By Poul Anderson
A remarkable story of intrigue, love, conflict, magic, and swashbuckling event set in an alternative universe the place fairies mingle freely with Englishmen and all of Shakespeare's fictional characters are real
Welcome to an alternative civil-war-torn seventeenth-century England—a international the place Hamlet as soon as brooded and Othello jealously raged. right here faeries and sprites gambol in English woods, railroads race around the panorama whereas manned balloons drift above the geographical region, and the main revered historian of all is one William Shakespeare of Stratford-upon-Avon.
The yr is 1644, and the struggle among the Roundheads and the Cavaliers rages. while Rupert, nephew of King Charles I, is taken captive via Cromwell's troops and imprisoned in a Puritan domestic, he's instantly smitten with the attractive Jennifer Alayne, his captor's niece. Escaping with assistance from his newfound loved and the unswerving trooper Will Fairweather, Rupert leads Jennifer deep into the wooded area, the place the faerie folks who stay there have a vested curiosity within the final result of the nice and bloody clash. notwithstanding the fanatics needs to quickly part—with the prince project a perilous venture for his magical benefactors that may flip the tide of war—Rupert and his girl love can be perpetually joined through the earrings provided to them through King Oberon and Queen Titania. And regardless of the unusual, twisting pathways and turbulent seas they're destined to come across, they'll constantly be capable of locate one another again... so long as their love continues to be true.
Nominated for the area fable Award and winner of the Mythopoeic Award, Poul Anderson's A Midsummer Tempest is a big achievement—a pleasant alternate-history fable that brings the fictitious worlds of Shakespeare's performs to breathtaking lifestyles with variety, wit, and remarkable mind's eye.
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Additional resources for A Midsummer Tempest (Operation Otherworld, Book 3)
16 Aliens and Englishness in Elizabethan Drama then self-fashioning quintessentially enacts the decentred centre or the elusive ‘nature’ that is Englishness. English self-forgetting is in a sense, then, impossible. Self-fashioning as deliberate show for the English man or woman at the various social levels of artisan, gentleman, lady, or aristocrat becomes the only possible way to represent the self to one’s own self and others. To play at being other, to be alien, to incorporate the foreign, and to confuse the actor and the ‘other’ part being played is to show Englishness itself in action.
But Wilson places the dangers on the audience’s doorstep and in the present. The Three Ladies of London has Lady Lucre ‘rule the roost’ in London, causing the demise of Hospitality (a centrally important concept in sixteenth- and seventeenth-century England) and the moral and physical destruction of Ladies Love and Conscience. We find that Lady Lucre and her henchmen have alien heritage, and the play makes sure to emphasize that it is foreign importing of useless products that corrupts Englishness, and the exporting of naturally ‘good’ English produce that enriches foreign countries and alien merchants.
This seems like a nod toward Spanish enrichment of England, but the play erodes both the possession of good wealth by England and the possibility of sustained appreciation of Spanish presence. The wealth coming to England at this time is widely marked with the spirit of the alien. Diana Wood begins her chapter on the question of defining money in medieval England with the observation that to some commentators the crosses on late-medieval English silver pennies gave them a godly identity; and in a related fashion, as M.