the play itself. Hence delightful (but insightful) dialogues like the following:
"Caliban should be First Nations," says Red Coyote. "It's obvious.
Got his land stole."
"No way," says PPod. "He's African. Where's Algiers anyway? North
Africa, right? That's where his mother came from. Look on the map, pox brain."
"So, he's a Muslim? I don't whoreson think so." VaMoose, another
Caliban aspirant.
"No way that he's smelly-fish white trash, anyways," says Shiv,
glaring at Leggs. "Even part white."
"I score," says Leggs. "You heard the man, fen head, it's final.
So suck it."
"Points off, you swore," says PPod.
"Suck it's not a swear word," says Leggs. "It's only a diss. Everyone
knows that, and the devil take your fingers!"
Anne-Marie laughs.
Because the authorities will not risk bringing the prisoners together to watch a staged performance, Felix builds up his shows on video, which allows for much more flexibility in concept than you would get in a straight play. It also allows him to hijack the showing for the visiting VIPs to his own ends; Tony and his enablers have now become politicians. But while it is fascinating to put together the clues about what Felix intends to do, the actual performance—the springing of Felix's trap—falls curiously flat. The events that are the equivalent of Shakespeare's play, rather than the preparations for it, take only a few chapters, and achieve very little catharsis. It is this more than anything that keeps me from giving this otherwise extraordinary book five stars.
The performance ends some fifty pages before the end of the novel, leaving only the summing up. The two greatest speeches of Shakespeare's Prospero—"Our revels now are ended" and "Ye elves of hills, brooks, standing lakes and groves"—come in this section. It is the moral heart of the play and Shakespeare's legacy as a human being, where revenge gives way to forgiveness, the theatrical magus abjures his magic, and we reenter the real world, leaving the enchanted isle behind. In the fifty pages she has left, can Atwood do anything similar? Not quite. She has some marvelous chapters in which the teams behind each of the characters submit their final reports on what might become of their people after the play ends; there is some brilliant imagination here, but this is Atwood the professor, rather than the novelist. The one thing that I did find very touching comes from what may be Atwood's most original touch of all: that while Prospero was accompanied into exile by his infant daughter Miranda, Felix's own daughter Miranda has died long ago in childhood, leaving him alone. I won't say how Atwood uses this to end her novel, but it was a touch of true humanity in what was otherwise a tongue-in-cheek book. But what a tongue! What cheek!
7 of 7 people found the following review helpful.
Wonderful Conceit
By Semaj
The Hogarth Shakespeare Project [...] charges distinguished novelists to retell a Shakespeare play as a modern novel. So far, I have read two: Anne Tyler's "Vinegar Girl" (from Taming of the Shrew) and this, Margaret Atwood's "Hag Seed" (from The Tempest.) The first, a genuinely fun read, presents a single problem to the novelist: create a tale wherein a distracted father needs and wants to marry off an unwilling elder daughter into an improbable marriage that happens to work. Tyler solves her challenge and renders the tale with her usual skill.
Now consider The Tempest: Magic, monsters, powerful spirits, villains, revenge, royalty, young love, an isolated mystical island, loneliness, suffering and atonement. How could these be blended into a modern novel? You will have to read the novel to see how, but let me assure you, Atwood gets it all in in as clever a conceit as ever I've read. Poet, novelist, and master and lover of the power of English, Atwood's plot and dialogue surprise and delight throughout the novel. To reap the most from this most excellent tale, the reader must be recently familiar with The Tempest. If not, I can heartily recommend downloading or streaming Helen Mirren's "The Tempest."
0 of 0 people found the following review helpful.
Nobody Does It Better Than Atwood
By Kindle Customer
This novel is yet more proof of Margaret Atwood's deserving her place as a living literary prodigy. Her skills are in full force in this wonderful new work. It's brilliant in its structure, the characters are beautifully rendered and the trademark Atwood biting wit doesn't disappoint. It is a pleasure to read and reaffirms (though never in doubt) that Atwood is my favorite author and I am grateful for her works.
I enjoyed this novel in one luxurious sitting. I couldn't put it down. Because of Atwood's range, there's no real "typical " Atwood book. This one utilizes Shakespeare's "The Tempest ". She artfully weaves a tale that I was left happily mulling over long after I was finished.
I am not one to go into specifics of a book when reviewing, as I prefer to not give out more than my overall opinion and not spoil plot points. I think that this book is one that has great appeal for any bookworm, whether or not they're an Atwood fan. It has all the elements of a good book- an excellent plot, well-constructed characters, well-paced action, an exploration of the human condition and a moral theme that is offered but not preached.
I happily give it 5 stars because of the ingenious writing that I think will appeal to a great many readers. I am very happy with my purchase of this book and easily recommend it. Happy readings to all!
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