Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink

Finalist for a Lambda Literary Award Finalist for the Publishing Triangle’s Judy Grahn Award for Lesbian Nonfiction Finalist for the Marfield Prize For fans of Book of Ages and American Eve, this “lively, illuminating new biography” (The Boston Globe) of 19th-century queer actress Charlotte Cushman portrays a “brisk, beautifully crafted life” (Stacy Schiff, bestselling author of The Witches and Cleopatra) that riveted New York City and made headlines across America. All her life, Charlotte Cushman refused to submit to others’ expectations. Raised in Boston at the time of the transcendentalists, a series of disasters cleared the way for her life on the stage—a path she eagerly took, rejecting marriage and creating a life of adventure, playing the role of the hero in and out of the theater as she traveled to New Orleans and New York City, and eventually to London and back to build a successful career. Her Hamlet, Romeo, Lady Macbeth, and Nancy Sykes from Oliver Twist became canon, impressing Louisa May Alcott, who later based a character on her in Jo’s Boys, and Walt Whitman, who raved about “the towering grandeur of her genius” in his columns for the Brooklyn Daily Eagle. She acted alongside Edwin and John Wilkes Booth—supposedly giving the latter a scar on his neck that was later used to identify him as President Lincoln’s assassin—and visited frequently with the Great Emancipator himself, who was a devoted Shakespeare fan and admirer of Cushman’s work. Her wife immortalized her in the angel at the top of Central Park’s Bethesda Fountain; worldwide, she was “a lady universally acknowledged as the greatest living tragic actress.” Behind the scenes, she was equally radical, making an independent income, supporting her family, creating one of the first bohemian artists’ colonies abroad, and living publicly as a queer woman. And yet, her name has since faded into the shadows. Now, her story comes to brilliant life with Tana Wojczuk’s Lady Romeo, an exhilarating and enlightening biography of the 19th-century trailblazer. With new research and rarely seen letters and documents, Wojczuk reconstructs the formative years of Cushman’s life, set against the excitement and drama of 1800s New York City and featuring a cast of luminaries and revolutionaries who changed the cultural landscape of America forever. The story of an astonishing and uniquely American life, Lady Romeo reveals one of the most remarkable forgotten figures in our history and restores her to center stage, where she belongs.

AN OBSERVER BEST DEBUT NOVELIST OF 2021 'Seductive . . . Gorgeous' The Times 'Gives voice to one of fiction's most conspicuously absent women' i Word has come. King Lear is dead. His three daughters too, broken in battle. But someone has survived: Lear’s queen. Though her grief and rage threaten to crack the earth open, she knows she must seek answers. Why was she exiled? What has happened to Kent, her oldest friend? And what will become of her now? To find peace she must reckon with her past and make a terrible choice – one upon which her destiny rests.

After the bloody battle at Tewksbury and the second dethroning of Henry VI, England and its citizens are finally able to enjoy peace under the reign of Edward IV. The remaining Lancastrian leaders are either killed or scattered to the four winds. Within the kingdom, not everyone is happy with their new king—and when Edward falls ill, his power-hungry brother Richard, the Duke of Gloucester, sees his chance and prepares to kill anyone who stands between him and the throne. Richard puts into play numerous schemes to eradicate the line of succession and control the court. The first victim is King Edward’s other brother, Clarence. Rumors lead to Clarence’s imprisonment in the Tower of London, and Richard sends two murderers to stab him to death. This causes Edward’s health to worsen, and the title of Protector falls to the remaining brother. Next on Richard’s hit list is Lord Hastings, the loudest voice to object to Richard’s accession, and who is promptly arrested and executed for treason. As Richard orchestrates murder after murder, the deaths start coming back to haunt him. This Standard Ebooks edition is based on William George Clark and William Aldis Wright’s 1887 Victoria edition, which is taken from the Globe edition.

Here's a new study guide with a difference. "What Happens in Shakespeare's King Lear" by Nick Buchanan provides a complete walk-through commentary exploring EVERY paragraph of this magnificent play. Word definitions are placed right next to the text in which they appear - so there's no ferreting around in foot-of-the-page or back-of-the-book glossaries. The play's major themes are identified and explored and there are charts which indicate key moments in each character's journey, together with a useful guide for playing Shakespeare (for actors and directors). This guide is for EVERYONE - for those who love reading, for students - and even those new to Shakespeare. It includes the whole play with FULL commentary. So, whether you are a casual reader, an enthusiast, an actor, a director, a scholar or a teacher (in a school, a college or a university) this is the definitive guide to King Lear.