Review : Wool by Hugh Howey

I first heard about Wool in the same context as The Martian, one of these self published runaway hits that is already fast tracked to become a movie. It’s a pretty standard dystopian story of people living in an artificially constructed society where the worst crime is to express a desire to go “out”. What’s outside and why are they in? The answers seem pretty obvious if you’ve read any of a dozen other books with this same premise.  I guess this came out  back in 2011 and was originally eight books, now it’s been republished as three bigger ones.
So why are we talking about it here? Because for some strange reason it’s loaded with Shakespeare references. There’s even a character named George Wilkins, and I challenge casual fans of Shakespeare to recognize that reference!
The main character’s name is Juliet (or Juliette, I have it on audiobook so who knows), and I keep waiting for a Romeo to appear and the longer he doesn’t the more I’m thinking, “Oh, good, we can actually have a character named Juliet without it requiring the Shakespeare story.”
Soon enough, though, we’re flashing back to when she’s a kid and sees a production of the play. She’s even given a script that she then carries around for the rest of the story.  Once the explicit R&J connection is made, the different sections (chapters? again, audiobook, hard to tell) suddenly become quotes from the play.
I don’t get it. There’s no Romeo and Juliet story here, and I’m stretching to come up with one.  I’m wondering if there’s more Pericles in it (see George Wilkins, above ;)).  I’m not nearly familiar enough with that play.
So, surely others out there have already read this one, and probably the whole series.  Is it right in front of my face and I’m missing it? I once read a Hamlet story told from the perspective of super-intelligent dogs, and I managed to figure that one out (eventually).  Does it come up more in later books? Or did the author just feel like sprinkling around some Shakespeare?  The latter seems unlikely, but you never know in the self-published world, things don’t have to stay strictly to formula.  Besides, there’s no way that he drops George Wilkins into the story and expects anybody to recognize the Shakespeare connection!

UPDATE May 2023

As originally mentioned, the book is now a series on Apple TV+ called Silo. I’ve only just started watching it but we’ve met the Juliet character. Maybe I’ll learn more about where all the Shakespeare references lead us!

At Last, A “Happy” Romeo And Juliet

They’re making a “Romeo and Juliet style musical” about the life of Pharrell Williams, according to the Hollywood Reporter.  If you don’t recognize the name, and thus my joke fell completely flat, he’s the guy behind many things, but probably most notable in recent memory for Happy, a song so catchy that people literally made 24hr loops so it would never stop playing.

Back to the story, there’s some big names attached who have contributed to American Idiot, Spring Awakening, and Toy Story 4, though we’ll forgive that last one.  (Toy Story 1-3 were one of the great movie trilogies and I’m frightened that 4 is just a straight money grab that won’t hold a candle to the originals.)

I also won’t be the first to point out the obvious — given that Mr. Williams is alive and well, clearly their version of the story isn’t going to end the same.  So I am expecting that this is that thing I’ve always talked about when the Lion King comes up, how every “oh noes, boy and girl can’t be together because they’re from two different worlds” story ends up being branded a Romeo and Juliet story.  They do get a bonus that Williams grew up in Virginia Beach, and Virginia/Verona is an easy switch :).

At least we know it’ll have good music.

 

Geeklet’s Golden Ear

Portia, in Merchant of VeniceBeen awhile since I had a good geeklet story to tell.  I come home from work today and my middle daughter says, “Daddy, my math teacher was dropping these Shakespeare quotes all over the place today.”

“Cool.  I like him.”

“I know, but I was, like, the only one that recognized them as Shakespeare.”

“Which quotes?”

“A bunch of stuff from Merchant of Venice, I think.”

“You recognized Merchant of Venice quotes?”

“I dunno, they kind of sounded like they came from Merchant of Venice.”

As far as I know my daughter’s never actually read Merchant of Venice. But now I’m curious if her teacher threw out a “quality of mercy is not strained,” I think that one’s got higher odds than “if you prick us do we not bleed.”

I did not ask, but last week my daughter was on a field trip to the Museum of Fine Arts and told me that one of her teachers drove her crazy all day by doing things like coming up behind her and whispering, “I see dead people!” or waiting until they were in a room with a statue of a naked guy and saying, “The guide book says there’s supposed to be a picture of a full moon in here, can anybody find it?”  I hope it’s the same guy.

Why Does Hamlet Hesitate to Kill Claudius?

Why does Hamlet hesitate to kill Claudius?

There are a few different ways to answer this question. I assume that most of the time people ask it, they’re referring to III.3 when he catches Claudius at prayer:

Now might I do it pat, now he is praying;
And now I’ll do’t. And so he goes to heaven,
And so am I reveng’d. That would be scann’d.
A villain kills my father; and for that,
I, his sole son, do this same villain send
To heaven.
Why, this is hire and salary, not revenge! [citation]

So the short and easy answer is Hamlet tells us – by killing Claudius at prayer, his soul is clean, and therefore he’d go to heaven. However, this is not a luxury granted to Hamlet’s father, which is why he now roams the earth as a ghost.  Hamlet doesn’t feel that this is an even exchange.

You should, however, be saying, “Seriously?” right now.  “You set the trap to prove Claudius’ guilt, it worked, now you’re behind him, there’s no witnesses, you could absolutely finish him off. And instead you’re thinking ahead to where he soul ends up?”

That is precisely the whole point of the play. Hamlet’s indecisiveness is all. He can talk himself out of anything. Go back to I.5:

But know, thou noble youth,
The serpent that did sting thy father’s life
Now wears his crown. [citation]

So your father’s ghost appears and says, “I was murdered by the king.”  Your first thought is, “I know, I’ll start acting crazy around everybody so they won’t know what I’m up to.”

At least the point has a specific rationale, however. In Amleth, the source material for Hamlet, the hero believes that his life is in danger and decides to pretend that he is an imbecile not to be perceived as a threat to the new king.

In Shakespeare’s version, however, that connection is lost — there’s no reason early in the play to think that Claudius is planning to kill Hamlet (though clearly, he plans to have England do it). So it looks like Hamlet’s just coming up with excuses to delay action.

I’ve always held that his mother’s death, not his father’s, ultimately spurs him into action. The entire play passes without him avenging his father, but it takes just 20 lines of dialogue between his mother’s death (“The drink! I am poison’d.”) and Hamlet’s action (“Follow my mother!”). Some argue that he finally sees his own mortality and knows, from Laertes, that he, too, has been poisoned, and if he does not act now, he will never have the chance. But I’ve always felt that the “Follow my mother” line is a big deal – it’s not as if he mentions his father. Remember his concern over the fate of his father’s soul? How he was not absolved of his sins? Well, now his mother’s met the same fate.

What Makes or Breaks a Romeo and Juliet?

I can’t believe it’s taken this long, but this week my oldest is finally seeing an actual live Shakespeare production as part of her studies (i.e. not because I made it happen).  The production in this case is Romeo and Juliet (why is it always Romeo and Juliet?) and I’ve already told her that my assumption is she already knows moRomeo and Julietre about the play going in than anybody else in her class.

Since she’s already seen and read the play on her own, plot and character and all that stuff are out of the way (as has always been the plan).  So what I’d like to do is give her some suggestions to watch out for that will make this particular interpretation different.  In other words, it’s a great opportunity to discuss how everybody gets the same script, but every production is different.

What do you suggest?  For instance, I’m a big fan of watching the minor characters. I think they can really fill out the play when you give them a chance.  How’s Friar Laurence?  Is he just an incompetent adult, or should we see him as more of a villain who brings about all the tragedy because he is overly zealous in his desire to be the one who ends the feud?

Similarly consider Lord Capulet.  Which face is the right one? The one that says Juliet must decide for herself to marry Paris? Or the one that says do what I tell you or get out of my house?  I’ve always thought of him as a bad guy. But I’ve had people defend him, saying he’s merely a man with a temper who doesn’t mean what he says.

Another question I like to ask is how violent is the conflict between the two families in this version?  I don’t like the overly violent interpretation where both sides are always this close to killing each other. I prefer to believe that the grudge is dying out. Both sides now are all talk and bluster but neither is really serious about doing injury to the other. That way, Mercutio’s death is an accident. Even Tybalt is surprised – which makes Romeo’s revenge darker because while Tybalt accidentally killed Mercutio, Romeo deliberately killed Tybalt.

See what I’m talking about? When you see Romeo and Juliet for the umpteenth time, what are you paying close attention to?