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hummeline's review against another edition
4.0
I haven't read The Tempest in years, but decided to give this a go regardless. And what a ride this was—there's so much you can learn about the life of Prospero and Miranda before the opening of the play, but this takes every crumb and turns it into a riveting story of Miranda growing up. She—and Caliban too, and Ariel!—become complex people, with disparate wants and needs, and it all seems like a completely plausible prelude to the play itself. Rethinking things like what Caliban's relationship with the witch Sycorax is, about the manner of Prospero's departure, and what growing up on this island would be like with a domineering tyrant of a father / lord.
alittlebird's review against another edition
4.0
Carey is always at her best when she is writing something that's one part looming darkness and two parts taking out your heart to crush it repeatedly under a boot heel all while wanting more.
ipomoea's review against another edition
4.0
Review to come, I received an advance copy from NetGalley.
abrittlebee's review against another edition
5.0
Admittedly, The Tempest is not my favourite of Shakespeare’s plays. However, Miranda and Caliban warps the motivation of the original text, spinning a plot that is loving but painful, and entirely focussed on the growth of two characters who have fascinated audiences for years. It is a near perfect companion to the original prose.
The way this story is written, the reader is aware of the way Prospero manipulates not only his own relationships with Miranda and Caliban, but their personal relationships with one another, as well as themselves. Early in the narrative this was deeply unsettling. I would almost describe it as watching a groomed child groom another child, but without sexual implications, as Miranda instructed Caliban on how to obey and be “good.” As all of this was occurring there was an underlying sweetness in the friendship developed between the children and how that relationship then progresses as they come of age.
What is most fascinating about this book is that it attempts to both define and question the point at which innocence becomes ignorance. It explores Miranda and Caliban’s journey from being innocent children, unaware enough to question the world and order presented to them, and when that excuse of adolescence ends and becomes outright denial or wilful ignorance.
I could go on and on about how this novel fits so perfectly alongside Shakespeare’s own work as an advancement to the tale, and how the theology within it is structured to draw parallels between savagery and civility, and good and evil, but those arguments would lean too much into an academic tirade. Just know this, this book is incredible and heart-wrenching. It’s only fault, if it can be called that, is that it cannot be read independently. You need a basic working knowledge of the Tempest’s plot, but that’s nothing a quick google search can’t fix.
The way this story is written, the reader is aware of the way Prospero manipulates not only his own relationships with Miranda and Caliban, but their personal relationships with one another, as well as themselves. Early in the narrative this was deeply unsettling. I would almost describe it as watching a groomed child groom another child, but without sexual implications, as Miranda instructed Caliban on how to obey and be “good.” As all of this was occurring there was an underlying sweetness in the friendship developed between the children and how that relationship then progresses as they come of age.
What is most fascinating about this book is that it attempts to both define and question the point at which innocence becomes ignorance. It explores Miranda and Caliban’s journey from being innocent children, unaware enough to question the world and order presented to them, and when that excuse of adolescence ends and becomes outright denial or wilful ignorance.
I could go on and on about how this novel fits so perfectly alongside Shakespeare’s own work as an advancement to the tale, and how the theology within it is structured to draw parallels between savagery and civility, and good and evil, but those arguments would lean too much into an academic tirade. Just know this, this book is incredible and heart-wrenching. It’s only fault, if it can be called that, is that it cannot be read independently. You need a basic working knowledge of the Tempest’s plot, but that’s nothing a quick google search can’t fix.
wanderlustlover's review against another edition
4.0
Fall 2018:
I really, really, REALLY so very deeply love everything that Carey puts her hands on. This was a superb retelling, from the inside, about the story of The Temptest. Without changing the plot points, this is a story told in the changing viewpoints between Miranda and Caliban, and it's poignant as it is heartbreaking. The language is gorgeous, as is the differentiation of these two characters entirely, and how the story is woven through them. Bravi, bravi, bravissimi.
I really, really, REALLY so very deeply love everything that Carey puts her hands on. This was a superb retelling, from the inside, about the story of The Temptest. Without changing the plot points, this is a story told in the changing viewpoints between Miranda and Caliban, and it's poignant as it is heartbreaking. The language is gorgeous, as is the differentiation of these two characters entirely, and how the story is woven through them. Bravi, bravi, bravissimi.
mermads's review against another edition
Dnf at page 38
I was wanting a sort of nuanced critique of The Tempest and some justice for Caliban. This is not that
I was wanting a sort of nuanced critique of The Tempest and some justice for Caliban. This is not that
jillkahnwald's review
3.0
If you haven't read The Tempest, I'm not sure this book will mean much to you. The author has a way with words, and the characters' psychologies are quite interesting, but the plot relies too heavily on The Tempest and seems too heavy-handed at times. Prospero is also portrayed as kind of a pervert, and there were opportunities to present the plot through certain lenses that the author didn't take advantage of. Overall, it's essentially Shakespeare fanfiction. If that's your thing, you may like it.
captainsillypants's review against another edition
challenging
emotional
reflective
sad
medium-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.75
roseice's review
3.0
Amazingly, I haven't read The Tempest; nor did I know anything about it before reading this book. Rather than priding myself in my knowledge of Shakespeare, I vastly enjoy discovering his stories one-by-one, in a random fashion, and being fascinated anew each time. I love Shakespeare, but I prefer my approach to him--rather than seeking his plays out, I take them when given to me. Through school, through chance, like in this case.
I want to read The Tempest now. This crap is right up my alley. Stranded on an island, living in a palace, elementals for servants, a spirit trapped in a tree, a concealed revenge, a daughter in servitude and a boy magically enthralled to slavery. It has every element of a fascinating story sharpened by dark conflicts. I loved the small things of this story--I loved not knowing anything about Prospero, and slowly learning about his plot, with Miranda. Miranda and Caliban's early friendship, before it became sodden with lust (and frankly disgusting). The salamander in Prospero's sanctum. Miranda's painting. Prospero's morning chanting.
Ariel's role--oh my word, Ariel. This was another measure of potential. I can't say what his role is in The Tempest, or if Carey was just following the original story, but he was such a richly sketched character, and I cannot tell you how much I wanted Prospero to refuse Ariel his freedom in the end, and for Ariel to act on the darkness that was brewing beyond his gaze in many instances. It would've been amazing to see Ariel destroy Prospero and Miranda to narrowly escape, but I feel like Ariel's role was far too neatly tied up.
Caliban was a fascinating character, but I came to truly dislike his relationship with Miranda. It's so obessive and later so physical it's truly disturbing to read about, and it loses all of its charm in becoming a beastly thing that too heavily emphasises sexuality. Realistically, both of them are at an age to be sexually curious, but in this case, it overpowers the story and overwhelms Caliban's characterisation, overshadowing and reversing the growth and maturity he was finding in the pages before he sees Miranda naked, and instead of fitting with the story, it just felt random--too much all at once. What was meaningful about their relationship was lost in it, and it was carnal to the point I felt like Miranda could be interchangable with any young lady--if there were any but Miranda on the island. Caliban just wanted a female body.
If their "romance" hadn't slapped me in the face, but instead developed in a meaningful way and then become physical... but alas. It is what it is. It unfortunately dampened much of the book for me. I found myself wanting to skip Caliban's point of view. Thereafter, I couldn't take him seriously. And the ending is less than satisfying for anyone who was cheering them on.
All in all, this was a fascinating, well-written story. I'm glad for this introduction to The Tempest!
I want to read The Tempest now. This crap is right up my alley. Stranded on an island, living in a palace, elementals for servants, a spirit trapped in a tree, a concealed revenge, a daughter in servitude and a boy magically enthralled to slavery. It has every element of a fascinating story sharpened by dark conflicts. I loved the small things of this story--I loved not knowing anything about Prospero, and slowly learning about his plot, with Miranda. Miranda and Caliban's early friendship, before it became sodden with lust (and frankly disgusting). The salamander in Prospero's sanctum. Miranda's painting. Prospero's morning chanting.
Ariel's role--oh my word, Ariel. This was another measure of potential. I can't say what his role is in The Tempest, or if Carey was just following the original story, but he was such a richly sketched character, and I cannot tell you how much I wanted Prospero to refuse Ariel his freedom in the end, and for Ariel to act on the darkness that was brewing beyond his gaze in many instances. It would've been amazing to see Ariel destroy Prospero and Miranda to narrowly escape, but I feel like Ariel's role was far too neatly tied up.
Caliban was a fascinating character, but I came to truly dislike his relationship with Miranda. It's so obessive and later so physical it's truly disturbing to read about, and it loses all of its charm in becoming a beastly thing that too heavily emphasises sexuality. Realistically, both of them are at an age to be sexually curious, but in this case, it overpowers the story and overwhelms Caliban's characterisation, overshadowing and reversing the growth and maturity he was finding in the pages before he sees Miranda naked, and instead of fitting with the story, it just felt random--too much all at once. What was meaningful about their relationship was lost in it, and it was carnal to the point I felt like Miranda could be interchangable with any young lady--if there were any but Miranda on the island. Caliban just wanted a female body.
If their "romance" hadn't slapped me in the face, but instead developed in a meaningful way and then become physical... but alas. It is what it is. It unfortunately dampened much of the book for me. I found myself wanting to skip Caliban's point of view. Thereafter, I couldn't take him seriously. And the ending is less than satisfying for anyone who was cheering them on.
All in all, this was a fascinating, well-written story. I'm glad for this introduction to The Tempest!