By Poul Anderson
A wonderful story of intrigue, love, battle, magic, and swashbuckling event set in another universe the place fairies mingle freely with Englishmen and all of Shakespeare's fictional characters are real
Welcome to another civil-war-torn seventeenth-century England—a global the place Hamlet as soon as brooded and Othello jealously raged. right here faeries and sprites gambol in English woods, railroads race around the panorama whereas manned balloons go with the flow above the nation-state, and the main revered historian of all is one William Shakespeare of Stratford-upon-Avon.
The 12 months is 1644, and the struggle among the Roundheads and the Cavaliers rages. whilst Rupert, nephew of King Charles I, is taken captive by means of Cromwell's troops and imprisoned in a Puritan domestic, he's instantly smitten with the gorgeous Jennifer Alayne, his captor's niece. Escaping with assistance from his newfound liked and the dependable trooper Will Fairweather, Rupert leads Jennifer deep into the woodland, the place the faerie people who stay there have a vested curiosity within the consequence of the nice and bloody clash. although the fans needs to quickly part—with the prince project a deadly venture for his magical benefactors which can flip the tide of war—Rupert and his girl love may be eternally joined by way of the jewelry awarded to them by means of King Oberon and Queen Titania. And regardless of the unusual, twisting pathways and turbulent seas they're destined to come across, they'll continuously be capable to locate one another again... so long as their love is still true.
Nominated for the area delusion Award and winner of the Mythopoeic Award, Poul Anderson's A Midsummer Tempest is a huge achievement—a pleasant alternate-history delusion that brings the fictitious worlds of Shakespeare's performs to breathtaking lifestyles with type, wit, and unprecedented mind's eye.
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Extra resources for A Midsummer Tempest (Operation Otherworld, Book 3)
Andrew R. Murphy (Malden, MA: Blackwell, 2007), 128–44; Stephen Orgel, “The Authentic Shakespeare,” in The Authentic Shakespeare and Other Problems of the Early Modern Stage (New York: Routledge, 2002), 231–56; and William Worthen, “Authority and Performance,” in Shakespeare and the Authority of Performance (Cambridge: Cambridge University Press, 1997), 1–44. Useful discussions of the postmodern turn in editing can be found in Jerome McGann, A Critique of Modern Textual Criticism (Chicago: University of Chicago Press, 1983); Crisis in Editing: Texts of the English Renaissance, ed.
Richard Burt’s Unspeakable ShaXXXspeares, Revised Edition: Queer Theory and American Kiddie Culture (New York: Palgrave Macmillan, 1998) is a notable exception. 8. Terence Hawkes, Meaning by Shakespeare (New York: Routledge, 1992), 3. 9. Gary Taylor, Reinventing Shakespeare: A Cultural History, from the Restoration to the Present (New York: Grove Press, 1989). 10. Diana Henderson, Collaborations with the Past: Reshaping Shakespeare across Time and Media (Ithaca, NY: Cornell University Press, 2006).
Indeed, the founding gesture of many an article on adaptation is that we are now in an age of post-fidelity (though the very need for such an opening gambit testifies to the residual power of fidelity as a discourse). Moreover, in the 1990s and after, adaptation studies have been catalyzed by an accelerated transcoding of Shakespeare from theater and book to mass media, pop cultural, and digital forms. The global scope of Shakespeare’s transcoding has Shakespearean Rhizomatics M 23 become especially apparent during the last 25 years, a fact exemplified by the Globe-to-Globe Festival, which brought foreign language productions of Shakespeare to the reconstructed Globe theater in London as part of the British 2012 Olympic celebrations, a gesture that sought to acknowledge globalized Shakespeare, and at the same time to re-appropriate it to bolster British cultural prestige.
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