When Felix is deposed as artistic director of the Makeshiweg Theatre Festival by his devious assistant and longtime enemy, his production of The Tempest is canceled and he is heartbroken. Reduced to a life of exile in rural southern Ontario—accompanied only by his fantasy daughter, Miranda, who died twelve years ago—Felix devises a plan for retribution.
Eventually he takes a job teaching Literacy Through Theatre to the prisoners at the nearby Burgess Correctional Institution, and is making a modest success of it when an auspicious star places his enemies within his reach. With the help of their own interpretations, digital effects, and the talents of a professional actress and choreographer, the Burgess Correctional Players prepare to video their Tempest. Not surprisingly, they view Caliban as the character with whom they have the most in common. However, Felix has another twist in mind, and his enemies are about to find themselves taking part in an interactive and illusion-ridden version of The Tempest that will change their lives forever. But how will Felix deal with his invisible Miranda’s decision to take a part in the play?
That was…an experience? I have so many mixed up thoughts, which I suppose is not completely unexpected, as this IS Shakespeare retold. I’ve mentioned before that I am not a huge fan of Shakespeare to begin with–it takes me time to come to terms with his plays. But, because this was Margaret Atwood, I wasn’t going to miss it, right?
I was immediately confused by some of the language. Granted, Felix is a snooty theater person, so his speech is “high elitist,” but it is still a little over the top. And the prisoners are just the opposite…is there such a thing as under the top?
And then there’s this sentence:
“Should that happen, his humiliation would be total; at the thought of it, even his lungs blush.”
Felix also really took care to describe the races of the prisoners. And I say that with my tongue all the way in my cheek because when he was first introducing us to the men, he would point them out as yellow, red, brown…you get the picture. It was extremely cringeworthy.
I’m sure a case could be made that Felix is an unreliable narrator and this is not actually how the author feels or would refer to people in real life. But I still don’t think it’s at all appropriate or called for. Just because a person is of color does not mean we actually need to refer to them BY that color, especially when in history those colors have had such negative connotations.
While the language really bothered me, I did appreciate the breakdown of the play itself. It was certainly an interesting interpretation of Shakespeare’s The Tempest. I read through the text before beginning this book, and didn’t quite grasp what happened–Felix’s class broke it down so much better! This is what I wish I would have had more of growing up–legitimate discussion of literature. We didn’t read many classics in school, so I missed this. I would have understood Shakespeare better had it been broken down this way, perhaps. I wish I could go back and take lit classes for fun now. It’s why I write this blog–analysis and discussion.
I’m sure all of this is completely unlikely. I know there are classes held in prisons, but full scale theater productions, with props and blackout performances? I can’t see that happening–especially where ministry dignitaries would be allowed unescorted by security. I will say it was an engaging book, but I cannot rate it very highly due to the racial disregard shown. We must do better.
I won a copy of this book from Hogarth Books in their Read It Forward newsletter. This post contains affiliate links.