Quick book picks for May

A new month means a whole new bunch of books coming out (probably more books than sun coming out, at least in the UK). To help you choose what to read, here are some of my favourites coming out this month, with quick summaries and links to reviews.

  • Little Gold by Allie Rogers – A moving and life-affirming tale of growing up different in Brighton in the 1980s.
  • House of Names by Colm Toíbín – A retelling of the House of Agamemnon in modern prose, with tense character relationships and intense revenge.
  • Girlhood by Cat Clarke – A fantastically tense YA novel about friendship and grief in a Scottish boarding school, with a gripping and funny narrative.
  • New Boy by Tracy Chevalier – The next in the Hogarth Shakespeare series is an unforgettable retelling of Othello in a single day in a Washington schoolyard.
  • Peculiar Ground by Lucy Hughes-Hallet – A time-spanning novel about changes and connections, set mostly in the grounds of an old house after the Restoration and during the Cold War.
  • The Nothing by Hanif Kureishi – A darkly comic and characteristic new novella from Hanif Kureishi, trapped in the head of an increasingly bed-bound aging filmmaker.
  • Man Alive by Thomas Page McBee – A powerful memoir of a trans man dealing with ideas of masculinity in the wake of violence.
  • I’ll Eat When I’m Dead by Barbara Bourland – The female-led modern version of 80s and 90s alternative American satirical fiction like American Psycho, exposing darkness in an industry full of drugs, sex, and battles for the top (review coming soon).
  • The Finding of Martha Lost by Caroline Wallace – An enchanting story about a sixteen-year-old girl who lives in Liverpool Lime Street station and has never known where she truly comes from.

Shakespeare Continually Retold

I love a modern retelling of Shakespeare. They can be insightful, thought-provoking, or just damn fun. For 23rd April—Shakespeare’s deathday/possible birthday and World Book Night in the UK—I’ve gathered together my thoughts on the current (and upcoming!) Hogarth Shakespeare series of modern novel retellings of his plays.

  • The Gap of Time by Jeanette Winterson – A transatlantic, slightly alternate universe version of our modern world in which The Winter’s Tale unfolds as a story still full of jealousy, grief, and discovery. The complex relationship between Leo, his wife MiMi, and his best friend/ex-lover Xeno is a highlight, turning a strange plot device in Shakespeare into an interesting look at three characters falling apart. The book that really sparked my interest in the series (read my full review here).
  • Shylock Is My Name by Howard Jacobson – Jacobson’s take on The Merchant of Venice is a little different to the rest of the series in that instead of updating Shylock fully, he parallels the sixteenth century character with a modern version, the art dealer and father Simon Strulovitch. The backdrop is rich side of Manchester and the updated plot line is quite impressive, but the merging Shylock’s world with Strulovitch’s and the writing style of the novel make for a dense read.
  • Vinegar Girl by Anne Tyler – In my original review, I said that this book wasn’t necessary because 10 Things I Hate About You exists. I stand by this statement, though more because I found the message of Vinegar Girl confused rather than ambiguous and its ending downheartening without illuminating on Shakespeare’s ending than because I think the enjoyable teen film is a work of genius. You might enjoy it. I didn’t.
  • Hag-Seed by Margaret Atwood – There is something endearing about the way that Atwood takes Prospero’s slightly flimsy plot for making his enemies see their bad deeds and turns it into an equally flimsy plot in which Felix tries to show the injustice done to him through a performance done by the inmates he has been teaching The Tempest to. The in-jokes about the existence of Shakespeare’s plays in these modern worlds really reaches its peak, with Shakespeare as a double meta-narrative. Read more in my review here.
  • New Boy by Tracy Chevalier – New Boy isn’t out until May, but I highly recommend you grab it when it is. Othello is retold in a tense and claustrophobic day in a 1970s Washington schoolyard, as new boy Osei finds himself out of place in the entirely white school. The strange timeline and irrational jealousies of Othello find themselves a good home in this novel, where intensity is heightened because this schoolyard is the world for most of these students. I review it in more detail here.

New Boy by Tracy Chevalier

Othello retold through schoolyard drama: New Boy by Tracy Chevalier


New Boy is the latest book in the Hogarth Shakespeare series, a modern retelling of Othello with the action transported to a schoolyard in 1970s Washington. Osei is the new boy and the only black kid in a suburban school. He meets Dee, Ian, Mimi, Casper, and Blanca and the stage is set for a first day unlike others. These sixth graders are the big fish in a small pond and their dramas are fast-paced, with relationships and arguments made and broken between lessons. Chevalier uses this setting to make her novel a tense exposition of jealousy, anger, and race, showing how Othello’s themes do not only defy time, but also age.

The book is structured around a single day, with the weird sense of time matching Shakespeare’s strange timeline in Othello and making the novel seem like a play, with far more limited movement of place than in the original text. The characters are bound by the edges of the school grounds, making a claustrophobic setting that cannot contain Osei’s eventual anger or Ian’s manipulation. The presence of the teachers on the edges is similar to the officials and outsiders in Othello who appear but are never able to halt the action. In the case of New Boy, the teachers’ implied and overt racism and uncertainty about how to deal with Osei’s presence actively encourage the pupils in some ways, like Brabantio’s initial opinions of Othello in the play.

Shakespeare’s characters are mapped pretty straightforwardly onto their playground equivalents, though Chevalier is able through the form to give them greater internal lives and backstories, particularly the girls. Dee’s desire for something exciting explains her sudden interest in more worldly Osei, who has lived around the world and whose older sister has given him an awareness of Black Power and other political movements. Ian’s quest for power over fellow students and his desire for self-control are clear, manifesting themselves in his manipulative actions when interfering with schoolyard activities and his anger at his own failings. The stand out character is Mimi, an uncertain girl prone to headaches who, uncomfortable with Ian’s attention, helps him out and later regrets it. She is Shakespeare’s Emilia given more of a chance to have thoughts and emotions about Ian’s actions and about her friend Dee.

The narrative too is obviously that of Othello, with details changed yet the stakes still feeling high. From the vivid picture of childhood jealousies and fears that Chevalier paints, it is easy to be drawn into the world and feel that the reputations and relationships at stake are real to the characters, not just childish preoccupations but how they see their place in the world. Some scenes are clear updates of Shakespearean ones, for example when Mimi re-plaits Dee’s hair whilst they sing along to ‘Killing Me Softly’ and talking about how confusing boys are. This scene is Shakespeare’s made into a 1970s image of two white girls singing along to a song sung by a black woman, not fully aware with how this intersects with exactly what is going on that day.

As part of the Hogarth Shakespeare series, New Boy is fairly typical – updating character names, mentioning Shakespeare and his plays in a casual way, changing plot points but giving them the same tension in the narrative as the original – but it is the way in which Chevalier creates a claustrophobic world of childhood jealousy and mistrust set within the larger adult world that makes the novel stand out. It isn’t news that the racism, jealousy, and power struggles in Othello have not lost their relevance four hundred years later, but in New Boy it is glaringly obvious that such issues can be incited to escalation in all kinds of environments. The tragedy of Othello becomes both the tragedy of one dramatic schoolyard in 1970s Washington and the tragedy of how Othello just cannot seem to lose its societal comparisons.