Hamnet by Maggie O’Farrell | Book Review

Hamnet by Maggie O’Farrell
Published by Knopf, 2020
My rating: ⭐ ⭐ ⭐

In a bold departure from her previous work, O’Farrell attempts to paint a portrait of the relationship between William Shakespeare and his wife, particularly concerning the death of their 11-year-old son.

It’s important to note that the names Hamnet and Hamlet were entirely interchangeable in Shakespeare’s day, and so the primary question O’Farrell concerns herself with is why The Bard chose to name that particular play/character after his deceased son. The second (and most interesting) thing to note is that Shakespeare is never actually named throughout the novel. By only ever referring to him based on his various roles in life and relationships to others (the son, the husband, the tutor, the father) O’Farrell cleverly accomplishes two things: Firstly, she humanises the myth, reminding us that Shakespeare was much more than just a writer; he was a man who endured the same hardships and cherished the same things as everyone else. Secondly, she vindicates his wife and children, allowing them to take the spotlight for once, subverting the norm of having them defined solely by their connection to him.

With little detail known about Shakespeare’s wife (now believed to have been named Agnes, rather than Anne) or the death of their son, O’Farrell does a great job of breathing life and emotion into their story. I have to say, however, that the narrative structure and pacing didn’t entirely work for me. The first two thirds of the novel are split into a dual timeline, jumping between the early courtship of Shakespeare and Agnes, and the events years later that lead up to Hamnet’s inevitable death. This nonlinearity added nothing for me, and there’s an oddly drawn out attempt at misdirection regarding the fate of Hamnet and his twin sister that felt redundant given both the book’s blurb, and the story’s real-life historical basis.

Initially, I also felt O’Farrell’s prose was somewhat laboured; the push for a rich, evocative feel coming off as overwritten. Whether she found her stride with the historical setting, or whether I simply got sufficiently drawn in for it to stop bothering me, this problem did lessen as the novel progressed. Where the book excelled unwaveringly, however, was its eventual portrayal of a family blindsided by grief. She captures their bewilderment as individuals and as a unit with real fervour.

It’s a daring move for any writer to tackle the intimate life of the writer, and whilst I certainly found it compelling, I do think it ultimately failed to stick a proper landing. O’Farrell clearly undertook this novel with the aim of answering key questions about Shakespeare and his family, but the attempt at a revelatory denouement felt both hurried and underwhelming, proving why those questions have remained unanswered for so long. Still, it’s a book I had high expectations for, and despite feeling it didn’t quite capitalise on its full potential, I thoroughly enjoyed the time I spent with it.

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Thank you to the publisher for an advanced copy via Edelweiss in exchange for an honest review.

You can pre-order a copy of Hamnet from Book Depository by clicking here.

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Macbeth | Theatre Review

Macbeth

Show: Macbeth
Venue: Festival Theatre, Edinburgh
Date: 25^th October 2018
Director: Rufus Norris
Composer: Orlando Gough
Principal cast: Michael Nardone (Macbeth), Kirsty Besterman (Lady Macbeth), Ross Waiton (Macduff), & Patrick Robinson (Banquo)

***

This was a unique and striking take on Shakespeare’s Macbeth. With a story as iconic as they come, it can be difficult to create something that feels fresh, without deviating from the source material, but I think The National Theatre managed to do so here with aplomb. Though it very much honours the original script (of course, changing Shakespeare’s words would be tantamount to treason in most circles), the setting and timeframe have been completely reimagined. Forget sumptuous castles and sweeping heaths. This production is set in a bleak, modern, post-apocalyptic landscape that has been ravaged by civil war; cloaks and crowns ditched in favour of torn jeans and army fatigues; grand halls replaced by battered bunkers and whatever shabby supplies can be scraped together.

The first thing this does is add a heightened sense of desperation to the characters. The impression is that they are the figureheads of the decimated few that remain, making their insatiable hunger for power seem all the more frivolous and misguided. Strong performances from the lead cast allow this theme to really resonate. It’s a very visceral production, however, and it’s the sensory elements that become the real stars of the show. Imposing set design, great lighting, and a score that is at times unsettlingly eerie, all add real atmosphere; with haunting imagery and sound design during the witches’ scenes proving particularly effective.

Michael Nardone as Macbeth; the three witches; and Kirsty Besterman as Lady Macbeth. Pictures courtesy of National Theatre.

Some may find the contrast between archaic Shakespearean language and alarmingly modern visuals somewhat jarring, but to me it instantly highlighted how timeless the show’s themes of power, greed, and corruption in times of conflict truly are. By making the narrative feel more immediate and recognisable, it adds a layer of discomfort to the story, allowing it to hit a little closer to home. We live in a time of fear and paranoia; political point scoring, and angry border disputes. By reimagining Macbeth’s story in a world frighteningly like the one we’re descending into (the staging not unlike scenes unfolding in places like Syria), it takes on a new sense of urgency, and perhaps even poignancy; all without altering The Bard’s actual words. This is a Macbeth for the modern age; its cautionary message about the pitfalls of selfishly chasing supremacy more familiar than ever.

The show is currently touring the UK and Ireland with a new cast, following a sold-out run in London. Here’s a trailer of the original production to give you a flavour of what it’s like.