Reviews

By Mizuki Nomura. Released in Japan by Enterbrain. Released in North America by Yen Press.

By now I’ve grown somewhat used to how a Book Girl novel will feel. It will be based around a book of some sort (in this case, Saneatsu Mushanokoji’s 1919 novel Friendship) and the mystery plot will parallel the book in some way. It will flesh out the backstory of one of the minor characters we’ve met in the previous books. There will be dark, emotional themes that will connect with Konoha’s own thoughts and emotions. And in the end, Konoha will have grown a little bit more and moved on a bit from the girl in his past he can’t let go of.

But in general, the plot and mystery is not why anyone reads Book Girl. There were a few mystery aspects in this book, but I guessed at the most important one straight away, so they didn’t matter as much. However, it’s the characterization, style and prose that keep you coming back here, and in that respect Captive Fool is a worthy successor to the first two books.

This volume focuses on Konoha’s stoic and calm friend Akutagawa, and the discovery that much of his personality is a mask he puts on to conceal his past tragedies – both from others and from himself. Of course, this sounds a lot like what Konoha is doing now, and the irony is not lost on him. What’s more, the girl who was the focus of the first novel, Takeda, shows Konoha that being ‘cured’ of crushing emotional despair is not something that can happen over the course of a few weeks.

Much of the impetus of this book revolves around being unable to move on from a past tragedy, to the point where self-doubt and pressure make it impossible for you to do anything. Again, these novels are written for 15-17 year old readers, and I think these emotions would resonate well with them. How do you talk with someone after “ruining their life”? What if you make the exact same mistakes? What if one kind action turns out to be absolutely the wrong thing to do?

The author also manages to convey this to Konoha, the one who really needs to hear these words, in a way that doesn’t sound like everyone is acting as his therapist. The book Friendship mentioned above is being performed by the Book Club (and their assorted hangers-on) as a play, and so we see similar doubts and feelings play themselves out on three levels – elementary school (Akutagawa’s past), high school (Konoha’s present), and adulthood (the events of the novel/play). Growing up doesn’t always solve the problem.

Then there’s the ending to the book. I had discussed this with another reader, and it was felt that the revelation (which was a bit of a surprise, but not the complete shocker it was meant to be) was somewhat underwhelming, especially given that we’re only 3 volumes into what promises to be an 8-book “main story”. It seems a bit early for this particular plot gun to be fired off, in my opinion. But if nothing else, t shows us that when you are somebody’s mirror, you take on the same qualities as the person you are mirroring. Even if it’s unintentional.

Again, what I love most about this series is how much it makes me think about human nature. We see the growth of the characters, and even though it’s through artificial “what’s the mysterious tragic past of the novel?” means, that doesn’t make it less valid. And yeah, given the arc, I suspect the next book will focus on whatever demons Kotobuki has. But the writing and characters really make me want to find out what happens next. A great page turner, highly recommended.

For those who read my reviews by category (like me), I have reviews of Deltora Quest 1, The Melancholy of Haruhi Suzumiya 9 and The Story of Saiunkoku 4 in this week’s Bookshelf Briefs.

I also review the first volume of Soredemo Machi wa Mawatteiru in this month’s Going Digital.

By CLAMP. Released in Japan by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Dark Horse.

The second omnibus of Cardcaptor Sakura gives us Vol. 4-6 of the original series, which was effectively the end of ‘Season One’ of the manga. As such, Sakura continues to find and capture Clow Cards one by one, gaining strength and confidence, until the climax where she is forced against the most powerful card – and a powerful enemy. Or is he?

I always have to remember to downshift my brain a bit when I read the early 90s shoujo stylings of Cardcaptor Sakura. In a modern, 21st century world where most manga, shonen and shoujo, are targeted to the largest possible market, it’s refreshing to see something that is clearly meant to primarily entertain 6 to 8-year-old girls. That said, the downside to this – although perhaps not a downside so much as simply a different way of seeing things – is that there really doesn’t seem to be much happening for the first two thirds of this book.

There’s certainly lots of entertaining things going on. Kaho Mizuki, the new teacher of Sakura’s that showed up at the end of the last book, continues to hang around, trying to guide Sakura by means of subtle hints and gentle boosts to her confidence. The relationship between Sakura’s brother Toya and his friend Yukito is subtle (well, really, everything about Toya is subtle – he’s not a man of many words or emotions), but also nice to see defined as much as it’s going to be in this sort of manga. And the chapter where Sakura and Syaoran have to put on a play is the funnest of the lot, with some classic gender reversal going on, and Yamazaki at his funniest.

That said, it does seem to meander a bit, so I was quite happy when things started to heat up towards the end. CLAMP have a lot of plot gun surprises going on, most of which they did a good job of building up to or giving hints for, and they pop out one by one – Cerebus’ true form, the final Clow Card, the Card’s other guardian, and finally Sakura, having proven that she can capture the cards, has to be judged worthy of being the cards’ leader. Of course, the outcome is not really in doubt – Sakura has spent the previous five books being awesome, after all, it’s not going to reject her right at the end – but the way that the cards end up judging her, rather than Yue, the aforementioned guardian, is excellent. As for Yue’s identity, it gives him a certain gravitas that I don’t think he’d have had as ‘just a random, last-minute character’, and adds some depth to his alter ego as well.

I missed Tomoyo, who was all over the first volume of these but appeared far less in this one. Syaoran is clearly the co-star of the series with Sakura now, and though we have not yet approached the romance stage – Sakura’s still far too young and naive – it’ clear that’s where we’re headed. I also note that people who like shaded characters and some flaws in their heroes are going to have issues with this manga – Sakura may worry and lack confidence at times, but she’s also a kickass magical girl good at sports and beloved by all her friends. As for Kaho, I like her, but I wish she was less nice and sweet. Everyone’s kind and considerate and seems to have all their ducks in a row, so to speak.

So it’s not exactly great angsty drama, but the second CCS omnibus is fun, fluffy magical girl shoujo that is perfect for a young girl wanting to read some manga. And Dark Horse’s presentation matches the first volume – crisp, sharp images, nice thick paper, oversize, and with lots of color pages. Also, despite being CLAMP, fear not – this series has an ending. Though not quite yet. Volume 3 will arrive soon, and bring with it one of the most controversial characters in the series, Eriol.

In the meantime, we have this book. Guaranteed to make you feel all floaty.

By Oh!Great. Released in Japan by Shueisha, serialized in the magazine Ultra Jump. Released in North America by Viz.

We left off last time in the middle of a big melee at a bowling alley, and that’s where we stay for about half of this omnibus volume (it was Vol. 3-4 in Japan), as our ongoing villains begin to show their badassery, and our heroes realize that they really aren’t strong enough right now to do much about it. Not even Maya.

In terms of plot, there is some stuff thrown to us. Aya’s supernatural powers become more clear in these chapters, and it’s noted that her sister does NOT have the same ability – despite apparently being able to turn into a little kid. Of course, with great power comes great responsibility, and Aya’s still a moody teenager – she knows there’s no one to blame regarding Soichiro falling for her sister, but gets jealous anyway, and luckily there’s a handy demon blade to bring out her darker emotions. We don’t get to see what happens with her here, but I imagine it won’t be pleasant.

Then there’s her sister Maya, who gets expelled from school as a consequence of ‘defying’ the executive council at the bowling alley. In the present-day, she’s seemingly trying to do what’s best for the club, despite having ‘I am doomed’ written across her forehead. We do start to get a look at her past towards the end, though, featuring a Maya who has all the bravado of Soichiro – and like Soichiro, gets her ass handed to her. Multiple times. We also meet her brother in the flashback, whose death plays such a huge role in the mentalities of the cast.

To be honest, after 2 omnibus volumes of Tenjo Tenge, the character I probably like and respect most is Chiaki, Bob’s girlfriend, who’s also the only non-combatant. Trapped in the bowling alley with the rest of the fighters, and at one point literally shoved into a locker to protect her, she nevertheless manages to talk Bob down when he’s given an offer by the head bad guy to join them so he can achieve his true potential. What’s more, her confrontation with Maya, and subsequent discussion with Bunshichi shows her trying to come to terms with the aftermath of her rape, and trying to help Bob by understanding exactly how it is things at the school got to this point. I know she’s merely a minor character, but she’s handled quite well.

All this chatter about plot and characterization is deceptive, of course. For all the demon powers, the tragic pasts, and the philosophy of why mankind fights, this is still just a lot of people hitting each other hard, occasionally contrasted with the nudity and fanservice. The appearance of depth does not equal actual depth, and so while Tenjo Tenge is an addictive page-turner, it’s still like eating cake rather than eating steak, no matter how many manly fights are in it.

Oh yes, and Masataka’s comic relief persona gets very old very fast.

By Q Hayashida. Released in Japan by Shogakukan, serialization ongoing in the magazine Ikki. Released in North America by Viz.

It’s really amazing how much I still enjoy every page of this series, considering that there’s so little forward progression in it. Those who get frustrated by a lack of plot are going to get very annoyed very fast reading this volume, which contains a baseball game featuring our heroes, two of the villains, and various zombies… apparently because Hayashida felt like it, who knows? But the game is still a lot of fun.

That’s not to say there’s absolutely nothing happening here – there’s a ton going on. It’s just not immediately plot-oriented. Caiman has figured out by now that Nikaido is actually a sorcerer, and though conflicted, he’s trying not to let that destroy their friendship. Fujita discovers that he can get revenge on Caiman and Nikaido, who killed his partner (remember that opening scene in Vol. 1?) and goes out to do his best, along with tag-along Ebisu. Fujita’s on the cover this time, so seeing him get more to do makes sense, even though he still tends to be a bit of a sad sack who is there for bad things to happen to. Which makes him a good partner for Ebisu, come to think of it, as that’s what she’ there for as well.

Speaking of Ebisu, we continue to discover little bits about her past before getting attacked by Caiman. Turns out her magic is connected to lizard people, so she too could be the one who created Caiman… except that doesn’t appear to be the case. Her magic appears to be quite dangerous, taking over Noi and transforming her into a rampaging lizard woman as well, forcing Shin to take measures against her. Then they have to go find En’s partner in order to save her, in what might be the shippiest scene in the manga to date. Fans of Shin/Noi (of which I am one) will be delighted.

We also get some development of Risu, the guy walking around wearing Caiman’s face. But the big development here is Shin, whose backstory is given here. As one might expect, it is rather tragic and filled with blood and gore, but it does serve to underscore how determined Shin can get whenever he’s after something. It’s getting harder and harder to see who the good and bad guys are in this series… there’s just a bunch of guys doing mostly bad things.

It’s not a perfect volume by any means. The baseball game was fun, but does meander a lot. And the way that they got Noi to be attacked by Ebisu’s smoke, with an assistant coming along, tripping, and dumping it all over her, is the worst of sitcom cliches. Still, Caiman’s off to the Sorcerer’s World by himself now, no doubt because a man’s gotta do what a man’s gotta do. I look forward to seeing what happens. Dorohedoro is a series that requires a lot of patience, but I feel that if you hang in there there’s a lot of reward to it.

By Kappei Matsumoto and Hakua Nakao. Released in Japan by Futabasha, serialization ongoing in the magazine Manga Action. Released in the United States by Futabasha on the JManga website.

Sometimes you buy a manga for a striking cover, or because of good word of mouth, or because you enjoyed the works of the author previously. And sometimes you simply have to buy a manga because of the title. That was definitely the case with Anesthesiologist Hana, one of Futabasha’s seinen offerings that, true to its word, is the story of a young doctor named Hana and her days working at a local hospital as an anesthesiologist.

While the precise genre of anesthesia manga may be unfamiliar, it becomes apparent on reading this manga that it’s the latest in a long line of workplace seinen, the sort of story that shows our everyman (or woman, in this case) hero and their struggles as they strive to do their thankless job. There are times when it seems to get overwhelming, or they think about quitting, but that never happens, because they grow to understand the importance of their job, and learn to take happiness in it.

And that’s pretty much what you get here. Hana is a young doctor who’s been with her hospital for about three years, and has come to learn the thanklessness that comes with it. In the first chapter, she even tries to resign, though can’t quite follow through with it. The surgeons she works in the operating room with are either obnoxious jerks who call her incompetent or sexist boors who try to cop a feel. The hours are mind-numbing and they’re constantly short-staffed. She rarely sees the sky, eats cup ramen for most meals, and her love life is zero. Most importantly, the job is thankless; everyone loves the surgeons who perform the operation, or doctors in other fields such as ophthalmology, but an anesthesiologist is only singled out if something goes wrong and a patient is lost.

Nevertheless, Hana manages to keep herself going – mostly. She has a grumpy, cynical older sister friend and a bubbly, more naive younger sister type who are her two fellow female anesthesiologists. Her boss is stern but overall a good-hearted guy. And one of her fellow doctors, though a bit weird and suspicious, is even quite handsome – and seems to notice the good qualities in her, possibly as he feels he’s lost them in himself (he has a somewhat sad backstory). The chapters are mostly episodic, but as the series goes on we do see the cast all banding together to help each other out, much like any good workplace.

There is a lot of focus on the actual ins and outs of anesthesia. Sometimes a bit too much – the manga can get a little dry at times, and it has to be careful not to look like a textbook, a la Stone Bridge Press’s ‘Manga Guide To’ series. I have no medical education, so have no idea how accurate everything really is. But it seems accurate. This isn’t a fantasy comic book world where you can always tell the psychics by their nosebleeds. The manga goes into great detail about exactly hat Hana has to do and watch out for, and the inherent dangers involved. There’s even a chapter discussing drug use, and how it’s not just using drugs properly for anesthesia, but keeping an eye out for drug takers among the staff that can be a problem.

Despite being a seinen title, there’s surprisingly little fanservice – Hana takes a shower in the first chapter, and is quite busty, though not overly so; she’s also groped a couple of times. The author’s notes make it clear that they had an original idea of making the hero a male doctor, but the editors told them to change it to a busty female. Not unsurprising; this kind of story, with all its exposition, earns more charm points by having a cute young woman as our viewpoint character.

Overall, I enjoyed this first volume. It can be very dry at times, and is never going to be incredibly exciting. But I feel I’ve learned an awful lot about anesthesiology, and I want to know more about Hana and her ongoing adventures (is she going to hook up with sexy doctor? Or is he just a mentor figure?). If you like workplace medical shows, give this a try.

By Mayu Shinjo. Released in Japan as “Ai wo Utau Yori Ore ni Oborero!” by Shogakukan, serialized in the magazine Shoujo Comic (“Sho-Comi”). Released in North America by Viz.

Another volume of the meant to be fun but mostly incredibly frustrating Ai Ore, where you keep waiting for the heroine to embrace her inner prince and tell Akira where to stick it. But that’s not what’s going to happen here, and instead we’re going to get more and more of Mizuki getting in touch with her inner feminine emotions and learning what love really is. Which, honestly, is mostly fine. As long as Akira’s not being a horrible jerk.

No, really, it’s true. There’s a sequence of about 100 pages or so midway through this volume where Mayu Shinjo stops focusing on how possessive and stifling Akira wants his love to be, and how he will destroy everything about Mizuki’s life in order to make her his. Instead, we get actual fun plots featuring our heroes interacting with the other characters. Mizuki has to pretend to be a yakuza girlfriend. Akira gets sick and Mizuki has to take care of him. Mizuki goes to Akira’s culture festival, and finds him dressed as a catboy. This is really fun stuff. Mayu Shinjo has been writing manga for years, and has none of the newbie’s issues with pacing or padding. And since Akira isn’t being a brat, his relationship with Mizuki is actually enjoyable.

Then there’s the rest of the manga. As I noted in my review of Volume 1, he’d be a perfect horrible shoujo male lead if he weren’t so immature about it. We see here that he comes from a very overprotective family, and was no doubt spoiled rotten. This helps to explain a lot of his behaviors, but doesn’t necessarily make them any better to watch. To be fair, he is a little better here, especially when he finds he has competition in the form of Mizuki’s old childhood friend Shinnosuke, who has returned from university and is (needless to say) smoking hot. And also manly, something which sets Akira’s teeth on edge.

As for those wondering how seriously Shinjo is taking this manga, I would like to point to the helicopter, the boxing match, the shopping trip, the entirety of the yakuza omiai and culture festivals… there’s a lot in here that’s just a hoot, provided you remember to turn off your brain a bit. The humor here is a bit more subtle than Butterflies, Flowers, so it’s not as easy for me to throw off the casual sexism the way it is for that title. But I have to admit it, even if I do want to strangle Akira half the time, Ai Ore! remains a complete page-turner. It’s pretty much exactly what you want from a potboiler – the inability to put it down. Let’s hope the next volume continues that trend, and I’ll try to stop complaining about things that I would rather the author be writing about.

For those who read my reviews by category (like me), I have reviews of Blue Exorcist 3, Nura: Rise of the Yokai Clan 4 and Kamisama Kiss 4 in this week’s Bookshelf Briefs.

By Nagaru Tanigawa and Puyo. Released in Japan as “Suzumiya Haruhi-chan no Yuutsu” by Kadokawa Shoten, serialization ongoing in the magazine Shonen Ace. Released in North America by Yen Press.

It always amuses me when I try to review one of these volumes, as one would thinks that a review is designed to tell people whether they would be interested in a book or not, and these Haruhi-chan manga are by definition so narrow in audience scope that I have to add “the only reason you should buy this is if you’ve bought it already.” And yet here I am, reviewing the 3rd volume. Because, as a huge Haruhi fan and someone who loves 4-koma type humor, I continue to find these a hoot.

Given that this is a gag comic, it’s always interesting when I find bits of character development in it. You would think by definition there could be no character development, as the author is constrained by the boundaries of his parent series. Yet this leaves a surprisingly large canvas for building on what has come before. Thus Tsuruya and Mori’s friendly martial-arts rivalry continues, and Nagato’s addiction to games becomes so bad that when forced to give them up by Haruhi (for an eating contest, to give her ‘fighting spirit’), she nearly ends up dead. The manga is also well past the animated episodes as well, so no longer has to worry about the anime outdoing it.

The beginning of this volume is also, I suspect, important for another reason. It’s based off of Disappearance, and so we see the cast briefly styled in the characterizations of that movie. Seeing a rather hapless Yuki, overprotective Ryouko and clueless yet polite Kyon all having hotpot together, you can almost see the lightbulb go on in the author’s head. And now we have The Disappearance of Yuki Nagato, running in Kadokawa’s Young Ace, a spinoff which seems designed to take Disappearance and hit the ‘heartwarming’ button as much as it can. I will be completely unsurprised if Yen licenses this soon as well.

Haruhi gets a bit more to do here as well, not being confined by Kyon being the narrator. She still doesn’t get to participate in anything supernatural, but she still manages to come up with the weird ideas she’s famous for. My favorite chapter was likely the one where she tells everyone to try their hand at drawing a manga, with herself as the editor… then ends up spinning in a chair, bored out of her skull, while everyone else is doing things and she has to wait for them. There’s also some lovely ship tease between her and Kyon during Setsubun, when an argument about bean-tossing ends up turning into a tickle fight, which is innocent but doesn’t look that way. “I don’t think you should be doing sexy things!”

Mikuru probably gets the least to do here, but honestly, that’s true of the source material as well. And it’s lampshaded in a fantastic intro (in color) by Asahina’s older self. Bitter about the fact that she only gets to appear once in the entire volume, she sets about recasting the entire Haruhi franchise with herself in all the lead roles. Including Koizumi. Kyon is the exception, probably so he can make the tsukkomi response. Poor Asahina! Hang in there!

The drawbacks to this series are the same as prior volumes – it’s entirely dependent on its humor, so when it’s not funny there’s nothing else. Likewise, if you don’t like Osaka-style 4-koma gags, you’ll hate it. But I’m pleased to see the Haruhi-chan spinoff has become a world of its own, one where Taniguchi can turn into a giant 50-foot demon, Halloween can feature Haruhi wearing an eye mask straight out of 20th Century Boys, and Asakura can spend over an hour trying to kill Yuki and Kimidori-san with knives. OK, that last sounds like it might actually work in the real continuity. But in context, it’s extra goofy. As always, recommended highly to those who would get it anyway.

By Ema Toyama. Released in Japan by Kodansha, serialized in the magazine Nakayoshi. Released in North America by Kodansha Comics.

I’m pleased to see that we’re getting the second and final omnibus of this quiet, down-to-earth shoujo series from Kodansha. It has a satisfying conclusion, though I admit that I think I liked it better when the series was focusing on Sumino trying to open up and make new friends. This final volume deals more with Sumino’s romantic love triangle, and it’s simply not as interesting.

We left off with the manga trying to confuse us more about the two online friends in Sumino’s blog, and whether one or both of them were the two guys at her high school. It should come as no surprise to learn that one of them is, nor should it be too much of a surprise to find it’s a bit of a role reversal. I was rather surprised to find that the other online friend was completely unrelated to Sumino’s life in every way, and in fact lives in Osaka. It was a reasonable fakeout that I appreciated. (It also led to a mostly boring side story at the end, but hey, can’t have everything.)

We do also see Sumino clash with the schoolgirl bully who hounded her in Volume 1, Aya. I liked this as well, if only for a look at the mentality of this sort of person. Aya’s already been ostracized by her classmates, and has pretty much already ‘lost’. But she’s bullying Sumino, because, well, that’s what she does. And there’s still these unresolved feelings inside her that need to come out somewhere. The resolution of their fight was cliched, but still rather heartwarming. Although I will admit I could have done without ‘the sunflower in my heart isn’t bent!’. There’s cheesy and then there’s just corny.

But the majority of the volume is dealing with which guy Sumino is going to choose – Hinata, the sweet, caring boy that she’s already grown close to, or Teru, the harsher but sexier type whose words gave her more encouragement? Needless to say, this also leads to a rift between the two boys, who are now after the same girl. I found this more interesting for Teru’s backstory than anything else – he’s a certain type of shoujo boy that if this were a title for teens rather than young girls might be the lead – a jerkass sort who tries to encourage the heroine in an oblique way. Hinata, unfortunately, comes off as rather bland in comparison, though he did get more attention last volume.

Overall, it’s a nice, sweet manga, but it’s still hard not to compare this with Kimi Ni Todoke and find it wanting. No new ground is broken, and after a first volume focusing on broadening our heroine’s world, it all comes down to the standard love triangle. It doesn’t really put a foot wrong, and if you like this sort of genre it’s an easy title to recommend. But you might want to grade it on a bit of a curve.

By William Shakespeare. First published in Britain in 1623 by Edward Blount, William Jaggard, and Isaac Jaggard. Review copy from ‘The Arden Shakespeare: Third Series’, edited by Virginia Mason Vaughan and Alden T. Vaughan. Revised Edition.

First off, let’s get one thing clear right off the bat: no matter how much lovers of Shakespeare want it to be, and try to rewrite history to make it so, this is *not* the final play that Shakespeare wrote. Henry VIII and Two Noble Kinsmen, both co-written with John Fletcher, followed this, as well as the lost play Cardenio (also with Fletcher). There’s no denying that it would be awesome if we could read the play as an allegory of Shakespeare’s playwrighting and the final speech as his retirement form the stage. But that’s not what actually happened.

This is not to take anything away from The Tempest. There’s a reason people want it to be Shakespeare’s last play – it’s fantastic, easily his best ‘romance’ and among his top plays, with some superb dialogue, especially from the magician who many say was Shakespeare’s self-portrait, Prospero. It has a lovely palindromic structure, and some supporting roles that an actor can really sink their teeth into in the form of the island’s two natives, Ariel and Caliban. And, despite many saying that she’s just a passive girl who does whatever her father tells her to, there’s more teeth to Miranda than one might expect if played in the right way.

I must admit when I first read this in college I did not get any colonial subtext at all – most of my classes were not dedicated to finding the political or social themes in Shakespeare’s work, merely focusing on the plot and language. But apparently there’s been a lot of discussion about how much Shakespeare was influenced by colonial trips England was taking to the Bermudas, so much so that some used to describe this as Shakespeare’s American play. I’m not sure I’d go that far, but certainly the conflict between Prospero and Caliban has been what many directors enjoy focusing on as the centuries have passed.

As times and mores change, the way we view the three main characters also develops. Caliban was a hulking, ape-like villain at times, but has also been portrayed as something of a noble savage – though one has to be careful not to make him too noble, given how he willingly admits to attempting to sexually assault Miranda shortly before the play began. Likewise, while it is tempting to keep to the symmetries of Shakespeare’s play by portraying Ariel as the light to Caliban’s dark, this does not necessarily make him any less of a servant – and many excellent productions have focused on Ariel’s truculence when dealing with Prospero, and his joy once freed.

As for Prospero himself, his character seems to have experienced a similar trajectory to Shakespeare’s, as so many scholars and readers saw Prospero’s magic and arts as Shakespeare’s discussion of his own writing. And, as the ‘bardolatry’ of the earlier centuries has given way to a more balanced look at Shakespeare’s life and works, so Prospero is not viewed with the rose-colored glasses anymore. He can be surprisingly petulant and stubborn, even in his final speech, and it’s possible to read his decision to leave behind his magic and return to the real world as a particularly bitter pill to swallow.

I’ve talked before about how I would stage a production of the play I’ve just read, but unlike Shrew and Merchant, I have less to say here. Certainly there would be a few more special effects needed than I’m normally used to in my Shakespeare – I’ve mostly performed the comedies – but that shouldn’t pose too much of an issue. Other than that, though, just reminding the actors that they need not necessarily lock themselves into one interpretation on their first reading, an to let their own view of the character come about during rehearsals and multiple readings. I hope that this would allow the ambiguities I prize so much in Shakespeare to shine through.

I feel I haven’t said as much as I normally do about this play but, slight controversies about Prospero and Caliban aside, there’s not as much controversy here as in the prior plays I’ve reviewed. This is the last truly great play Shakespeare ever wrote – Henry VIII and Two Noble Kinsmen are interesting yet flawed, I would say – and anyone who loves the theater or language should read it if they have not already. As for this Arden edition, it’s great to read if you want to hear about the backstory of the play and get into the nitty gritty of Shakespearean scholarship – I loved the discussion about whether a speech should be assigned to Miranda or Prospero – and reads smoothly. This edition also updates it to cover the last 10 years or so of Tempest discussion, including the recent Helen Mirren version.