Saturday, January 06, 2007
Book Review - The Shakespeare Stealer- YA Fiction
Quagmires abound in the world of a 16th Century child void of parental and financial support. Aloof and detached from everyone Gary Blackwood’s main character, Widge, in his historic novel The Shakespeare Stealer is destined by social class to collide with multiple situations of abuse from various masters. Adversity develops an arduous life as well as a skeptical and suspicious mind in the seven-year old boy, which are designed specifically for survival among humans.
Widge’s story begins in an orphanage supported by the parish and donations. “The money given us by the parish was not enough to keep one child properly clothed and fed, let alone six or seven. We depended mostly upon charity. When someone felt charitable, our bellies were relatively full. Otherwise we dined on barley mush and wild greens. When times were hard for others, they were doubly so for us.”
The morose institution, deplorable living conditions and the desire to be someone’s family member built dreams of hope in the orphans’ minds of miraculous rescues by wealthy and benevolent mothers and fathers. “Preferably it would be his true parents – who were, of course, royalty – but any set would do. Or so we thought.”
Dr. Bright arrives at the orphanage in search of an apprentice. Widge is chosen. The boy’s living conditions were mildly upgraded, “Dr. Bright and his wife were not affectionate toward me – nor indeed, toward their own children. But they gave me a comfortable place to sleep at one end of the apothecary, the room where the doctor prepared his medicines and infusions.” Dr. Bright exposed Widge to lessons of Latin, medicine and charactery, (shorthand), that would later benefit him in situations he never could imagine to exist due to his sheltered life. “I held no real hope of ever seeing anything beyond the bounds of Berwick. Indeed the thought of leaving rather frightened me.” Widge, a prentice in England, knew who he was. “There was a popular saying to the effect that England is a paradise for women, a prison for servants, and a hell for horses. Prentices were too lowly to even deserve mention.” Hence Widge held no security in these skills so he “waited,” “worked,” and “wished,” for a miracle as was typical for him.
At fourteen, Widge is once again reminded of his social standing. Dr. Bright, without emotion, gives Widge over to a stranger for money. Although the boy prefers Bright to stand resolute and ostracize the stranger and his offer Widge understands the reality of his life. “I suppose I knew him (Dr. Bright) better than anyone in the world. It was a sad thought, and even sadder to think that, after seven years, he could just hand me over to someone he had never before met, someone whose name he didn’t know, someone whose face he had never seen. It took even less time to gather my belongings than it had for my life to be signed away.” The tabby cat is the sole Bright family member who comes to say good-bye.
A Jew, an uncommon figure in England in the 16th Century, (Dr. Lopez, a Jew, tried to poison the queen and was executed. Following that incident all other Jews were either banished or forced to convert), named Simon Bass becomes Wedge’s new master. It is Bass’ intent that Wedge earns his keep stealing the plays of William Shakespeare through his talent of charactery.
The trip to London, under the watchful and cruel eye of Falconer, Bass’ dedicated and loyal employee was packed with enlightenment that that dazzled and opened doors of perception for Widge. He learned that the city he believed to be free had a curfew, and that in the less affluent neighborhoods the homes were closer to one another. “There were no street vendors here, nor prosperous merchants, only sullen wives emptying their slop jars into the street, sometimes missing the scrawny, shoeless children playing there, sometimes not.” Widge also learned of the plague and that the crude wooden crosses on the doors indicated a plague house.
The playhouse became sanctuary for Widge, for it was here he learned about his freedom. He became a member of a patchwork family. He laughed freely and learned friendship and trust. Most importantly he learned he could leave his master with the help of his newly acquired friends/family. “This is England, not China. A man has the right to choose his own p-path. If you truly wish to stay here and p-prove you are able, we will stand with you,” replied Mr. Hemings, one of the theatre production managers. Acceptance, and support by the members taught Widge loyalty and camaraderie. He had found a home among strangers. As Don Shimoda’s Messiah’s Handbook stated in Richard Bach’s Illusions, “Rarely do members of one family grow up under the same roof.”
The move Widge makes to London creates the life he did not believe possible but always desired. His new family brought a wealth not of money, but of something money can never attain. Widge has found his home, his security, in the company of players.
Julia, Widge’s most influential acting tutor, finds no freedom in London for her acting passion cannot be satisfied in England, where women are forbidden on the stage. London, Widge’s fruit, is Julia’s poison. But Julia understands that to change the system is a tremendous ordeal and chooses to strike out for freedom in France where she is accepted as an equal. Social injustices grow in stagnation. “In order to live free and happily you must sacrifice boredom. It is not always an easy sacrifice.” (The Messiah’s Handbook, from Illusions, by Richard Bach.)
Widge’s story begins in an orphanage supported by the parish and donations. “The money given us by the parish was not enough to keep one child properly clothed and fed, let alone six or seven. We depended mostly upon charity. When someone felt charitable, our bellies were relatively full. Otherwise we dined on barley mush and wild greens. When times were hard for others, they were doubly so for us.”
The morose institution, deplorable living conditions and the desire to be someone’s family member built dreams of hope in the orphans’ minds of miraculous rescues by wealthy and benevolent mothers and fathers. “Preferably it would be his true parents – who were, of course, royalty – but any set would do. Or so we thought.”
Dr. Bright arrives at the orphanage in search of an apprentice. Widge is chosen. The boy’s living conditions were mildly upgraded, “Dr. Bright and his wife were not affectionate toward me – nor indeed, toward their own children. But they gave me a comfortable place to sleep at one end of the apothecary, the room where the doctor prepared his medicines and infusions.” Dr. Bright exposed Widge to lessons of Latin, medicine and charactery, (shorthand), that would later benefit him in situations he never could imagine to exist due to his sheltered life. “I held no real hope of ever seeing anything beyond the bounds of Berwick. Indeed the thought of leaving rather frightened me.” Widge, a prentice in England, knew who he was. “There was a popular saying to the effect that England is a paradise for women, a prison for servants, and a hell for horses. Prentices were too lowly to even deserve mention.” Hence Widge held no security in these skills so he “waited,” “worked,” and “wished,” for a miracle as was typical for him.
At fourteen, Widge is once again reminded of his social standing. Dr. Bright, without emotion, gives Widge over to a stranger for money. Although the boy prefers Bright to stand resolute and ostracize the stranger and his offer Widge understands the reality of his life. “I suppose I knew him (Dr. Bright) better than anyone in the world. It was a sad thought, and even sadder to think that, after seven years, he could just hand me over to someone he had never before met, someone whose name he didn’t know, someone whose face he had never seen. It took even less time to gather my belongings than it had for my life to be signed away.” The tabby cat is the sole Bright family member who comes to say good-bye.
A Jew, an uncommon figure in England in the 16th Century, (Dr. Lopez, a Jew, tried to poison the queen and was executed. Following that incident all other Jews were either banished or forced to convert), named Simon Bass becomes Wedge’s new master. It is Bass’ intent that Wedge earns his keep stealing the plays of William Shakespeare through his talent of charactery.
The trip to London, under the watchful and cruel eye of Falconer, Bass’ dedicated and loyal employee was packed with enlightenment that that dazzled and opened doors of perception for Widge. He learned that the city he believed to be free had a curfew, and that in the less affluent neighborhoods the homes were closer to one another. “There were no street vendors here, nor prosperous merchants, only sullen wives emptying their slop jars into the street, sometimes missing the scrawny, shoeless children playing there, sometimes not.” Widge also learned of the plague and that the crude wooden crosses on the doors indicated a plague house.
The playhouse became sanctuary for Widge, for it was here he learned about his freedom. He became a member of a patchwork family. He laughed freely and learned friendship and trust. Most importantly he learned he could leave his master with the help of his newly acquired friends/family. “This is England, not China. A man has the right to choose his own p-path. If you truly wish to stay here and p-prove you are able, we will stand with you,” replied Mr. Hemings, one of the theatre production managers. Acceptance, and support by the members taught Widge loyalty and camaraderie. He had found a home among strangers. As Don Shimoda’s Messiah’s Handbook stated in Richard Bach’s Illusions, “Rarely do members of one family grow up under the same roof.”
The move Widge makes to London creates the life he did not believe possible but always desired. His new family brought a wealth not of money, but of something money can never attain. Widge has found his home, his security, in the company of players.
Julia, Widge’s most influential acting tutor, finds no freedom in London for her acting passion cannot be satisfied in England, where women are forbidden on the stage. London, Widge’s fruit, is Julia’s poison. But Julia understands that to change the system is a tremendous ordeal and chooses to strike out for freedom in France where she is accepted as an equal. Social injustices grow in stagnation. “In order to live free and happily you must sacrifice boredom. It is not always an easy sacrifice.” (The Messiah’s Handbook, from Illusions, by Richard Bach.)
# posted by Bite Me Kissimmee @ 1:22 PM 
