Available:*
Item Barcode | Collection | Call Number | Status | Item Holds |
|---|---|---|---|---|
| 33607002044629 | Adult Nonfiction | 928 SHAKESP | Searching... Unknown | Searching... Unavailable |
Bound With These Titles
On Order
Summary
Summary
William Shakespeare, the most celebrated poet in the English language, left behind nearly a million words of text, but his biography has long been a thicket of wild supposition arranged around scant facts. With a steady hand and his trademark wit, Bill Bryson sorts through this colorful muddle to reveal the man himself.
Bryson documents the efforts of earlier scholars, from today's most respected academics to eccentrics like Delia Bacon, an American who developed a firm but unsubstantiated conviction that her namesake, Francis Bacon, was the true author of Shakespeare's plays. Emulating the style of his famous travelogues, Bryson records episodes in his research, including a visit to a bunkerlike room in Washington, D.C., where the world's largest collection of First Folios is housed.
Bryson celebrates Shakespeare as a writer of unimaginable talent and enormous inventiveness, a coiner of phrases ("vanish into thin air," "foregone conclusion," "one fell swoop") that even today have common currency. His Shakespeare is like no one else's--the beneficiary of Bryson's genial nature, his engaging skepticism, and a gift for storytelling unrivaled in our time.
Author Notes
Bill Bryson was born in Des Moines, Iowa on December 8, 1951. In 1973, he went backpacking in England, where he eventually decided to settle. He wrote for the English newspapers The Times and The Independent, as well as supplementing his income by writing travel articles.
He moved back to the United States in 1995. His first travel book, The Lost Continent: Travels in Small-Town America, was published in 1989. His other books include I'm a Stranger Here Myself, In a Sunburned Country, Bill Bryson's Dictionary of Troublesome Words, Neither Here nor There: Travels in Europe, Made in America, The Mother Tongue, Bill Bryson's African Diary, A Short History of Nearly Everything, At Home: A Short History of Private Life, Walk About, and Seeing Further: The Story of Science, Discovery, the Genius of the Royal Society. A Walk in the Woods was adapted into a movie starring Robert Redford and Nick Nolte.
Bryson's titles, The Road to Little Dribbling: Adventures of an American in Britain, Notes from a Small Island and Neither Here Nor There made the New York Times bestseller list in 2016.
(Bowker Author Biography)
Reviews (2)
Publisher's Weekly Review
Considering the hundreds of thousands of words that have been written about Shakespeare, relatively little is known about the man himself. In the absence of much documentation about his life, we have the plays and poetry he wrote. In this addition to the Eminent Lives series, bestselling author Bryson (The Life and Times of the Thunderbolt Kid) does what he does best: marshaling the usual little facts that others might overlook-for example, that in Shakespeare's day perhaps 40% of women were pregnant when they got married-to paint a portrait of the world in which the Bard lived and prospered. Bryson's curiosity serves him well, as he delves into subjects as diverse as the reliability of the extant images of Shakespeare, a brief history of the theater in England and the continuing debates about whether William Shakespeare of Stratford-upon-Avon really wrote Shakespeare's works. Bryson is a pleasant and funny guide to a subject at once overexposed and elusive-as Bryson puts it, "he is a kind of literary equivalent of an electron-forever there and not there." (Nov.) (c) Copyright PWxyz, LLC. All rights reserved
Library Journal Review
Not a biography but a walk in the woods with the actors, academics, curators, and others who love Shakespeare. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
Shakespeare The World as Stage Chapter One In Search of William Shakespeare Before he came into a lot of money in 1839, Richard Plantagenet Temple Nugent Brydges Chandos Grenville, second Duke of Buckingham and Chandos, led a largely uneventful life. He sired an illegitimate child in Italy, spoke occasionally in the Houses of Parliament against the repeal of the Corn Laws, and developed an early interest in plumbing (his house at Stowe, in Buckinghamshire, had nine of the first flush toilets in England), but otherwise was distinguished by nothing more than his glorious prospects and many names. But after inheriting his titles and one of England's great estates, he astonished his associates, and no doubt himself, by managing to lose every penny of his inheritance in just nine years through a series of spectacularly unsound investments. Bankrupt and humiliated, in the summer of 1848 he fled to France, leaving Stowe and its contents to his creditors. The auction that followed became one of the great social events of the age. Such was the richness of Stowe's furnishings that it took a team of auctioneers from the London firm of Christie and Manson forty days to get through it all. Among the lesser-noted disposals was a dark oval portrait, twenty-two inches high by eighteen wide, purchased by the Earl of Ellesmere for 355 guineas and known ever since as the Chandos portrait. The painting had been much retouched and was so blackened with time that a great deal of detail was (and still is) lost. It shows a balding but not unhandsome man of about forty who sports a trim beard. In his left ear he wears a gold earring. His expression is confident, serenely rakish. This is not a man, you sense, to whom you would lightly entrust a wife or grown daughter. Although nothing is known about the origin of the painting or where it was for much of the time before it came into the Chandos family in 1747, it has been said for a long time to be of William Shakespeare. Certainly it looks like William Shakespeare--but then really it ought to, since it is one of the three likenesses of Shakespeare from which all other such likenesses are taken. In 1856, shortly before his death, Lord Ellesmere gave the painting to the new National Portrait Gallery in London as its founding work. As the gallery's first acquisition, it has a certain sentimental prestige, but almost at once its authenticity was doubted. Many critics at the time thought the subject was too dark-skinned and foreign looking--too Italian or Jewish--to be an English poet, much less a very great one. Some, to quote the late Samuel Schoenbaum, were disturbed by his "wanton" air and "lubricious" lips. (One suggested, perhaps a touch hopefully, that he was portrayed in stage makeup, probably in the role of Shylock.) "Well, the painting is from the right period--we can certainly say that much," Dr. Tarnya Cooper, curator of sixteenth-century portraits at the gallery, told me one day when I set off to find out what we could know and reasonably assume about the most venerated figure of the English language. "The collar is of a type that was popular between about 1590 and 1610, just when Shakespeare was having his greatest success and thus most likely to sit for a portrait. We can also tell that the subject was a bit bohemian, which would seem consistent with a theatrical career, and that he was at least fairly well to do, as Shakespeare would have been in this period." I asked how she could tell these things. "Well, the earring tells us he was bohemian," she explained. "An earring on a man meant the same then as it does now--that the wearer was a little more fashionably racy than the average person. Drake and Raleigh were both painted with earrings. It was their way of announcing that they were of an adventurous disposition. Men who could afford to wore a lot of jewelry back then, mostly sewn into their clothes. So the subject here is either fairly discreet, or not hugely wealthy. I would guess probably the latter. On the other hand, we can tell that he was prosperous--or wished us to think he was prosperous--because he is dressed all in black." She smiled at my look of puzzlement. "It takes a lot of dye to make a fabric really black. Much cheaper to produce clothes that were fawn or beige or some other lighter color. So black clothes in the sixteenth century were nearly always a sign of prosperity." She considered the painting appraisingly. "It's not a bad painting, but not a terribly good one either," she went on. "It was painted by someone who knew how to prime a canvas, so he'd had some training, but it is quite workaday and not well lighted. The main thing is that if it is Shakespeare, it is the only portrait known that might have been done from life, so this would be what William Shakespeare really looked like--if it is William Shakespeare." And what are the chances that it is? "Without documentation of its provenance we'll never know, and it's unlikely now, after such a passage of time, that such documentation will ever turn up." And if not Shakespeare, who is it? She smiled. "We've no idea." If the Chandos portrait is not genuine, then we are left with two other possible likenesses to help us decide what William Shakespeare looked like. The first is the copperplate engraving that appeared as the frontispiece of the collected works of Shakespeare in 1623--the famous First Folio. The Droeshout engraving, as it is known (after its artist, Martin Droeshout), is an arrestingly--we might almost say magnificently--mediocre piece of work. Nearly everything about it is flawed. One eye is bigger than the other. The mouth is curiously mispositioned. The hair is longer on one side of the subject's head than the other, and the head itself is out of proportion to the body and seems to float off the shoulders, like a balloon. Worst of all, the subject looks diffident, apologetic, almost frightened--nothing like the gallant and confident figure that speaks to us from the plays. Shakespeare The World as Stage . Copyright © by Bill Bryson. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold. Excerpted from Shakespeare: The World as Stage by Bill Bryson All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.