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Hamlet Paperback – April 24, 2012
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"Children of Blood and Bone"
Tomi Adeyemi conjures a stunning world of dark magic and danger in her West African-inspired fantasy debut. Pre-order today
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From the Back Cover
The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
About the Author
William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England's Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children--an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare's only son, died in childhood. The bulk of Shakespeare's working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.
Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare's Romances and of essays on Shakespeare's plays and their editing.
Paul Werstine is Professor of English at the Graduate School and at King's University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare's plays.
Top customer reviews
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Pelican produced a great cover and fit and finish on this book. It's engaging and looks great on the shelf. I'm dying to pick up all of them because as a series they will utterly dominate a shelf. Very striking, and the line illustrations are gorgeous.
Unfortunately, it's more of a mixed bag on the inside. Small margins and cheap paper feel disappointing. I'm going to spend the most time on the inside, so why would I buy a poor-quality interior? The Barnes and Noble series of Shakespeares, though much uglier on the outside, have really helpful notes and references throughout, and are printed on a spacious layout and great-quality paper.
Up to you whether cover or interior rules, but for me, I think I'm sticking with the B&Ns. It's a shame though, wish these were nicer on the inside.
In the end, I think Horatio should have become president of Denmark, and we could have saved a bunch of centuries figuring socialism out.
It has everything I have come to expect and enjoy from Oxford Shakespeare: an excellent introduction that covers all aspects of the play from history to production notes, and challenges actors have and may face. The annotation, footnotes, references, and more are all there. It can be read in total or just the play itself (the annotation providing semantics).
I am no expert on bookbinding or paper. With that said, the jacket and binding seem to be very durable. The paper, although not stated (that I could find) as "acid-free" is certainly of higher quality than the newsprint paper currently popular with many publishers. Unless you are looking for a "quick-read, throw-away" I feel confident you will not be disappointed.
The general introduction also includes: a survey of sources and analogues, enlivened by a summary of Freud's interpretation of the three caskets; a brief account of the 'myth' of Venice, particularly its reputation for impartial justice; an estimate of the play's date (1596-7); and a helpful critical analysis which gives prominence to the theme of "bondage and bonding".
Halio's annotation of the text is generally proficient and admirably frank in rendering sexual double entendres and is frequently illuminating in its references to modes of staging; the lengthy note on "Nerissa's ring" is exemplary in both these respects. As with other volumes of the Oxford World's Classics Shakespeare series, there is a good range of pictorial material and a very useful index.