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Editorial Reviews
Amazon.com Review
There's no shortage of good Shakespearean biographies. But Stephen Greenblatt, brilliant scholar and author of Will in the World: How Shakespeare Became Shakespeare, reminds us that the "surviving traces" are "abundant but thin" as to known facts. He acknowledges the paradox of the many biographies spun out of conjecture but then produces a book so persuasive and breathtakingly enjoyable that one wonders what he could have done if the usual stuff of biographical inquiry--memoirs, interviews, manuscripts, and drafts--had been at his disposal. Greenblatt uses the "verbal traces" in Shakespeare's work to take us "back into the life he lived and into the world to which he was so open." Whenever possible, he also ushers us from the extraordinary life into the luminous work. The result is a marvelous blend of scholarship, insight, observation, and, yes, conjecture--but conjecture always based on the most convincing and inspired reasoning and evidence. Particularly compelling are Greenblatt's discussions of the playwright's relationship with the university wit Robert Greene (discussed as a chief source for the character of Falstaff) and of Hamlet in relation to the death of Shakespeare's son Hamnet, his aging father, and the "world of damaged rituals" that England's Catholics were forced to endure. Will in the World is not just the life story of the world's most revered writer. It is the story, too, of 16th- and 17th-century England writ large, the story of religious upheaval and political intrigue, of country festivals and brutal public executions, of the court and the theater, of Stratford and London, of martyrdom and recusancy, of witchcraft and magic, of love and death: in short, of the private but engaged William Shakespeare in his remarkable world. Throughout the book, Greenblatt's style is breezy and familiar. He often refers to the poet simply as Will. Yet for all his alacrity of style and the book's accessibility, Will in the World is profoundly erudite, an enormous contribution to the world of Shakespearean letters. --Silvana Tropea
There's no shortage of good Shakespearean biographies. But Stephen Greenblatt, brilliant scholar and author of Will in the World: How Shakespeare Became Shakespeare, reminds us that the "surviving traces" are "abundant but thin" as to known facts. He acknowledges the paradox of the many biographies spun out of conjecture but then produces a book so persuasive and breathtakingly enjoyable that one wonders what he could have done if the usual stuff of biographical inquiry--memoirs, interviews, manuscripts, and drafts--had been at his disposal. Greenblatt uses the "verbal traces" in Shakespeare's work to take us "back into the life he lived and into the world to which he was so open." Whenever possible, he also ushers us from the extraordinary life into the luminous work. The result is a marvelous blend of scholarship, insight, observation, and, yes, conjecture--but conjecture always based on the most convincing and inspired reasoning and evidence. Particularly compelling are Greenblatt's discussions of the playwright's relationship with the university wit Robert Greene (discussed as a chief source for the character of Falstaff) and of Hamlet in relation to the death of Shakespeare's son Hamnet, his aging father, and the "world of damaged rituals" that England's Catholics were forced to endure. Will in the World is not just the life story of the world's most revered writer. It is the story, too, of 16th- and 17th-century England writ large, the story of religious upheaval and political intrigue, of country festivals and brutal public executions, of the court and the theater, of Stratford and London, of martyrdom and recusancy, of witchcraft and magic, of love and death: in short, of the private but engaged William Shakespeare in his remarkable world. Throughout the book, Greenblatt's style is breezy and familiar. He often refers to the poet simply as Will. Yet for all his alacrity of style and the book's accessibility, Will in the World is profoundly erudite, an enormous contribution to the world of Shakespearean letters. --Silvana Tropea
Interview with Stephen Greenblatt 
Stephen Greenblatt shares his thoughts about what make Shakespeare Shakespeare and why the Bard continues to fascinate us endlessly.
From Publishers Weekly
This much-awaited new biography of the elusive Bard is brilliant in conception, often superb in execution, but sometimes—perhaps inevitably—disappointing in its degree of speculativeness. Bardolators may take this last for granted, but curious lay readers seeking a fully cohesive and convincing life may at times feel the accumulation of "may haves," "might haves" and "could haves" make it difficult to suspend disbelief. Greenblatt's espousing, for instance, of the theory that Shakespeare's "lost" years before arriving in London were spent in Lancashire leads to suppositions that he might have met the Catholic subversive Edmund Campion, and how that might have affected him—and it all rests on one factoid: the bequeathing by a nobleman of some player's items to a William Shakeshafte, who may, plausibly, have been the young Shakespeare. Nevertheless, Norton Shakespeare general editor and New Historicist Greenblatt succeed impressively in locating the man in both his greatest works and the turbulent world in which he lived. With a blend of biography, literary interpretation and history, Greenblatt persuasively analyzes William's father's rise and fall as a public figure in Stratford, which pulled him in both Protestant and Catholic directions and made his eldest son "a master of double consciousness." In a virtuoso display of historical and literary criticism, Greenblatt contrasts Christopher Marlowe's Jew of Malta, Elizabeth's unfortunate Sephardic physician—who was executed for conspiracy—and Shakespeare's ambiguous villain Shylock. This wonderful study, built on a lifetime's scholarship and a profound ability to perceive the life within the texts, creates as vivid and full portrait of Shakespeare as we are likely ever to have. 16 pages color illus. not seen by PW.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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Inside This Book
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First Sentence:
LET US IMAGINE that Shakespeare found himself from boyhood fascinated by language, obsessed with the magic of words. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
wretched strangers, deer poaching, playing companies, spiritual testament, playing company, university wits, upstart crow, likeliest candidate Key Phrases - Capitalized Phrases (CAPs): (learn more)
John Shakespeare, King Lear, Midsummer Night's Dream, The Winter's Tale, Queen Elizabeth, Julius Caesar, Anne Hathaway, Lord Chamberlain's Men, Queen's Men, Twelfth Night, New Place, William Shakespeare, Privy Council, Ben Jonson, The Merry Wives of Windsor, Catholic Church, Robert Greene, Sir Thomas Lucy, The Comedy of Errors, Earl of Leicester, Henley Street, Hock Tuesday, King's New School, London Bridge, The Jew of Malta New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
LET US IMAGINE that Shakespeare found himself from boyhood fascinated by language, obsessed with the magic of words. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
wretched strangers, deer poaching, playing companies, spiritual testament, playing company, university wits, upstart crow, likeliest candidate Key Phrases - Capitalized Phrases (CAPs): (learn more)
John Shakespeare, King Lear, Midsummer Night's Dream, The Winter's Tale, Queen Elizabeth, Julius Caesar, Anne Hathaway, Lord Chamberlain's Men, Queen's Men, Twelfth Night, New Place, William Shakespeare, Privy Council, Ben Jonson, The Merry Wives of Windsor, Catholic Church, Robert Greene, Sir Thomas Lucy, The Comedy of Errors, Earl of Leicester, Henley Street, Hock Tuesday, King's New School, London Bridge, The Jew of Malta New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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18
books
cite this book:
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- King Lear (The New Folger Library Shakespeare) by William Shakespeare on 24 pages
- Romeo and Juliet (Penguin Readers, Level 3) by William Shakespeare on 14 pages
- Romeo and Juliet (Folger Shakespeare Library) by William Shakespeare on 14 pages
- Twelfth Night (Folger Shakespeare Library) by William Shakespeare on 14 pages
- The Merchant of Venice (Saddleback Classics) by William Shakespeare on 13 pages
See all 100 books this book cites
- The Cambridge Companion to Shakespeare's Poetry (Cambridge Companions to Literature) by Patrick Cheney on 7 pages
- 'Hamlet' without Hamlet by Margreta de Grazia in Back Matter (1), and Back Matter (2)
- Texts and Traditions: Religion in Shakespeare 1592-1604 (Oxford English Monographs) by Beatrice Groves in Front Matter, and Back Matter
- Shakespeare's Late Style by Russ McDonald in Front Matter, and page 221
- Annuity Markets and Pension Reform by George A. (Sandy) Mackenzie in Front Matter, and Back Matter
See all 18 books citing this book
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