Shakespeare Books

The pages are very, very busy. Perhaps too distracting for children. But they are beautifully illustrated and retain the original feel for the language. Best for 4th-6th grades.

I really loved this book. It was really funny and I think it is a great book for all ages. The Illustrations were great. I recommend reading all of the books by Marcia Williams. I have only read three, Joseph and the Magnificent Coat of Many Colors, The Amazing story of Noah's ark and this one, but we just ordered the one about Jonah and the whale. Buy it right now! You will love it!

I thought this was a great book. I love anything by Marcia Williams. The illustrations are great and there are hillarious comments from the audience throughout the book. This is a great book for kids to enjoy and they also get the basic story line of seven of Shakespeare's most poupular plays. But most of all this book is just fun.

I really loved this book. It was really funny and I think it is a great book for all ages. The Illustrations were great. I recommend reading all of the books by Marcia Williams. I have only read three, Joseph and the Magnificent Coat of Many Colors, The Amazing story of Noah's ark and this one, but we just ordered the one about Jonah and the whale. Buy it right now! You will love it!

My eight-year old daughter and I delighted in reading these seven plays together! Marcia Williams has created a colorful, imaginative, fun way to present these wonderful plays so that the young reader gains an appreciation for Shakespeare's works and an insight into the historical period in which he presented them on stage. Each page contains whimsical illustrations, in strip style, wherein the characters speak lines from the plays, as well as a clearly written storyline. My daughter expecially chuckled over the humorous but often droll comments of scampering Globe audience memberas, framing the text of every page. You'll find Will himself is there, too! The events of the plays are not suger coated, though, so the tragedies do rack up a body count and the reader encounters the famous scenes of poisonings and revenge sought by the sword.

The play truely inspired me to write sonnets.You know how it's so weird that Mr. Shakespeare related to us and our love life as if he to were living it.He explained life like no one could ever.The play was almost as if I were acctualy there when it happened. When my drama class did the play I was julte and as in the play it were in real life. you see my mom didn't allow me to have a boyfriend and Romeo was the guy who wanted me to be his love.Whatever the case my be he knew what we would feel and how we would relate to his play.

While I am a HUGE Shakespeare fan, this is not his best. Allbeit - its great literature. I love the twists and the language, but it's often quite silly and there are too many questions about motivations, etc. For true tragedy, you should spend the extra effort on Othello, Hamlet, or Lear. It's worth the endeavor!

An amazing story that has all the components of a moder day bestseller. The Shakespearean language is not to difficult to decipher in this play and will be enjoyed by academic and non-academic audiences!

Shakespeare is not for everyone. We all have different tastes and different opinions. For those of you who have not read this Shakespearian play, you are missing out on something amazing. This story of true love and tragic death can only be described as intense. For hundreds of years this has been Shakespeare's most amazing work. There is no way to explain what causes this story to be so good. Find out for yourself. Read it.

This book was inspired by everyday romances. We can't see it around us but it is there. Romeo and Juliet is about two star-crossed lovers who overcome boundaries that are supposed to keep them apart: Their parents, the law, yet they overcome them like they're not even there. Though the ending is sad, it keeps you reading and the shakespearean language is not very hard to figure out when the words by themselves, tell the story of this heartfilled romance. Everyone should read it.

If you are an actor or want to know what it takes to become a great actor, this book is a must read. I have not found any book on acting that has kept me interested and intrigued as this book. It is a wounderful read for all seriously interested in acting.

What I enjoyed were, in addition to notes on the role, the notes on what it was like to be an actor in England after growing up in apartheid South Africa. Good to meet some of the greats of theatre: "Trevor Nunn", "Chris Hampton" etc as well..

As a studying actor, I could relate to some of the mental processes that Antony Sher revealed in his book "Year of the King." Through this journal, I was able to see how Sher prepared to play the role of Richard III, his thoughts when confronted with a problem, and in what places he looked to find the answer. This book showed me the importance of keeping a record of my own progress during a production. The only thing I wish from "Year of the King" is that a video had been included to allow us to see Antony Sher's end result!

I first read Year of the King 6 years ago while studying in London. I fell in love with the works of Antony Sher on stage and was thrilled to find this book. Its been a source of inspiration and admiration since and has opened my eyes to what a different world actors live in. I am now that much closer to understanding the intricacies of performance through the words (and sketches) of Antony Sher.

This is the best book I have ever read on the process of acting. It should be required reading for every actor! It details the process that Antony Sher went through in developing the character of Richard III. It's a "fast" read because you are so eager to find out what he will do next. Highly recommended.

I am amazed this one gets performed on stage these days, it is delightfully bawdy, absolutely entertaining, an accurate depiction of human nature, utterly insensitive to the delicate temperments of those who seek out offense in any reference to gender, and just a great play.

Rosalind and Celia are on the lam, trying to teach Orlando, the impassioned but impovershed younger son, a lesson in love, but the manipulative Rosalind ends up learning the lesson. The deposed Duke and his deposer are in the background throughout.

A great play, and well worth watching or reading.

E.M. Van Court

This is a pastoral romantic comedy that is set in the Middle Ages. The story is about four different sets of lovers who each represent the different faces of love. The characters are wonderfully portrayed. The setting is bucolic, and it is just so much fun. And, of course, the language is exquisite.

I recently re-read AS YOU LIKE IT prior to attending The Colorado Shakespeare Festival's performance of this play under the summer stars here in Boulder. Shakespeare (1564-1616) produced this romantic comedy in 1599 and published it in the First Folio in 1623.

Summarizing the play is rather challenging. It basically tells the story of Duke Frederick, who has banished his brother, Duke Senior, into the Forest of Arden, thereby usurping the kingdom. In his exile, Duke Senior has found a humble life of merriment with his court. Following a wrestling match, Duke Frederick also banishes Orlando (son of the late Sir Roland de Boys) and Rosalind (daughter of Duke Senior) into the forest. At the match, the two have fallen into love at first sight. Out of friendhip, Duke Frederick's only child, Celia, and the court jester, Touchstone, follow Rosalind (now disguised as a boy, "Ganymede") into the forest. Soon, Orlando, Rosalind, Celia, and Touchstone are all welcomed into the merry life of banished Duke Senior. Orlando, however, is lovesick for Rosalind, and Rosalind (still disguised as a boy) decides to cure Orlando of his lovesickness. While counseling him in the ways of true love, Rosalind (disguised as Ganymede) finds herself falling deeper in love with Orlando. Meanwhile, Celia has fallen in love with Orlando's brother, Oliver. The two decide to get married the next day. Even witty Touchstone has fallen in love with a dull-witted goatherd girl, Audrey. In the final scene, and after many hilarious mixups, all romantic entanglements are resolved by marriage; and after a sudden religious conversion, Duke Frederick returns the throne to his brother--thereby righting all wrongs and uniting all couples by love and happiness.

G. Merritt

As You Like It is one of Shakespeare's most beloved pastoral comedies. Banishment, disguises and love are the elements with which Shakespeare weaves his tale of several pairs of lovers who ultimately wind up marrying in the forest of Arden.
The melancholy Jaques delivers one of Shakespeare's most familiar speeches regarding the seven ages of man. If you haven't read or seen a performance of As You Like It I highly recommend this paperback edition.
The Folger Library editions are my favorite. Each page has a facing page that explains obscure terms and helps as a handy reference to make reading the plays pleasurable and educational. These paperback editions of Shakespeare's works are a great value and fit in your pocket.

As the parent of a grade eight home-schooler, I wish that I could give this book more than five stars. Any book capable of stimulating a student's interest in Shakespeare should be in every teacher's book collection. My son eagerly looks forward to doing this grammar activity just to see what the characters are doing each day! After finishing the first collection of activites in this book, my son asked to read the original Much Ado about Nothing. Simply amazing!

I discovered (and bought) Jane's first two Caught'ya books at the national Differentiated Education conference last summer. I have used the high school level stories successfully in the two semesters since then. I wanted more stories so that I could keep my students on track throughout the year, so I ordered The Chortling Bard.

What a resource! There are three fully-completed stories based on some of Shakespeare's most entertaining plays. Not only do my students get practice adn instruction in grammar, but they get exposure to Shakespeare without slogging through it all at once. They can experience the stories and enjoy the plots, since they're not doing the incomprehensible everybody-read-a-part-even-if-you-don't-know-what-you're-saying thing. They may not read the original Shakespeare, but they are involved in the story, which generates discussions, and by the end, they get it!

If you want to continue "caught'ya" fun in high school then this is for you. I have used the "Romeo and Juliet" story from Jane's first book for my ninth graders, and I wanted to continue the "caught'ya" method with my sophomores. "The Chortling Bard" fits the bill nicely. My students loved the story "A Midsummer's Nightmare," and I loved my students' improvement in writing conventions and sentence variety. Put those grammar tomes back on the shelf and "chortle" with the Bard!

I really like using this technique in my classroom. I'm a bit of a ham and love doing the sentences out loud. Some of my student teachers/subs haven't been so comfortable, though. (You really have to get into the act.) I like the fact that every student can get 100% on the assignment no matter what they're level. Because of the repetitive nature of the assignment, students really do remember what you're teaching them.

I do not know Shakespeare's comedies very well. Yet I do understand that they are remarkable in their presentation of the passions of youth and love, in their expression of the lighter sides , and the happier ones of human life. I know that they often involve multiple plots, mistaken identities, star- crossed lovers, or lovers who are somehow interfered with by scheming elders. They often have multiple plot strands. I know that they may link high and low society, may have in them much which brings about laughter, and that they usually have a happy ending of some kind in which order is brought out of disorder- often their end is a wedding.
I believe I myself have never really gotten the spirit of Shakespearean comedy perhaps because even though I read them when I was chronologically young, I was never truly young in spirit.
I nonetheless could appreciate the depth and beauty of the language of the plays.
The plays have given generations upon generations of humanity, pleasure and delight. And I believe that most readers will find this is their experience also.

This is a fairly good book. I like the way how this book is organized. It feels like an old book, and it is wonderful reading those tiny typed words. However, I give this book only four stars because it is sometimes very hard to follow the next line. I mean, if you read this book for too long then it can give you an eyestrain. Also there's no expository comments to help you. Other than that, this is a great book for those who love William Shakespeare's works.

I love all Shakespeare's work, and it was wonderful to have all the comedies in one volume. It does allow for character development of some of Shakespeare's recurrent characters. My favourite one of these is Falstaff, and he appears in a number of these comedies. The book that I read had all fourteen comedies in it. I have read each one of these at different times, and some more than once, but I sat down and had a Shakespeare comedy fest when I bought this volume. I love all Shakespeare's work, and a collected version of all his works would certainly be on my "desert island book list", and the comedies are my second favourite genre of the three that he used for his plays. I will do individual reviews of three of my favourite comedic plays, but I enjoy them all very much. My three favourites (and believe me, it's hard to pick three) are "The Comedy of Errors", "A Midsummer Night's Dream" and "The Merry Wives of Windsor". Each one of his many plays have numerous wonderful quotes that are still used and recognized today. I personally feel that a reader can't love great literature if that reader does not love Shakespeare too.

We all know about Shakespeare, so a review of his writing is not required. However, I would like to say that the Everyman's Library series are worth getting. Unlike omnibus editions (such as the Riverside Shakespeare), these are actually portable so you don't need a table to hold them up while you are reading. The Everyman's Library series have good hardbindings, are conveniently sized to carry around, and have illuminating and extensive introductions. The typeface used is old, but the letters are large and easily readable (something that is a concern with some other editions).

Comedies, Volume 1 contains: The Comedy of Errors; The Taming of the Shrew; The Two Gentlemen of Verona; Love's Labor's Lost; Romeo and Juliet; A Midsummer Night's Dream

Though not involved with the theatre, I've read all the plays , some of them many times, and found Professor Gregio's discussion fascinating. This fast-paced book will also appeal to history buffs.

Peter Thomson says it best in his forward: "a tidal wave of a manifesto"! Marcus D. Gregio's enthusiasm makes for a concise, quick read. And although quick, Gregio proves that he is indeed an inventor.

Over the years, there have been many recognized Shakespeare scholars. My grandfather had, for example, S. Schoenbaum and my father, of course, has Stanley Wells. Marcus D. Gregio is the pre-eminent Shakespeare scholar for MY generation. I have had the honor of being directed by Professor Gregio and have participated in one of his performance workshops on Shakespeare. Gregio bridges the gap between history and practice and this book covers that in a concise and lively way. It is one thing to talk about Shakespeare and his time and another to show how to apply Shakespeare's time to our own to create accessible theatre; this book does both in an enthusiastic and passionate way. "Contemporary Shakespeare" is a terrific introduction to Shakespeare for beginners and is an excellent way for professionals to brush-up their knowledge and craft. I totally recommend this book as it explores William Shakespeare's background, Elizabethan history and its playhouses, acting (then and now), directing for today's audiences, and more. As another reviewer stated, this book is "worth every penny!"

Contemporary Shakespeare places the reader in the middle of a play by Shakespeare, giving the reader an onstage understanding of sixteenth-century theatre fundamentals. This book follows both the life of Shakespeare and the refinery of theatre during his period. Outlining the role of the actor, director, and even the audience, this book explores the timeless essence of drama. Contemporary Shakespeare is excellent reading for everyone in the theatrical profession. Author Marcus D. Gregio brings the Elizabethan playwright's energy, exhilaration, and passion to modern theatre.

BOOK REVIEW by Richard Desper of:
The Dark Side of Shakespeare: An Iron-fisted Romantic in England's Most Perilous Times
A trilogy by W. Ron Hess

When delving into the life of the putative poet/playwright "William Shakespeare", it may well be said (irony intended) that there is less to the man than meets the eye. Neither the background, qualifications, nor the historical record seem to support the historical William Shakspere as the Bard, and historical research leave us with a number of "lost years" unaccounted for in his life. Ron Hess has undertaken a somewhat parallel task - he has examined the facts about the 17th Earl of Oxford, most likely the actual identity of the author "William Shakespeare", and shows that there is much more to the man than meets the eye. Indeed, it would seem, if we believe Mr. Hess, that there is much more to the "Shakespeare enterprise" than we had ever imagined.
The "Shakespeare enterprise" is a key concept in Hess's book. In his own words, `... The real question of importance should first be, "WHAT was Shake-spear?"` In the First Folio, Ben Jonson calls Shakespeare "Soule of the Age! ... Thou art a moniment (sic) without a tomb!" suggesting Shakespeare's purpose, that of defining the character and tone of an age. The written works are only part of a larger project, with Oxford playing an international role embodying a mythical hero, the "Palladin of England", which Hess identifies (through Greek etymology) with Pallas Athena as the "Spear-Shaker". Hess identifies that project with a long-term alliance involving the earls of Sussex, Oxford, and Pembroke, along with Lord Hunsdon and Lord Effingham, all with key roles at Court and in the London stage. According to Hess, beginning in the 1570's, `The alliance controlled the public and semi-public stages, but I argue that the private homes of those in the alliance were where the "Shakespeare" plays each were "originated".' The alliance used stage plays as a public relations part of its efforts for promoting its desired goals, both in the earlier period when the author was anonymous and later on when the pseudonym "Shakespeare" was introduced.
Mr. Hess's book abounds with notes, appendices, references, and a bibliography which attest to the extensive research involved in its preparation, a level of research which would seem to be unmatched by orthodox Shakespeare scholars. He speaks with logic and clarity, as when he debunks the orthodox "voice of authority" in such matters as the dating of the plays. He deftly skewers their inconsistent logic, for instance, as to what standards are to be accepted or disdained as it suits their purposes in one instance vs. another. His writing style exudes candor, freshness, and openness - he works by presenting the evidence, offering alternate interpretations (including his own, of course), and inviting the readers to draw their own conclusions. And for those who have found his speaking style entertaining, this has translated into his written work as well, resulting in a colorful presentation, which abounds in Hess's rich personal literary images.
Hess dwells extensively on Oxford's possible role in international intrigue, juxtaposed in the 1570's against Don Juan of Austria, natural half- brother to the King of Spain and the great military leader of the day, a role perhaps not as far-fetched as it might seem at first glance. It has long been noted that the "Shakespeare" plays abound with topical references dated to that decade, including allusions to Don Juan. To what extent Oxford was an active player abroad in these intrigues remains to be clarified, but it is clear that he was an active player where it counted a great deal - in molding opinion first at Court, then in the world at large. For perception, image, whatever one might call it, counted a great deal in those days, even as it does today.

BOOK REVIEW by Richard Desper of:
The Dark Side of Shakespeare: An Iron-fisted Romantic in England's Most Perilous Times*
A trilogy by W. Ron Hess

When delving into the life of the putative poet/playwright "William Shakespeare", it may well be said (irony intended) that there is less to the man than meets the eye. Neither the background, qualifications, nor the historical record seem to support the historical William Shakspere as the Bard, and historical research leave us with a number of "lost years" unaccounted for in his life. Ron Hess has undertaken a somewhat parallel task - he has examined the facts about the 17th Earl of Oxford, most likely the actual identity of the author "William Shakespeare", and shows that there is much more to the man than meets the eye. Indeed, it would seem, if we believe Mr. Hess, that there is much more to the "Shakespeare enterprise" than we had ever imagined.
The "Shakespeare enterprise" is a key concept in Hess's book. In his own words, `... The real question of importance should first be, "WHAT was Shake-spear?"` In the First Folio, Ben Jonson calls Shakespeare "Soule of the Age! ... Thou art a moniment (sic) without a tomb!" suggesting Shakespeare's purpose, that of defining the character and tone of an age. The written works are only part of a larger project, with Oxford playing an international role embodying a mythical hero, the "Palladin of England", which Hess identifies (through Greek etymology) with Pallas Athena as the "Spear-Shaker". Hess identifies that project with a long-term alliance involving the earls of Sussex, Oxford, and Pembroke, along with Lord Hunsdon and Lord Effingham, all with key roles at Court and in the London stage. According to Hess, beginning in the 1570's, `The alliance controlled the public and semi-public stages, but I argue that the private homes of those in the alliance were where the "Shakespeare" plays each were "originated".' The alliance used stage plays as a public relations part of its efforts for promoting its desired goals, both in the earlier period when the author was anonymous and later on when the pseudonym "Shakespeare" was introduced.
Mr. Hess's book abounds with notes, appendices, references, and a bibliography which attest to the extensive research involved in its preparation, a level of research which would seem to be unmatched by orthodox Shakespeare scholars. He speaks with logic and clarity, as when he debunks the orthodox "voice of authority" in such matters as the dating of the plays. He deftly skewers their inconsistent logic, for instance, as to what standards are to be accepted or disdained as it suits their purposes in one instance vs. another. His writing style exudes candor, freshness, and openness - he works by presenting the evidence, offering alternate interpretations (including his own, of course), and inviting the readers to draw their own conclusions. And for those who have found his speaking style entertaining, this has translated into his written work as well, resulting in a colorful presentation, which abounds in Hess's rich personal literary images.
Hess dwells extensively on Oxford's possible role in international intrigue, juxtaposed in the 1570's against Don Juan of Austria, natural half- brother to the King of Spain and the great military leader of the day, a role perhaps not as far-fetched as it might seem at first glance. It has long been noted that the "Shakespeare" plays abound with topical references dated to that decade, including allusions to Don Juan. To what extent Oxford was an active player abroad in these intrigues remains to be clarified, but it is clear that he was an active player where it counted a great deal - in molding opinion first at Court, then in the world at large. For perception, image, whatever one might call it, counted a great deal in those days, even as it does today.

Ron Hess has written a fascinating, entertaining, and well-researched account of the 17th Earl of Oxford's part in Scottish, English, European, and even Asian politics during the Elizabethan and Jacobean eras. He begins the "Shakespearean period" in the 1570s, with almost all of the plays having an "origination date" within a twelve-year span of 1574-86.

The most intriguing of Hess' theories, however, is the role played by Don Juan of Austria (natural half-brother of Philip II of Spain) in Oxford-Shakespeare's horizon. The author shows the Earl to have been a veritable "Scarlet Pimpernel" -- at Court a fop with Italianate tastes, an effete but gifted poet and writer of Euphuistic comedies, skilled in the aristocratic sports (fencing, jousting, falconry, tennis), respected for his erudition, and loved by women as well as by a grateful coterie of actors, poets, and writers, whom he subsidized (or commissioned for darker tasks!).

Oxford's "dark side," however, can be seen in a secret life of spying, intriguing, plotting, smuggling, gun-running (to Protestants abroad), and possibly even assassinating! The butt of all these activities, Hess believes, was the Earl's "alter ego," the Don Juan of Austria mentioned above (for whose 1578 death Hess holds Oxford responsible).

Only time and further research will tell if Hess' conjectures upon the evidence prove out. If even half of them do, we are in for a radical "paradigm shift," equal to Looney's in 1920. Certainly, Hess buttresses his argument with good scholarship and wide reading. He cites a truly staggering roster of resources: historical, political, and literary -- both Stratfordian and Oxfordian (the latter including not only the usual Looney, Ward, and the Ogburns, but such almost forgotten ones as E.T. Clark and H.H. Holland, and newer ones like Stritmatter, Brazil, Moore, Davis, and many more.

Not all Oxfordians (including myself) will agree with some of Hess' conclusions, particularly his views on the Sonnets. Hess produces no tangible evidence for adoption and use of David Honneyman's theory that early versions of these poems were translations from the French Huguenot poet D'Aubigny. But he does contrast various alternative theories, including those of Leslie Hotson, Joe Sobran, and most recently the intriguing theory by Sidney Lubow that the key to the Sonnets lies in Lover's Complaint and the ancient myth of "Narcissus." In the end, Hess is less interested in the Sonnets' meaning than in how they may offer up clues for dating Shakespeare's works to the 1570s and 80s, as more ammunition for knocking-out Mr. Shakspere's insufficient candidacy.

It's a pity the advanced copy Hess shared with me was poorly edited. Still, he assures me the published final available from..., ..., and www.Amazon.com will have been purged of the typos, graphical, grammatical, and even factual errors that I observed.

But, even if we can't agree with him totally, Hess is not to be easily dismissed. Better yet, The Dark Side of Shakespeare is simply an exciting read. Stratfordians will hate it of course, but Hess proves that their opinions simply don't count anymore!

BOOK REVIEW by Richard Desper of:
The Dark Side of Shakespeare: An Iron-fisted Romantic in England's Most Perilous Times
A trilogy by W. Ron Hess

When delving into the life of the putative poet/playwright "William Shakespeare", it may well be said (irony intended) that there is less to the man than meets the eye. Neither the background, qualifications, nor the historical record seem to support the historical William Shakspere as the Bard, and historical research leave us with a number of "lost years" unaccounted for in his life. Ron Hess has undertaken a somewhat parallel task - he has examined the facts about the 17th Earl of Oxford, most likely the actual identity of the author "William Shakespeare", and shows that there is much more to the man than meets the eye. Indeed, it would seem, if we believe Mr. Hess, that there is much more to the "Shakespeare enterprise" than we had ever imagined.
The "Shakespeare enterprise" is a key concept in Hess's book. In his own words, `... The real question of importance should first be, "WHAT was Shake-spear?"` In the First Folio, Ben Jonson calls Shakespeare "Soule of the Age! ... Thou art a moniment (sic) without a tomb!" suggesting Shakespeare's purpose, that of defining the character and tone of an age. The written works are only part of a larger project, with Oxford playing an international role embodying a mythical hero, the "Palladin of England", which Hess identifies (through Greek etymology) with Pallas Athena as the "Spear-Shaker". Hess identifies that project with a long-term alliance involving the earls of Sussex, Oxford, and Pembroke, along with Lord Hunsdon and Lord Effingham, all with key roles at Court and in the London stage. According to Hess, beginning in the 1570's, `The alliance controlled the public and semi-public stages, but I argue that the private homes of those in the alliance were where the "Shakespeare" plays each were "originated".' The alliance used stage plays as a public relations part of its efforts for promoting its desired goals, both in the earlier period when the author was anonymous and later on when the pseudonym "Shakespeare" was introduced.
Mr. Hess's book abounds with notes, appendices, references, and a bibliography which attest to the extensive research involved in its preparation, a level of research which would seem to be unmatched by orthodox Shakespeare scholars. He speaks with logic and clarity, as when he debunks the orthodox "voice of authority" in such matters as the dating of the plays. He deftly skewers their inconsistent logic, for instance, as to what standards are to be accepted or disdained as it suits their purposes in one instance vs. another. His writing style exudes candor, freshness, and openness - he works by presenting the evidence, offering alternate interpretations (including his own, of course), and inviting the readers to draw their own conclusions. And for those who have found his speaking style entertaining, this has translated into his written work as well, resulting in a colorful presentation, which abounds in Hess's rich personal literary images.
Hess dwells extensively on Oxford's possible role in international intrigue, juxtaposed in the 1570's against Don Juan of Austria, natural half- brother to the King of Spain and the great military leader of the day, a role perhaps not as far-fetched as it might seem at first glance. It has long been noted that the "Shakespeare" plays abound with topical references dated to that decade, including allusions to Don Juan. To what extent Oxford was an active player abroad in these intrigues remains to be clarified, but it is clear that he was an active player where it counted a great deal - in molding opinion first at Court, then in the world at large. For perception, image, whatever one might call it, counted a great deal in those days, even as it does today.

I am not one for Shakespeare and I had my reservations before beginning the journey into The Devil's Bride, however Joan Silsby provides colorful imagery and true emotional sustenance to this reserved readers skeptical eye. Every moment of this masterpiece carried the descriptive details of a master writer and creator of worlds. I found myself laughing out loud, shedding genuine tears of sorrow and joy, gasping with surprise and following her words feverishly right until the end... as all great reads, I hoped it never to end, but alas. One can only hope for a sequel to the sequel. I highly recommend this novel wholeheartedly to any and all who enjoy mayhem, mystery and romance. Hats off to Silsby for a most excellent adventure into the after world of Much Ado About Nothing.

I had my doubts when I picked up this book, but "Much Ado About Nothing" is one of my favorite works of Shakespeare. I was pleasantly surprised, so much I could not put it down until I reached the end. Ms. Silsby has done an excellent job capturing the heart of the original and expanding on Don John, the (...) Prince of Aragon. And the best part, this book is easy to read. The courtship between Don Jon and Lady Allegra is incredibly romantic. This is a great summer read, I highly recommend it.

"The Devil's Bride is a brilliant sequel to Much Ado About Nothing. With a solid grasp of the characters and the setting, the author answers all of the questions brought up from the first story. Don John is a villain out of place in Much Ado, but shines brightly as a character you can sympathize with, instead of just disliking. A sequel with substance that can only enhance its predecessor, Bride is an enjoyable combination of old school Shakespeare mixed with modern Silsby, which makes it easy to read even for those who don't 'get' Shakespeare. Everything that Ado should have been is here in Devil's Bride, and I enjoyed it immensely."

With such well-known material and characters one might be concerned about finding a badly attempted prose piece or a tepid rehash. Fear not gentle reader, this wonderful volume is neither. What Mr. Shakespeare started Ms. Silsby continues with wit, style and unusual clarity. When so much of today's works are chock full of useless filler "The Devils Bride" is detailed without being overblown and concise without being cold. How many of us have finished a great story and wondered what happened the day after. In this case it's the next week. We find the "evil" Don John in silent acceptance of his fate believing that he has caused the death of the lovely Hero. For anyone not familiar with the original tale Hero is not dead but married to her precious Claudio. Benedict has married the sharp-tongued Beatrice and alls well that ends well. And while Don John finds himself not sentenced to death for murder, justice must be had for his deceptions and cruelty. Our quick-witted Benedict administers the punishment and truly does it fit the crime. The author delves into the psyche of the original cast of characters. Examining the relationships between brothers, sisters, husbands and wives adding dimension and meat to people we thought we already knew. A fine desert to finish off the original "Much Ado" meal, I highly recommend this as a companion piece suitable for the most discerning Shakespeare fan. Delightful and endearing this is a novel that you can revisit time and again like an old friend.

I became aware of this book through an article Hemingway wrote about books he would like to read twice. Well I can say that this book is best read in the winter, for it will melt the snow in puddles around your shoe, and warm your heart and soul at the same time. So make haste and buy it now, while the cold winds still blow.

The Argentine pampas was a land of freedom and excitement: one literary figurehead W.H. Hudson describes in his memoir FAR AWAY & LONG AGO: A CHILDHOOD IN ARGENTINA. Descriptions of natural history and wildlife abound - and also of politics and interpersonal relationships of the times. You'd think FAR AWAY & LONG AGO would give insights into Hudson's childhood and life - and it does - but more importantly it recreates the history, culture and geography of Argentina in a way few travel books accomplish.

Diane C. Donovan
California Bookwatch

As we continue to pave over the beauties of our world and turn them into concrete wastelands, it is good to think back what life was like 150 years ago before we began the process of destruction in earnest.

W. H. Hudson, the naturalist, is revered in Argentina, where they refer to him as Guillermo Enrique Hudson and name streets and towns after him. In simple and stately prose, he writes about his boyhood as one of several sons in an English family that ran an estancia on the Pampas. Despite several failed attempts to school him, he managed to pick up one of the best educations available: by using his eyes and ears to study nature. His skill in language, which is considerable, came from reading his father's books on his own.

Whether writing about ombu trees, plovers, snakes, lightning storms, rheas (Argentinian ostriches), or his neighboring ranchers, Hudson brought a whole world to life with this book.

Hudson published FAR AWAY AND LONG AGO in 1917 while he was living in England -- around the same time that a Frenchman named Marcel Proust was following where that elusive taste of madeleines led him in REMEMBRANCE OF THINGS PAST, and around the same time that World War I was destroying a whole way of life. As he writes in the book:

"It is difficult, impossible I am told, for any one to recall his boyhood exactly as it was. It could not have been what it seems to the adult mind, since we cannot escape from what we are, however great our detachment may be; and in going back we must take our present selves with us: the mind has taken a different colour, and this is thrown back upon our past. The poet has reversed the order of things when he tells us that we come trailing clouds of glory, which melt away and are lost as we proceed on our journey. The truth is that unless we belong to the order of those who crystallize or lose their souls on their passage, the clouds gather about us as we proceed, and as cloud-compellers we travel on to the very end."

FAR AWAY AND LONG AGO is perhaps one of the greatest autobiographies ever written. Although I finished reading it several days ago, I am still feeling its afterglow and get this itch to re-read passages from it. This is, indeed, a book that will withstand several readings.

I could never make it through Hudson's fantasy __Green Mansions__, but __Far Away and Long Ago__ is another book altogether. Written when Hudson was approaching eighty, more than forty years after he had left Argentina for good, it's filled with the kind of longing you might expect. And even though he's a witness to the mid-nineteenth civil wars in Argentina or, more incredibly still, listens to travelers reciting poems by the eighteenth-century Spaniard Menéndez Valdés, Hudson seems modern; he makes other times, other places, far away and long ago, as he calls them, seem incredibly near.

Hudson's excellent short story "El Ombú" is also well worth seeking out. And, finally, while it's true Hudson left Argentina for England, the US also has some claim to him; it was from New England, after all, that, shortly before his birth, his American family left for Argentina. Just thought I'd make that clear, since people are always calling him "Anglo-Argentine".