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William Shakespeare's Star Wars Hardcover – July 2, 2013
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“...a quirky addition to the genre-busting canon...”—Entertainment Weekly
“. . . a great gift for every geek you know, no matter what their passion.” – Huffington Post
“...the book is so brilliant you’ll wonder why someone didn’t think of it sooner.”—Paste Magazine
“William Shakespeare’s Star Wars is Exactly What You Need For Your Next Geeky Houseparty.”—Tor.com
“Nicolas Delort's woodcut-style illustrations are a fabulous mixture of old and new.”—Boing Boing
“At last, the mother of all mashups is upon us."—CNET.com
“Ian Doescher has reimagined the entire first Star Wars film as an Elizabethan play, complete with iambic pentameter and elaborate illustrations. It's geekception.”—The Mary Sue
“Doescher’s pseudo-Shakespearean language is absolutely dead-on; this is one of the best-written Shakespeare parodies created for this audience and it is absolutely laugh-out-loud funny for those familiar with both The Bard and Star Wars.”—School Library Journal
“...the ultimate fan fic.”— ABC News Radio
“For anglophiles, scifi nerds, and probably 9th grade English students.”—The Bookreporter
“If you are looking for a neat way to get acquainted with Shakespeare or you are a teacher whose students are having a rough time accessing the genius of the Bard of Avon, I highly recommend you give William Shakespeare’s Star Wars a try!”—GeekMom
“Doescher’s attempt to recreate a Shakespearean play is noteworthy and clever.”—Blogcritics.org
“The Bard at his finest, with all the depth of character, insightful soliloquies, and clever wordplay that we’ve come to expect from the Master. For those who wish to read the Star Wars legend in the original Elizabethan, this is the book for you.”—Timothy Zahn, New York Times bestselling author of Scoundrels
“Well-read geeks have breathlessly waited
For what Ian Doescher hath created
This book's cover is the door
To a Star Wars ne'er seen before”
—Daniel Wallace, New York Times best-selling author of Star Wars: The New Essential Guide to Characters
“I'm delighted to have William Shakespeare's Star Wars, and have read it with great pleasure. What a fine idea, to set this in the world of Luke Skywalker and R2-D2 C-3PO and Darth Vader! A period of civil war, rebels, the Galactic Empire, the death star. A star-crossed galaxy! Ian Doescher does iambic pentameter well. This is a hoot!”—David Bevington, Phyllis Fay Horton Distinguished Service Professor Emeritus in the Humanities, University of Chicago and co-editor of The Bantam Shakespeare series
“..another smart tribute fans will enjoy."—The Star-Ledger
“As Shakespeare would say, you might think, this be madness, yet there is a method in 't.”—Newsday
“...what Doescher made is delicious.”—Charleston City Paper
“This is a great read. Author Ian Doescher may not have bested Shakespeare, but he’s certainly one-upped Lucas.”—Asbury Park Press
“Is it all a great, geeky, inter-galactic goblet of literary fun? Verily!” —AmericanProfile.com
“Whether your tastes run to Alderaan or Avon, this reimagining of Star Wars overflows with heart and wit.”—Jason Fry, author of Star Wars: The Essential Guide to Warfare
“[William Shakespeare's Star Wars] is a a brilliant and super-cool way to meld pop culture and high culture”—Bella Online
“An elegant translation for a more civilized age. Let's face it—if you love Shakespeare or Star Wars half as much as I do, you've already bought this.”
—Adam Bertocci, author of Two Gentlemen of Lebowski, writer-director of Brooklyn Force and Run Leia Run, and moderator of TheForce.net
“Zounds, the Forsooth is strong in this one! Two of the most creative minds in the universe collide with spectacular, hilarious and surprisingly touching insight into the original classic. This truly is Star Wars as you like it.”—Joe Schreiber, author of Star Wars: Death Troopers and Lenny Cyrus, School Virus
About the Author
Ian Doescher is the New York Times best-selling author of William Shakespeare’s Star Wars®: Verily, A New Hope. He lives in Portland, Oregon, with his family. Visit him at IanDoescher.com.
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The first step was converting the dialogue of A New Hope into iambic pentameter. This is a great accomplishment in its own right: archaic sixteenth-century grammar and vocabulary are used, giving this writing a very authentically Shakespearean feel; at the same time, Star Wars jargon is faithfully represented: "Now lock thine S foils in attacking mode," for instance, or "E'en now the princess is on Level 5/Detention block of AA-23." Deliberately awkward dialogue from Star Wars is dialed up to eleven, with side-splittingly entertaining results; read the reinterpretation of Han's attempts to convince security that everything is fine in the detention block after his fire fight with the guards there. Unintentionally awkward dialogue, of which Lucas wrote a fair amount, is smoothed over and expanded upon to the point of eloquence; see Wedge's "Look at the size of that thing!" and Red Leader's response of "Cut the chatter." R2-D2's beeps and whistles and untranslated gibberish from alien characters are sometimes used as needed to get a tricky line into blank verse, which didn't bother me any. While contractions like "Millen'um Falcon" and "th'Imper'al Senate" look awful on paper, calling to mind some cotton-mouthed Mississippi redneck, there really is no way around it, given the nature of iambic pentameter.
At any rate, the conversion to blank verse is just the beginning. The dialogue is just so rich. It makes good use of Shakespearean cribs, great and small: During the briefing where the Rebels lay out their plan of attack on the Death Star, Luke gives a paraphrase of Henry V's band of brothers monologue, which includes reference to having hunted wompa rats which are not much more than two meters. One-liners are also in abundance: During the Falcon's desperate flight from Tatooine past a star destroyer, we hear "What light from yonder flashing sensor breaks?/It marks the loss of yon deflector shield." There are also inside jokes for Star Wars lovers; my favorite was Han's rhyming couplet after his confrontation with Greedo: "I pray thee, sir, forgive me for the mess/And whether I shot first, I'll not confess." As for the stormtrooper who, while searching for R2-D2 and C-3P0, ordered his mates "This door's locked, move on to the next one," his one line is transformed into an absurdly grandiose explanation of how his father told him he could be absolutely certain that nothing of interest would ever be found behind a locked door, and he's made that a guiding principle of his life ever since.
More seriously, the use of Shakespearean conventions adds so much texture to this version of the story. Liberal use of asides which create original dialogue not based on anything from Lucas's text give characterization to characters whose motives are a bit obscure in A New Hope: Obi-Wan alludes to the events of Revenge of the Sith and explains why he is concealing most of the truth from Luke at this point. He also indicates that he anticipates and is prepared to accept his fate. Darth Vader, meanwhile, uses his asides to acknowledge the bitterness and resentment which cuts so deep to his core and continues to corrupt Anakin Skywalker (without ever acknowledging that he is Anakin, of course). The combination of these two side-characterizations gives the duel between Vader and Obi-Wan the sense of being a climactic showdown many years in the making that it deserves. (In A New Hope proper, I've always thought it felt terribly anti-climactic, even more so after seeing the circumstances under which the two men had previously parted ways.) Han Solo uses his frequent asides to paint himself as a man who feels drawn to a nobler existence than his life of ruthless self-interest has provided, but who cannot heed that internal calling because of the burden of his debt to Jabba the Hutt. In the culmination of this journey he walks us through his decision to join the attack on the Death Star and save Luke from Vader's TIE fighter, rather than just showing up out of nowhere as he does in the movie.
R2-D2 also gets plenty of asides, and they are intelligible; in the first of these he explains to the audience that he only beeps and whistles where other characters can hear him because he's decided to play the fool so no one will suspect he knows more about the situation than he's letting on. This is a stroke of genius; I'm certain that that is exactly what Shakespeare would have done with the character. Subsequent asides are used to provide exposition to the audience.
Asides also give development to characters who are just nameless extras in the movie, mostly stormtroopers reflecting on their station before getting shot. And of course the asides provide humor: After being interrupted by C-3P0, Obi-wan asks in annoyance "Why speaks't he here when 'tis my time to speak?/These droids of protocol are e'er uncouth/Of etiquette they know but little, troth!"
One small complaint I have about the asides is that the word "aside" is often misused in the text, identifying as an aside a line that is directed at another character, or being absent from a line that should be described as such. Hopefully that's one of those typos that crops up in an uncorrected proof and will be caught before the finished product goes to print.
Another smart innovation is the use of a chorus to advance the action. They recite the famous trapezoidal crawl of text at the beginning of the movie--recast as a sonnet--then crop up throughout the book to provide linking narration between scenes or within a scene via rhyming quatrains. Mostly they're describing or summarizing scenes which in the movie were shown entirely by visual effects, effects which could not possibly be duplicated in a stage production. They really come into their own during the climactic Rebel attack on the Death Star, explaining what's going on while the various characters supply dialogue. In the Globe Theater this is how it would have to be done; it would not be practical to have the pilots give elaborate descriptions of what they're supposed to be seeing. (By the way, the chorus opens that scene with an appeal to the audience to use their imaginations to picture what's described rather than to insist on having everything presented as sensory stimuli. I couldn't help wondering if this was a gentle mockery of the special effects saturation of the prequel trilogy and recent rereleases of the original trilogy.) Not many Shakespearean plays include a chorus, but it's necessary here and really is the best way to reconcile elements of a story written for a visual medium with the new literary medium in which it's being recast.
One final feature which makes this book even more enjoyable is the illustrations. They're no masterpieces, to be sure, but there's a real level of enjoyment to see familiar characters represented via sixteenth century drawing methods, including some very stylized costumes which give recognizably science fiction outfits an Elizabethan flair.
All in all, what sounds like an amusing gag gift when you read the product description turns out to be a very sophisticated merging of two great storytelling styles. I do hope that this is not a one-time thing; I hope it's a great success that inspires the adaptation of the other Star Wars films in the same style, and similar projects for Doctor Who or Harry Potter or whatever. It's intelligent, it's enjoyable on countless levels, and its brilliance cannot be overstated.
He has used the words and organized the material into five acts exactly like Shakespeare’s plays have been written. If you have seen the first Star Wars movie you will be amused and entertained by this unique book. Act. 1 in this space age tale we have the Empire’s ship attacking the rebel ship and capturing Princess Leia. This act ends with the purchase of the two droids c-3po and R2-D2 from the Jawas.
I never give away too much information when reviewing a novel or story, but if you are a Star Wars fan you might enjoy this unique treatment of the space age tale using the language of Shakespeare. I personally loved it.
Rating: 4 Stars. Joseph J. Truncale (Author: Tactical Principles of the most effective combative systems).
Shakespearian plays are the settings of high drama, regardless of genre. This version of Star Wars manages to bridge the gap between the Flash Gordon-inspired films and Shakespeare’s sensibilities regarding destiny, power, and the struggle between good and evil. If you’re a writer and you haven’t borrowed an archetype or two from the Bard, you’re not doing it right. Even Lucas drew from the same well of myths as Shakespeare, which he discovered through the writings of the late Joseph Campbell. Doescher makes every effort to reconcile these two threads. The dialogue is clunky at times (even by Shakespearian standards). It’s difficult to picture the more fantastical elements (such as Vader’s duel with Kenobi or the Death Star trench run) working on stage.
The characters we know and adore take center stage in this adaptation. Doescher allows his chosen form to reveal character traits through asides and soliloquies, much like Shakespeare did. Each of the main characters gets their chance to stand center stage and reveal their desires, their fears, and their doubts to the reader (as they would on stage). There are moments, like with Obi-wan contemplating telling Luke about Vader’s identity, which were only told through expressions and body language in the film.
The writing takes prominence in this book. Doescher uses iambic pentameter effectively most of the time. Given the constraints of merging Elizabethan phrasing with technobabble, Doescher does an excellent job. The information is conveyed in such a way through the text that a reader could grasp what the characters are trying to say. Doescher also manages to find interesting ways to throw in the most memorable lines from the film into the dialogue. The downside of iambie pentameter (aside from it not being a familiar cadence for modern readers) is the often indirect ways something has to be said. There are times the dialogue is spotty or more of a mouthful than would be comfortable. Sometimes the dialogue meanders its way to where it needs to go, which can be a problem for those not familiar with Shakespeare’s plays. The first two acts are quick reads, as is the fifth act. The third and fourth are the most problematic in terms of writing and feel like they drag on and on. These acts are incidentally the escape from the Death Star sequence.
Despite the sometimes laborious sections, I heartily recommend this book for Star Wars fans and fans of the Bard’s great works. It isn’t often that I’m surprised by a book but this book accomplished that feat.