19.4.26

Perhaps the Stars (Terra Ignota #4)

Perhaps the StarsPerhaps the Stars by Ada Palmer
My rating: 3 of 5 stars

The trolley problem argument at the forefront of the series thus far is now superseded by an even bigger conflict between different visions of the future. Do we focus inwardly on mapping human psychology, conquering death and building utopia on Earth, or do we focus outward on the painful project of colonising other worlds. Palmer is a keen student of science fiction, and it’s fun to consider this dilemma as a way of contrasting the 60s new wave with classic space opera. The book presents this as an either / or proposition, in that the Earth becoming too comfortable reduces the incentive to look elsewhere, and Palmer is very good at continually reversing the reader’s perspective of which side should come out on top. Of course, at the end an accommodation is made, but the journey is a fun one.

Eventually, at least. This is a long book, at the end of a long series, and for me the first third really dragged. Palmer gets a little too bogged down with her new narrator, and I just wanted to get back to Mycroft and the war. She is at her most impressive when upending expectations with each successive chapter, and the book really picks up when she gets back into that groove. Ultimately I found the series interesting rather than compelling. But the ideas it brings to play leaves many more gripping works of speculative fiction in the dust.

The underlying question about the reliability of the narrative we have, given our narrator sees ghosts, says he has witnessed miracles and believes in a living god, is rendered moot for me by the book’s metatextuality – its overt geeky references to its influences, from Homer, the French Enlightenment and science fiction. Whether Bridger and Jehovah are elaborate conspiracies isn’t as interesting a question for me as the metaphors they present if they are ‘real’ in the fiction of the book. Bridger’s ability to bring his fantasies into reality suggests a comment on how human ingenuity reverse engineers discoveries from our imaginations. Jehovah wrestling with the problem of evil generates torrid existential emotions about our own consciousness embodied in a universe that is both accommodating and indifferent. It is slightly mysterious why Mycroft, who as a student of Voltaire and Diderot should be sceptical of providential thinking, would buy into Jehovah’s claims so completely. But that perspective is used to test out absolute values against the contingencies we face. The long final chapter is a showcase of Palmer’s impressive commitment to thinking through the problems she puts forward, and her optimism that an imperfect world can be made just a little more perfect.

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25.2.26

Jacques the Fatalist

Jacques the FatalistJacques the Fatalist by Denis Diderot
My rating: 4 of 5 stars

This book is structured around the tension between determinism and free will. Jacques the ‘fatalist’ believes everything that will happen is already written in the great scroll on high. He is correct, except that he is a character and his fate is actually written in a book by Diderot. And that book is a deconstruction of the novel – Diderot constantly intervening to speak directly to the reader and reminding them of his authorial power over the narrative. And he insists upon subverting standard expectations of the novel. So what actually happens is chaos – Jacques and his master tell each other stories that keep being interrupted. The fatalist is caught up in a world which is constantly being reconfigured around him, to the point where his fate not only impossible to predict, but a joke.

The result of this dichotomy is never spelled out, but one inference is that if the universe has an author they are a capricious one. The other is that the world is so unpredictable and our motivations so inscrutable that it leaves enough gaps to suggest we can will things freely. Jacques is a servant to a master who is set in his ways, but he is adept at manipulating him to the point where their roles almost reverse. He may be fated to do so by his character (or his author) but is that also not an example of the freedom he has?

The introduction by David Coward points out how the book’s experimentalism and metafictional elements anticipates 20th century deconstructions like Beckett’s Waiting for Godot. Mileage may vary on how amusing you find Diderot’s constant harangues to his reader, and the mischievous insistence on constantly undermining his own storytelling. There’s something juvenile about it for sure, but in its own way it is an authentic expression of Diderot’s own character, who also thinks, and wills, freely.

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31.12.25

Favourite music of 2025

Traxx

Tracey feat. Riko Dan - 'Sex Life'
Fcukers - 'Play Me'
Facta - 'BDB'
SSSLIP - 'Brek Stance'
Bodhi - 'Fade'
Bodhi - 'T.O.P.'
yingtuitive - 'braided chords (Tristan Arp Remix)'
Gorgon City - 'Loveless (George FitzGerald Remix)'
78 Degrees - 'The Only One'

Feel very validated that 'Sex Life' has popped up on so many lists, including RA's one for the last 5 years. I'm completely ignorant of how this music exists in the real world and so was pleasantly surprised that this tune had blown up, not least because grime veteran Riko Dan deserves the exposure. Shout to the No Tags podcast mid-year roundup for being the first to bring to my attention. The rest of this list is just oddball club beats of one kind or another that may well have got zero traction outside my own head.


Bop-adjacent moods

Dexter in the Newsagent - Time Flies
James K - Friend
Erika de Casier - Lifetime
Oklou - choke enough

Bit of a trend this year in the alt-pop space for non-maximalist vibes-based records – even Addison Rae (a consensus pick I didn't get into) fades easily into the background. It's as if everyone is hungover from brat. Dexter in the Newsagent's Time Flies is a more unpolished and perhaps uneven album than others working this lane who have received greater plaudits, but it's also rawer and more emotiotionally direct.  Plus as a now South London resident I feel a certain geographical affinity with the artist and am willing them to succeed.


Moods

Laurie Torres - Après coup
BambinoDJ - Silent Dispatch
Malibu - Vanities
Steve Hauschildt - Aeropsia
more eaze & claire rousay - no floor
Jonny Nash - Once Was Ours Forever
Disiniblud - s/t
Ariel Kalma & Asa Tone - O
mu tate / Nexcyia / Exzald S - Labège
M. Sage - Tender / Waiting
Midori Hirano & Brueder Selke - Split Scale
Arc Rae - New Moon
Funcionário - horizonte
Almost An Island - Palo Verde
Clairaudience - Letters from Emptiness
U.e. - Hometown Girl
Various - Shadow Garden

I continue to live a stressfull life and mostly listen to ambient music. This stuff is a balm when working and nicely elevates the experience of reading. Laurie Torres does warm, muffled, minimalist piano-led improvisations which are impossible not to like – it's the record I've listened to most this year. BambinoDJ makes cosmic chillout dancehall –  very demure but still retaining a slinky groove. Quite a lot of guitar-based work above as well (Jonny Nash, claire rousay, Disiniblud, Clairaudience), suggesting I haven't completely left my indie rock predilections behind.


Beats

Yetsuby - 4EVA
Barker - Stochastic Drift
Djrum - Under Tangled Silence
Binary Algorithms - Reminiscencias 
Sabola - Útilykt
Gaiko - s/t
In Transit - s/t
Prayer  - Dream of Heaven
Andrea - Living Room
shinetiac - Infiltrating Roku City

Barker and Djrum got their dues, deservedly so. The rest is mostly drum & bass, the greatest music ever invented. I am very fond of the Yetsuby record, which strikes a nice balance between pretty and bolshy. 


Guitars

Star 99 - Gaman
Momma - Welcome to my Blue Sky
The Beths - Straight Line Was A Lie
Wednesday - Bleeds
Liquid Mike - Claws

Most years I can count on being swept away by some emo band I have never heard of previously. In 2025 Star 99 got closest with their Los Campesinos!-flavoured take on 90s teen film rock music. The Momma record has the muscle of Hotline TNT but with actual and better songs.


Loved previously but disappointed in 2025

Pool Kids - Easier Said Than Done
Real Lies - We Will Annihilate Our Enemies
Hot Mulligan - The Sound a Body Makes When It's Still
Ben Quad - Wisher
Hotline TNT - Raspberry Moon
yeule - Evangelic Girl is a Gun
Skullcrusher - And Your Song is Like a Circle
Purity Ring - s/t

Don't usually do a list of bummers, but this year it was quite a long list. The Beths just about escaped the pile because I realised 'Mother, Pray for Me' was a bad song in an otherwise good album. I'm seeing Pool Kids live in the new year, so maybe that will make their record click for me.


Not of 2025 but loved in 2025

Merce Lemon - Watch Me Drive Them Dogs Wild
All Dogs - Kicking Every Day
red sun - 'Boomer'

Shout to the random asides in Endless Scroll podcast episodes that brought these to my attention.


Rereleased / Remastered

Various - Telepathic Fish: Trawling The Early 90s Ambient Underground
Pavement - Hecklers Choice: Big Guns and Heavy Lifters

Never not going to be into some 90s electronic music archival project. I'm Pavement agnostic, and so found having a compilation remastering their greatest hits actually quite welcome.

My year in books

Once again happy new year to all but particularly the Alzabo Soup podcast for their monthly book club read-along, which I dipped in and out of this year. The Bloody Chamber was on their schedule, which spurred me to revisit a few of Angela Carter's greatest hits, as well as read Edmond Gordon's excellent biography. Suldrun's Garden was another of their selections – which I liked so much I got through the entire Lyonesse trilogy, and Jack Vance's autobiography, in a month. The deaths of Tom Stoppard and Peter David also exerted an influence. The biggest revelation was Garth Greenwell, who writes about his experience of living in Bulgaria with great insight and feeling. Capsule reviews for most of the below are on Goodreads.

Non-fiction

Edmund Gordon - The Invention of Angela Carter: A Biography
Jack Vance - This is me, Jack Vance!: Or, More Properly, This Is "I"
Michael Moorcock - Wizardry and Wild Romance
Samuel R. Delany - The Motion of Light in Water: Sex and Science Fiction Writing in the East Village
Martin Amis - The War Against Cliché: Essays and Reviews, 1971-2000
Jonathan Bate - The Genius of Shakespeare
Peter Heather - Christendom: The Triumph of a Religion, AD 300-1300
Chris DeVille - Such Great Heights: The Complete Cultural History of the Indie Rock Explosion
Chris Payne - Where Are Your Boys Tonight?: The Oral History of Emo's Mainstream Explosion 1999-2008
Ivan Krastev / Stephen Holmes - The Light that Failed: A Reckoning
Majorie Garber - Shakespeare After All

Fiction

Angela Carter - The Bloody Chamber and other stories
Angela Carter - Wise Children
Angela Carter - The Passion of New Eve
Garth Greenwell - What Belongs To You / Cleanness
Mary Gaitskill - Bad Behaviour: stories
William Gibson - Neuromancer / Count Zero
Jack Vance - Suldrun's Garden / The Green Pearl / Madouc
Michael Swanwick - Stations of the Tide
John M. Ford - The Dragon Waiting
John M. Ford - The Last Hot Time
Roger Zelazny - Lord of Light
Roger Zelazny - various short stories
Tom Stoppard - Arcadia
Tom Stoppard - The Real Thing
John Marston - The Malcontent
Thomas Dekker / Thomas Middleton - The Roaring Girl
Eimear McBride - The Lesser Bohemians
Philip Roth - Sabbath's Theatre
Gore Vidal - Myra Breckinridge
Alissa Nutting - Tampa
Marguerite Duras - The Malady of Death
Jane Austen - Mansfield Park
Sarah Waters - Fingersmith
Banana Yoshimoto - Kitchen / Moonlight Shadow
Helen Fielding - Bridget Jones's Diary
Annie Ernaux - Simple Passion
Leo Tolstoy - Hadji Murat
Fyodor Dostoevsky - Notes from Underground
Ursula K. Le Guin - The Dispossessed
Clark Ashton Smith (ed. S.T. Joshi) - The Dark Eidolon and other fantasies
Raymond Chandler - The Lady in the Lake
Clive Barker - The Hellbound Heart
Pierre Louÿs - Three Daughters of their Mother
Pierre Louÿs - Toinon
Guillaume Apollinaire - The Amorous Exploits of a Young Rakehell
Alina Reyes - The Butcher
Alfred de Musset - Gamiani, or Two Nights of Excess
Iain M. Banks - The Player of Games

Comics:

Bruce Timm - Naughty and Nice: The Good Girl Art of Bruce Timm
Peter David / George Pérez - Sachs & Violens
Peter David / J.K. Woodward - Fallen Angel
Kenichi Sonoda - Gunsmith Cats omnibus vol. 1
Mirka Andolfo - Sweet Paprika vol. 1
Takaya Kagami / Yamato Yamamoto - Seraph of the End: Vampire Reign vol. 1
Shirow Miwa - RWBY: 1

31.12.24

My year in books

Happy new year to all but particularly to the Alzabo Soup podcast for running a mammoth Shakespeare / Renaissance English plays readalong in 2024. Obviously a big draw for reading them all is 1. you can boast about it and 2. you can make a big list at the end. Here's mine – I've written a bit more about the entries below on Goodreads. Hope everyone has a good 2025.

Shakespeare plays ranked
  1. Hamlet
  2. Macbeth
  3. A Midsummer Night's Dream
  4. King Lear
  5. As You Like It
  6. Romeo & Juliet
  7. Measure for Measure
  8. Cymbeline
  9. Richard II
  10. The Two Noble Kinsmen (with John Fletcher)
  11. Twelfth Night
  12. Othello
  13. Coriolanus
  14. The Merchant of Venice
  15. The Merry Wives of Windsor
  16. The Tempest
  17. Henry IV Part 1
  18. Antony & Cleopatra
  19. Much Ado About Nothing
  20. Titus Andronicus (with George Peele)
  21. Julius Caesar
  22. Henry IV Part 2
  23. All's Well That Ends Well
  24. Edward III (with others)
  25. The Winter's Tale
  26. Henry V
  27. Love's Labour's Lost
  28. Richard III
  29. Henry VI Part 2
  30. Trolius & Cressida
  31. Henry VI Part 1
  32. The Comedy of Errors
  33. Pericles (with George Wilkins)
  34. Henry VI Part 3
  35. King John
  36. Timon of Athens (with Thomas Middleton)
  37. Henry VIII (with John Fletcher)
  38. The Taming of the Shrew
  39. Two Gentlemen of Verona
Other Elizabethan / Jacobean drama ranked:
  1. Thomas Kyd - The Spanish Tragedy
  2. John Ford - 'Tis Pity She's A Whore
  3. Christopher Marlowe - Edward II
  4. John Webster - The Duchess of Malfi
  5. Thomas Middleton - The Revenger's Tragedy
  6. Francis Beaumont - The Knight of the Burning Pestle
  7. Thomas Dekker / John Ford / William Rowley - The Witch of Edmonton
  8. John Fletcher - The Woman's Prize, or The Tamer Tamed
  9. Ben Jonson - Volpone
  10. Thomas Middleton / William Rowley - The Changeling
  11. Anonymous (perhaps Thomas Kyd) - Arden of Faversham
  12. Francis Beaumont / John Fletcher - Philaster, or Love Lies a-Bleeding
  13. Christopher Marlowe - The Jew of Malta
  14. Thomas Dekker - The Shoemakers' Holiday
  15. Ben Jonson - The Alchemist
  16. John Webster - The White Devil
  17. Christopher Marlowe - Doctor Faustus
Shakespeariana roughly in order of preference:
  • Jonathan Bate - Soul of the Age: the Life, Mind and World of William Shakespeare
  • Emma Smith - This Is Shakespeare: How to Read the World's Greatest Playwright
  • James Shapiro - 1599: a Year in the Life of William Shakespeare
  • James Shapiro - 1606: Shakespeare and the Year of Lear
  • Harold Bloom - Shakespeare: The Invention of the Human
  • Stanley Wells - What Was Shakespeare Really Like?
  • Stanley Wells - Shakespeare & Co.
  • Richard Proudfoot - Shakespeare: Text, Stage & Canon
  • Jan Kott - Shakespeare Our Contemporary
  • David Bevington - How to read a Shakespeare play
  • Germaine Greer - Shakespeare: A Very Short Introduction
  • Bill Bryson - Shakespeare: the World as a Stage
  • G. Wilson Knight - The Wheel of Fire
  • Stephen Greenblatt - Shakespeare's Freedom
  • E.M.W. Tillyard - The Elizabethan World Picture
  • Katherine Rundell - Super-Infinite: The Transformations of John Donne
  • Michael Hattaway (ed.) - The Cambridge Companion to Shakespeare's History Plays
  • Margreta de Grazia / Stanley Wells (eds.) - The New Cambridge Companion to Shakespeare
Other non-fiction:
  • Lizzy Goodman - Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011
  • David Toop - Ocean of Sound: Ambient Sound and Radical Listening in the Age of Communication
  • Suzanne Ferriss - Lost in Translation (BFI Film Classics)
  • Laura Ashe - Richard II: A Brittle Glory
  • Anne Curry - Henry V: Playboy Prince to Warrior King
  • Rosemary Horrox - Richard III: A Failed King?
SF (mostly) shorts:

Jack Vance - The Dragon Masters
Jack Vance - The Last Castle
Jack Vance - The Miracle Workers
Jack Vance - The Star King
Jack Vance - 'Abercrombie Station' / 'Chowell's Chickens'
Jack Vance - 'The Mitr'
Jack Vance - 'The Moon Moth'
Jack Vance - 'Ullward's Retreat'
George R.R. Martin - 'A Song for Lya'
Michael Moorcock - Stormbringer
Michael Moorcock - 'The Stealer of Souls' / 'Kings in Darkness' / 'The Flame Bringers'
Kelly Link - 'The Faery Handbag' / 'Stone Animals' / 'Magic For Beginners'
Mariella Frostrup (ed.) - Darkest Desire
Iain Banks - The Wasp Factory

Comics:

Becky Cloonan / Tula Lotay - Somna
Brian Azzarello / Maria Llovet - Faithless, vols. 1 & 2
Kazuo Umezz - The Drifting Classroom, Perfect Edition vol. 1
Edward Ross - Gamish: A Graphic History of Gaming
Richard Corben - DEN vols 1 & 2
Emily Carroll - Through the Woods
K. Briggs - Macbeth
Matt Fraction / Chip Zdarsky - Just the Tips
Kieron Gillen / Jim Rossignol / Jeff Stokely - Ludocrats
Georges Pichard - Marie-Gabrielle de Saint-Eutrope

29.12.24

Favourite music of 2024

Guitars

Hovvdy - Hovvdy
Macseal - Permanent Repeat
Gulfer - Third Wind + Lights Out
Johnny Foreigner - How To Be Hopeful
Cindy Lee - Diamond Jubilee

Ten years ago a band that covered and sound not-a-little like Coldplay would have been absolute anathema to me, but things change when you're in your mid-thirties and married with children. The Hovvdy record is made for tired dads scoring wins where they can and I've come to embrace that. On the other picks: power pop is not a guaranteed winner with me but Macseal crack the formula – great summer BBQ record. Gulfer are (now, sniff, were) a great band. JoFo 4eva of course. Cindy Lee is ambient to me and that's actually a great way to appreciate this very hyped release.

Bops

Charli XCX & Lorde - 'Girl, so confusing'
Charli XCX & Ariana Grande - 'Sympathy is a knife'
Charli XCX - Brat
This Is Lorelei - 'Dancing in the Club'
Charly Bliss - 'Waiting For You'

Only a monster wouldn't well up at the Lorde verse in 'Girl, So Confusing'. I'm a Charli day one and don't truck with this attitude that the music loses something when the uncoolest people in the world are making Brat memes. That may perhaps be because I am also one of those uncool people (married with children etc). Speaking of, maybe Charli should have that kid and take a break. Kids are great.

Beats

Priori feat. James K - 'Wake'
Maya Q - 'Starbust'
Sully & Salo - 'Nights (Not Just A Dub Mix)'
Artur M Puga - 'NubeKevlar'
Earl Grey - 'Amygdala'
Toma Kami - missed heaven
Skee Mask - Resort
aheloy! - Deep in the Big Blue Dream
Innersound - Yellow Boa
Djrum - Meaning's Edge
Jeigo - Fig
Xylitol - Anemones

Drum and bass is the greatest music ever invented. Shawn Reynaldo gets it – shout to his First Floor newsletter where I got wind of a lot of these picks.

Moods

Priori - This But More
Rosie Carr - yew
Lyndsie Alguire - time is but the drawing of a sword
C. Diab - Imerro
Mary Lattimore & Walt McClements - Rain On The Road
Not Waving & Romance - Infinite Light (and to a lesser extent Wings of Desire)
Isabel Pine - Where the Flowers Grow
Hearts And Minds - Hearts And Minds
Nexcyia - Endless Path Of Memory
mu tate - wanting less
Various - 29 Speedway: UltraBody
Xoloft Infected Puberty Arc - Made By A Kid
Lifted - Trellis
James K - 'Hypersoft Lovejinx Junkdream'
Blue Lake - 'Green-Yellow Field (Sofie Birch & Carøe Remix)'
COLA REN - 'Baraka (Salamanda Remix)'

It seems I have joined the large contingent of people for whom music with things like rhythm or melody is just a bit too much. Can ambient ever be bad is a question I've been grappling with as I've been familiarising myself with the genre. Reading David Toop's monumental Oceans of Sound, which fondly depicts the kooky and silly nature of a lot of experimental music, helped me relax about the need to evaluate this stuff. Whatever works for you is fine. Large swathes of this music will be by its very nature forgettable, you just find the bits that keep you interested. Shout to Philip Sherburne's Futurism Restated newsletter where I got wind of a lot of these picks.

Rereleased / Remastered

Cocteau Twins & Harold Budd - The Moon and the Melodies
Dettinger - Intershop + Oasis
Various - Lost Paradise: Blissed Out Breakbeat Hardcore 1991-94
Various - Virtual Dreams II - Ambient Explorations in the House & Techno Age, Japan 1993-1999

Significant Harold Budd obsession developed this year. I will also never say no to a massive compilation of obscure 90s electronic music.

Not of 2024 but loved in 2024

ML Buch - Suntub
Ben Quad - I'm Scared That's All There Is
Yasmin Williams - Urban Driftwood
Brian Eno / Harold Budd - Ambient 2: The Plateaux Of Mirror
Laraaji / Brian Eno - Ambient 3: Day of Radiance
Fripp & Eno - Evening Star
Laurie Spiegel - The Expanding Universe
Caroline Polachek - Desire, I Want To Turn Into You (Everasking Edition)

ML Buch is my most listened to artist of 2024. Got wind of Suntub through it placing on so many 2023 lists which just goes to show that lists are worth something. 2024 screamo Ben Quad not my speed, but 2022 melodic Ben Quad very much is. Shout to Endless Scroll's Michael Brooks for the Yasmin Williams recommend. Dipped into a bunch of Brian Eno his year – the collaborative albums stayed with me the most.

15.12.24

The Wheel of Fire

The Wheel of FireThe Wheel of Fire by George Wilson Knight
My rating: 3 of 5 stars

Extremely idiosyncratic takes on Shakespeare, written with such whirling enthusiasm that it can be hard to maintain a grasp of the argument. Wilson Knight is dismissive of critical approaches that focus on character and intention (which cards on the table I'm amenable to), preferring to look at the symbolic significance of the plays and something that today might perhaps uncharitably be described as their general vibe. Most valuable for me were the readings of Measure for Measure and Trolius and Cressida, which the critical consensus interprets as satirical if not farcical in tone, but Wilson Knight takes more seriously. I thought it was impossible to see Duke Vincentio as a hero, but Wilson Knight shows that there can be positive readings of the character, showing in turn how Shakespeare's skill in balancing perspectives is evident even in plays that today's readers are liable to only interpret in a certain direction.

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8.12.24

The Alchemist

The Alchemist (New Mermaids)The Alchemist by Ben Jonson
My rating: 3 of 5 stars

Despite Jonson’s interest in seeing this play printed and read, it still belongs best on the stage, where the rapid-fire back and forth and madcap pace is more evident. The plot starts fast and gets faster, as the various gulls first get introduced and then pile up on each other, with the con men having to think of ever more extravagant tricks to separate them from their money. Quite a bit of it is pretty turgid on the page. The jokes need great performances to bring them alive.

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3.12.24

Philaster: Or, Love Lies A-Bleeding

Philaster: Or, Love Lies A-BleedingPhilaster: Or, Love Lies A-Bleeding by Francis Beaumont
My rating: 3 of 5 stars

The dramatic trick this keeps playing is to bring characters to the edge of death and then pulling back. The subtitle ‘Love Lies a-Bleeding” gestures towards that – the main couple are both near mortally wounded but recover and are united at the end through a twist that makes less sense the more you think about it. The blood that is shed is proof of their honour. The most radical aspect of the play is that it is the intervention of the people against a tyrannical king that delivers the happy ending. Shakespeare borrowed some elements of this play for Cymbeline and improved on them in almost every way.

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27.11.24

The Tempest

The TempestThe Tempest by William Shakespeare
My rating: 4 of 5 stars

This is a strange one. Prospero starts the play as a revenger, and his authoritarian disposition towards his daughter, Ariel and Caliban provides plenty of scope for modern day readers to see the character as an upholder of patriarchy, colonialism and racism. But at the end of the play, there’s a swerve away from revenge and towards high-minded forgiveness. Prospero overcomes his baser nature – which the play elsewhere associates with conspiring courtiers, drunken louts and 'savage' men in faraway lands. He is the stage manager as hero, whereas in most Shakespeare plays the stage-manager tends to be the villain (see in particular Iago and Edmund). He is not as compromised as the 'Duke of Dark Corners' in Measure for Measure – whereas that play's ending descends into farce, The Tempest strikes a more wistful tone. Prospero's magic engineers a happy ending – a restoration of the natural order, with natural slaves put in their place and the rightful rulers reassuming theirs. Shakespeare's contemporary audience may have accepted this at face value. A modern audience may find it harder to do so.

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21.11.24

The Changeling

The Changeling: Full Text and Introduction (NHB Drama Classics)The Changeling: Full Text and Introduction by Thomas Middleton
My rating: 3 of 5 stars

Bit of an odd one. There are thematic connections to be made between the largely unconnected main plot and sub-plot, but they are rather flimsy. Middleton’s moralistic policing of female chastity is quite an unattractive trait, but the villainous De Flores, obsessed with bedding the beautiful Beatrice-Joanna even if it kills him, is a fun role.

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15.11.24

The Witch of Edmonton

The Witch of EdmontonThe Witch of Edmonton by Thomas Dekker
My rating: 4 of 5 stars

A play full of ambiguities. To what extent is the titular witch created by the prejudices of her community? How much agency does she really have? She is both a scapegoat and a revenger. The play revels in the fascination with witchcraft while at the same time portraying Mother Sawyer as a victim. Both her and Frank Thorney are pressured into doing evil by the fraught economic circumstances they find themselves in. Both get sent to the gallows, but while Mother Sawyer goes out cursing, Frank is penitent – a slightly heavy-handed insistence by the dramatists on the importance of forgiveness. The most ambiguous character of all is of course the satanic talking dog, who either inspires or encourages the chaos that engulfs Edmonton. In the end he is beaten an away by the good-natured simpleton Cuddy Banks – a Bottom-like figure who consorts with demons but can’t be corrupted by them. It is another one of the play’s ironies that the most heroic character is the clown.

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6.11.24

The Knight of the Burning Pestle

The Knight of the Burning Pestle (New Mermaid Ser)The Knight of the Burning Pestle by Francis Beaumont
My rating: 4 of 5 stars

It is a testament to the rapid evolution of the theatre in Renaissance England that basically within 20 years of the medium establishing itself we get deconstructions like this. Here a rote city comedy with shades of Dekker’s Shoemaker’s Holiday is disrupted by a grocer family who park themselves on the stage and insist on the addition of a heroic adventure subplot (heavily influenced by Don Quixote). Their interjections provide a meta commentary on the different tastes and expectations of the audience, although the jokes do start to wear a bit thin towards the end. The author’s preface seems to be a defence against accusations of snobbery – the play is written to “please all, and be hurtful to none”. It’s certainly a delight.

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2.11.24

The Revenger's Tragedy

The revenger's tragedy (The new mermaids)The revenger's tragedy by Cyril Tourneur
My rating: 4 of 5 stars

Takes the revenge tragedy genre established by Kyd’s Spanish Tragedy to its limit and beyond – stripping out any potential for pathos or catharsis and replacing it with farce. Middleton (more likely to have been the dramatist than Tourneur) was best known for acerbic heavily-plotted city comedies, and those inclinations are present here – with disguises creating absurd situational comedy and the revengers deploying wildly inventive methods of murder. Marlowe’s Doctor Faustus and Shakespeare’s Titus Andronicus had a similar blackly comic tone, but The Revenger’s Tragedy refines the formula and introduces a contempt for the machinations of courtly life that points towards Webster’s nihilistic White Devil and Duchess of Malfi. A lot of fun.

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22.10.24

Hamlet

HamletHamlet by William Shakespeare
My rating: 5 of 5 stars

The last time I read Hamlet I came away thinking it was a play haunted by depression and suicide rather than revenge. This time around, what struck me was how the Ghost sets up a theological mystery that Hamlet needs to investigate. It is only with the staging of the play within the play that Hamlet can see the Ghost is honest and the King is a regicide. But that reveals his hand, and gets him packed off to England. Revenge is deferred because of Hamlet’s probing at the workings of heaven. It is after seeing Fortinbras marching with his army to fight over “an eggshell” that he lets go and surrenders to what may be. The sea voyage turns him into a creature of impulse – “the readiness is all”. In the final scene the deaths feel random. Providence takes over and resolves the feud where Hamlet’s intellectualising could not. His antic disposition enters a new lighter mode in Act 5. The angst is replaced by a sense of comic absurdism, where weighty matters of death are treated as skulls to be thrown about. But in his last moments he suddenly starts caring about his reputation, contradicting his earlier claim that not knowing what might happen after death means he is ready for it. Fundamentally this character fascinates more than any other not just because of the poetry he is capable but because of the several transformations he undergoes.

The Arden 3rd edition’s textual notes are excellent. A lot of the introduction and appendixes focus on the decision to present the different versions of the play separately, rather than conflating them. That is new and interesting, but it leaves less room to explore the historical context and staging history of the play.

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12.10.24

The Spanish Tragedy

The Spanish Tragedy (New Mermaid Series)The Spanish Tragedy by Thomas Kyd
My rating: 4 of 5 stars

The first big hit of Elizabethan drama, and still absolutely captivating. The scene constructions and rhetorical flourishes may strike some readers as offputtingly artificial. I thought they were impressively thought out, and rich in interpretative possibilities. Kyd gives us a play within a play within a play. The personification of Revenge orchestrates the action, coming to embody the protagonist Hieronimo who in turn stages a play that enacts his revenge. The pivotal scene in which he discovers the letter revealing the murderers of his son, which can feel quite arbitrary, can be staged in such a way that has Revenge come in to press his thumb on the scale and kickstart the revenge plot. The guiding hand of providence makes good in the end, delivering a sense of poetic and dramatic justice. It must have felt powerfully cathartic to an audience who were used to burying their children to have a figure embody and enact extra-worldly justice on the stage, although the disaster that ensues might complicate the response of a modern audience. Anyone interested in Shakespeare or the theatre of his day needs to read this play.

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9.10.24

The White Devil

The White Devil (Arden Early Modern Drama)The White Devil by John Webster
My rating: 3 of 5 stars

Extremely plot-heavy to its detriment. Webster doesn’t have his characters explain themselves to the audience in soliloquy so it’s often hard to determine why they are doing what they are doing. The general sense conveyed is of courtiers and lovers driven to hysteria and madness as a result of serving the whims of their powerful patrons. Poison pervades the court and few escape it. The sham trial in the middle of the play is its finest moment. The ending is very confused.

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28.9.24

The Duchess of Malfi

The Duchess of MalfiThe Duchess of Malfi by John Webster
My rating: 4 of 5 stars

Hard to find a character in literature that embraces chaos more than Bosola – a scholar and a soldier who turns himself into a spy and assassin before rediscovering a sense of morality at the end, when it’s too late. The play continually makes reference to the melancholic humour of the characters – a kind of worldly depressive attitude that leads to ethical nihilism. It is the Duchess who provides an alternative model of being – confident in asserting her desires and dutiful towards her family. She is a shining light in the darkness, and cannot survive the maniacal melancholics who surround her. This play is not quite as outrageous as John Ford’s ‘Tis Pity, but it comes close. I’m all for it.

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24.9.24

The Tamer Tamed

The Tamer Tamed (RSC Classics)The Tamer Tamed by John Fletcher
My rating: 4 of 5 stars

A rare case where the sequel improves on the original, showing that The Taming of the Shrew’s dodgy sexual politics were questioned even in Shakespeare’s day. Fletcher turns the tables on the flamboyant “wife-breaker” by having the women in the play group together to go on strike and demand conditions for better treatment. There’s a bit of balancing there, as some of the demands seem then as now quite frivolous – Maria making free with her husband’s wealth in a way that doesn’t quite square with the responsible management of the household. But arguably this is just another ploy to “break” Petruchio’s will. Once achieved, Maria promises mutuality and obedience, although as the play’s beginning suggests, these promises at a play’s end don’t always last a marriage.

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21.9.24

The Taming of the Shrew

The Taming of the ShrewThe Taming of the Shrew by William Shakespeare
My rating: 2 of 5 stars

Solidifies my theory that Shakespeare didn’t write any great plays in the first seven years of his career, with the possible exception of Love’s Labour’s Lost (and even then I find that play hard to like). Emma Smith makes a good case for the fundamental ambiguity of whether Katherine is in fact tamed by Petrucio – the text leaves options open for different stagings. For what it’s worth, Katherine’s extended capitulation speech at the end of the play suggests to me an acceptance of her fate, rather than an ironic and hostile attitude to it. Shakespeare would grow out of the urge to humble his active and opinionated heroines, and his plays became better for it.

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