Hag-Seed

Publishers Weekly �š 08/22/2016 In The Tempest, Prospero is not just exiled king, magician, and father, he�fs an impresario staging multiple shows: the storm that strands his enemies on the island; his pretended disdain for Ferdinand, whom he intends for his daughter, Miranda; the play within the play; and, some critics argue, the play itself. In this, the fourth Hogarth Shakespeare adaptation, Atwood underscores these elements by making her Prospero a prominent theater festival director. After being done out of his job by a scheming underling, Felix goes off-grid, teaching literacy and theater to prisoners and grieving a lost daughter. When he learns that the man who took his job, now a political bigwig, will attend the next production, he sees his chance: in this Tempest, it won�ft just be Prospero who gets revenge. Former diva Felix is a sly and inventive director and teacher who listens to his cast�fs input, and his efforts to shape the play and his plot make for compelling reading. If, at the end, things tie up a little too neatly, the same might be said of the original, and Atwood�fs canny remix offers multiple pleasures: seeing the inmates�f takes on their characters, watching Felix make use of the limited resources the prison affords (legal and less so), and marveling at the ways she changes, updates, and parallels the play�fs magic, grief, vengeance, and showmanship. 125,000-copy announced first printing. (Oct.)