Genre Fiction
![Maggie O'Farrell - [object Object] author](https://res.cloudinary.com/readsomnia/image/upload/authors/a_B001H6IT1S.jpg)
Hamnet
NATIONAL BOOK CRITICS CIRCLE AWARD WINNER • NEW YORK TIMES BESTSELLER • "Of all the stories that argue and speculate about Shakespeare's life ... here is a novel ... so gorgeously written that it transports you." -The Boston Globe
In 1580's England, during the Black Plague a young Latin tutor falls in love with an extraordinary, eccentric young woman in this "exceptional historical novel" (The New Yorker) and best-selling winner of the Women's Prize for Fiction.
Agnes is a wild creature who walks her family's land with a falcon on her glove and is known throughout the countryside for her unusual gifts as a healer, understanding plants and potions better than she does people. Once she settles with her husband on Henley Street in Stratford-upon-Avon she becomes a fiercely protective mother and a steadfast, centrifugal force in the life of her young husband, whose career on the London stage is taking off when his beloved young son succumbs to sudden fever.
A luminous portrait of a marriage, a shattering evocation of a family ravaged by grief and loss, and a tender and unforgettable re-imagining of a boy whose life has been all but forgotten, and whose name was given to one of the most celebrated plays of all time, Hamnet is mesmerizing, seductive, impossible to put down-a magnificent leap forward from one of our most gifted novelists.
In 1580's England, during the Black Plague a young Latin tutor falls in love with an extraordinary, eccentric young woman in this "exceptional historical novel" (The New Yorker) and best-selling winner of the Women's Prize for Fiction.
Agnes is a wild creature who walks her family's land with a falcon on her glove and is known throughout the countryside for her unusual gifts as a healer, understanding plants and potions better than she does people. Once she settles with her husband on Henley Street in Stratford-upon-Avon she becomes a fiercely protective mother and a steadfast, centrifugal force in the life of her young husband, whose career on the London stage is taking off when his beloved young son succumbs to sudden fever.
A luminous portrait of a marriage, a shattering evocation of a family ravaged by grief and loss, and a tender and unforgettable re-imagining of a boy whose life has been all but forgotten, and whose name was given to one of the most celebrated plays of all time, Hamnet is mesmerizing, seductive, impossible to put down-a magnificent leap forward from one of our most gifted novelists.
Editorial Reviews
*One of The New York Times 10 Best Books of the Year*
A New York Public Library Best Book of the Year
"Hamnet is an exploration of marriage and grief written into the silent opacities of a life that is at once extremely famous and profoundly obscure... In Hamnet, Shakespeare's marriage is complicated and troubled, yet brimming with love and passion... This novel is at once about the transfiguration of life into art-- it is O'Farrell's extended speculation on how Hamnet's death might have fueled the creation of one of his father's greatest plays-- and at the same time, it is a master class in how she, herself does it... O'Farrell has a melodic relationship to language. There is a poetic cadence to her writing and a lushness in her descriptions of the natural world... We can smell the tang of the various new leathers in the glover's workshop, the fragrance of the apples racked a finger-width apart in the winter storage shed, and we can see how the pale London sun "reaches down, like ladders, through the narrow gaps in buildings to illuminate the rain glazed street."... As the book unfolds, it brings its story to a tender and ultimately hopeful conclusion: that even the greatest grief, the most damaged marriage, and most shattered heart might find some solace, some healing."
--Geraldine Brooks, the New York Times Book Review [COVER]
"All too timely...inspired...[An] exceptional historical novel "
-The New Yorker
"Magnificent and searing... A family saga so bursting with life, touched by magic, and anchored in affection that I only wish it were true. Of all the stories that argue and speculate about Shakespeare's life, about whether he even wrote his own plays, here is a novel that matches him with a woman overwhelmingly more than worthy... I nearly drowned at the end of this book, and at some other spots besides. It would be wise to keep some tissues handy... So gorgeously written that it transports you from our own plague time right into another and makes you glad to be there."
-The Boston Globe
"A tour de force...Although more than 400 years have unspooled since Hamnet Shakespeare's death, the story O'Farrell weaves in this moving novel is timeless and ever-relevant... O'Farrell brilliantly turns to historical fiction to confront a parent's worst nightmare: the death of a child...Hamnet vividly captures the life-changing intensity of maternity in its myriad stages - from the pain of childbirth to the unassuagable grief of loss. Fierce emotions and lyrical prose are what we've come to expect of O'Farrell. But with this historical novel she has expanded her repertoire, enriching her narrative with atmospheric details of the sights, smells, an...
A New York Public Library Best Book of the Year
"Hamnet is an exploration of marriage and grief written into the silent opacities of a life that is at once extremely famous and profoundly obscure... In Hamnet, Shakespeare's marriage is complicated and troubled, yet brimming with love and passion... This novel is at once about the transfiguration of life into art-- it is O'Farrell's extended speculation on how Hamnet's death might have fueled the creation of one of his father's greatest plays-- and at the same time, it is a master class in how she, herself does it... O'Farrell has a melodic relationship to language. There is a poetic cadence to her writing and a lushness in her descriptions of the natural world... We can smell the tang of the various new leathers in the glover's workshop, the fragrance of the apples racked a finger-width apart in the winter storage shed, and we can see how the pale London sun "reaches down, like ladders, through the narrow gaps in buildings to illuminate the rain glazed street."... As the book unfolds, it brings its story to a tender and ultimately hopeful conclusion: that even the greatest grief, the most damaged marriage, and most shattered heart might find some solace, some healing."
--Geraldine Brooks, the New York Times Book Review [COVER]
"All too timely...inspired...[An] exceptional historical novel "
-The New Yorker
"Magnificent and searing... A family saga so bursting with life, touched by magic, and anchored in affection that I only wish it were true. Of all the stories that argue and speculate about Shakespeare's life, about whether he even wrote his own plays, here is a novel that matches him with a woman overwhelmingly more than worthy... I nearly drowned at the end of this book, and at some other spots besides. It would be wise to keep some tissues handy... So gorgeously written that it transports you from our own plague time right into another and makes you glad to be there."
-The Boston Globe
"A tour de force...Although more than 400 years have unspooled since Hamnet Shakespeare's death, the story O'Farrell weaves in this moving novel is timeless and ever-relevant... O'Farrell brilliantly turns to historical fiction to confront a parent's worst nightmare: the death of a child...Hamnet vividly captures the life-changing intensity of maternity in its myriad stages - from the pain of childbirth to the unassuagable grief of loss. Fierce emotions and lyrical prose are what we've come to expect of O'Farrell. But with this historical novel she has expanded her repertoire, enriching her narrative with atmospheric details of the sights, smells, an...
Readers Top Reviews
Peter FowlerM. Dowde
I sorry but I don't understand the reason for this book. It isn't interesting, there is no plot, characters are thinly draw and there is no arc of a drama. I struggled to finish it and most definitely won't be exploring any more of this writer's work. There is a nice quality to the writing but that in itself does not make a novel. Very bored and disappointed. What must the long list be like if this made it to the shortlist?
Penelope JacksJane R
This is a easy to read novel that moves along and is full of engaging detail. However. It is little more than a family melodrama made to seem significant by invoking Shakespeare and Anne Hathaway. It has every cliche and the characters are unidirectional . One would certainly not come away with an enriched sense of Hamlet. The best part was acset piece on how the plague arrived in England. Even then, one might believe none but the character in the novel had died if the plague in Stratford. I dont recommend this book unless you are at the beach.
Sharon Reading
I loved reading this book. I liked the story very much. But the best part of this book was the way it was writing. I even read passages a second time because I enjoyed the writing so much . I have recommended this book to a number of my friends and I am happy to recommend this to all who like to read.
englishmajor
I have looked forward to this book and I have not been disappointed. Day after day the current life we all face is daunting. At times we may think that we are as helpless at the characters in this novel are to combat the plague they face. The story is interesting but it is the humanity of the characters that makes this novel outstanding to me. Grief is an unavoidable part of the human condition. O'Farrell does an outstanding job of showing us Grief. When she wrote this none of understood what our world would soon face.
Michael
The reader of this novel will be challenged by the urge to press ahead and discover how the story unfolds, but resisting all the while to savor the stunningly gorgeous writing. In any time, but particularly during this time of the pandemic, grief and the yearning for some shred of consolation are treated with such graceful and sensitive measure. An unforgettable literary gift.
Short Excerpt Teaser
A boy is coming down a flight of stairs.
The passage is narrow and twists back on itself. He takes each step slowly, sliding himself along the wall, his boots meeting each tread with a thud.
Near the bottom, he pauses for a moment, looking back the way he has come. Then, suddenly resolute, he leaps the final three stairs, as is his habit. He stumbles as he lands, falling to his knees on the flagstone floor.
It is a close, windless day in late summer, and the downstairs room is slashed by long strips of light. The sun glowers at him from outside, the windows latticed slabs of yellow, set into the plaster.
He gets up, rubbing his legs. He looks one way, up the stairs; he looks the other, unable to decide which way he should turn.
The room is empty, the fire ruminating in its grate, orange embers below soft, spiralling smoke. His injured kneecaps throb in time with his heartbeat. He stands with one hand resting on the latch of the door to the stairs, the scuffed leather tip of his boot raised, poised for motion, for flight. His hair, light-coloured, almost gold, rises up from his brow in tufts.
There is no one here.
He sighs, drawing in the warm, dusty air and moves through the room, out of the front door and on to the street. The noise of barrows, horses, vendors, people calling to each other, a man hurling a sack from an upper window doesn't reach him. He wanders along the front of the house and into the neighbouring doorway.
The smell of his grandparents' home is always the same: a mix of woodsmoke, polish, leather, wool. It is similar yet indefinably different from the adjoining two-roomed apartment, built by his grandfather in a narrow gap next to the larger house, where he lives with his mother and sisters. Sometimes he cannot understand why this might be. The two dwellings are, after all, separated by only a thin wattled wall but the air in each place is of a different ilk, a different scent, a different temperature.
This house whistles with draughts and eddies of air, with the tapping and hammering of his grandfather's workshop, with the raps and calls of customers at the window, with the noise and welter of the courtyard out the back, with the sound of his uncles coming and going.
But not today. The boy stands in the passageway, listening for signs of occupation. He can see from here that the workshop, to his right, is empty, the stools at the benches vacant, the tools idle on the counters, a tray of abandoned gloves, like handprints, left out for all to see. The vending window is shut and bolted tight. There is no one in the dining hall, to his left. A stack of napkins is piled on the long table, an unlit candle, a heap of feathers. Nothing more.
He calls out, a cry of greeting, a questioning sound. Once, twice, he makes this noise. Then he cocks his head, listening for a response.
Nothing. Just the creaking of beams expanding gently in the sun, the sigh of air passing under doors, between rooms, the swish of linen drapes, the crack of the fire, the indefinable noise of a house at rest, empty.
His fingers tighten around the iron of the door handle. The heat of the day, even this late, causes sweat to express itself from the skin of his brow, down his back. The pain in his knees sharpens, twinges, then fades again.
The boy opens his mouth. He calls the names, one by one, of all the people who live here, in this house. His grandmother. The maid. His uncles. His aunt. The apprentice. His grandfather. The boy tries them all, one after another. For a moment, it crosses his mind to call his father's name, to shout for him, but his father is miles and hours and days away, in London, where the boy has never been.
But where, he would like to know, are his mother, his older sister, his grandmother, his uncles? Where is the maid? Where is his grandfather, who tends not to leave the house by day, who is usually to be found in the workshop, harrying his apprentice or reckoning his takings in a ledger? Where is everyone? How can both houses be empty?
He moves along the passageway. At the door to the workshop, he stops. He throws a quick glance over his shoulder, to make sure nobody is there, then steps inside.
His grandfather's glove workshop is a place he is rarely allowed to enter. Even to pause in the doorway is forbidden. Don't stand there idling, his grandfather will roar. Can't a man do an honest day's work without people stopping to gawk at him? Have you nothing better to do than loiter there catching flies?
Hamnet's mind is quick: he has no trouble understanding the schoolmasters' lessons. He can grasp the logic and sense of what he ...
The passage is narrow and twists back on itself. He takes each step slowly, sliding himself along the wall, his boots meeting each tread with a thud.
Near the bottom, he pauses for a moment, looking back the way he has come. Then, suddenly resolute, he leaps the final three stairs, as is his habit. He stumbles as he lands, falling to his knees on the flagstone floor.
It is a close, windless day in late summer, and the downstairs room is slashed by long strips of light. The sun glowers at him from outside, the windows latticed slabs of yellow, set into the plaster.
He gets up, rubbing his legs. He looks one way, up the stairs; he looks the other, unable to decide which way he should turn.
The room is empty, the fire ruminating in its grate, orange embers below soft, spiralling smoke. His injured kneecaps throb in time with his heartbeat. He stands with one hand resting on the latch of the door to the stairs, the scuffed leather tip of his boot raised, poised for motion, for flight. His hair, light-coloured, almost gold, rises up from his brow in tufts.
There is no one here.
He sighs, drawing in the warm, dusty air and moves through the room, out of the front door and on to the street. The noise of barrows, horses, vendors, people calling to each other, a man hurling a sack from an upper window doesn't reach him. He wanders along the front of the house and into the neighbouring doorway.
The smell of his grandparents' home is always the same: a mix of woodsmoke, polish, leather, wool. It is similar yet indefinably different from the adjoining two-roomed apartment, built by his grandfather in a narrow gap next to the larger house, where he lives with his mother and sisters. Sometimes he cannot understand why this might be. The two dwellings are, after all, separated by only a thin wattled wall but the air in each place is of a different ilk, a different scent, a different temperature.
This house whistles with draughts and eddies of air, with the tapping and hammering of his grandfather's workshop, with the raps and calls of customers at the window, with the noise and welter of the courtyard out the back, with the sound of his uncles coming and going.
But not today. The boy stands in the passageway, listening for signs of occupation. He can see from here that the workshop, to his right, is empty, the stools at the benches vacant, the tools idle on the counters, a tray of abandoned gloves, like handprints, left out for all to see. The vending window is shut and bolted tight. There is no one in the dining hall, to his left. A stack of napkins is piled on the long table, an unlit candle, a heap of feathers. Nothing more.
He calls out, a cry of greeting, a questioning sound. Once, twice, he makes this noise. Then he cocks his head, listening for a response.
Nothing. Just the creaking of beams expanding gently in the sun, the sigh of air passing under doors, between rooms, the swish of linen drapes, the crack of the fire, the indefinable noise of a house at rest, empty.
His fingers tighten around the iron of the door handle. The heat of the day, even this late, causes sweat to express itself from the skin of his brow, down his back. The pain in his knees sharpens, twinges, then fades again.
The boy opens his mouth. He calls the names, one by one, of all the people who live here, in this house. His grandmother. The maid. His uncles. His aunt. The apprentice. His grandfather. The boy tries them all, one after another. For a moment, it crosses his mind to call his father's name, to shout for him, but his father is miles and hours and days away, in London, where the boy has never been.
But where, he would like to know, are his mother, his older sister, his grandmother, his uncles? Where is the maid? Where is his grandfather, who tends not to leave the house by day, who is usually to be found in the workshop, harrying his apprentice or reckoning his takings in a ledger? Where is everyone? How can both houses be empty?
He moves along the passageway. At the door to the workshop, he stops. He throws a quick glance over his shoulder, to make sure nobody is there, then steps inside.
His grandfather's glove workshop is a place he is rarely allowed to enter. Even to pause in the doorway is forbidden. Don't stand there idling, his grandfather will roar. Can't a man do an honest day's work without people stopping to gawk at him? Have you nothing better to do than loiter there catching flies?
Hamnet's mind is quick: he has no trouble understanding the schoolmasters' lessons. He can grasp the logic and sense of what he ...
![Bridgerton [TV Tie-in] (Bridgertons Book 1) book cover](https://res.cloudinary.com/readsomnia/image/upload/covers/c_0063078902.jpg)
