For more than four hundred years, Shakespeare’s works have been performed, read, and loved throughout the world. They have been reinterpreted for each new generation, whether as teen films, musicals, science-fiction flicks, Japanese warrior tales, or literary transformations.
The Hogarth Press was founded by Virginia and Leonard Woolf in 1917 with a mission to publish the best new writing of the age. In 2012, Hogarth was launched in London and New York to continue the tradition. The Hogarth Shakespeare project sees Shakespeare’s works retold by acclaimed and bestselling novelists of today. The series launches in October 2015 and to date will be published in twenty countries.
The Gap of Time
One of Shakespeare’s final plays, The Winter’s Tale, is the spellbinding story of newfound love, treacherous jealous, revenge, regret, and ultimately, redemption. In The Gap of Time, Jeanette Winterson takes us from 2008 London to a storm-ravaged city in America called New Bohemia in an inspired, witty, and energetic new version of Shakespeare’s classic tale.
Shylock Is My Name
This is a contemporary rendering of The Merchant of Venice, one of Shakespeare’s most famous comedies, and now set in England’s South Manchester, featuring rich heiresses, art collectors, footballers, and more. Jacobson’s vision for The Merchant of Venice promises more than just a pound of flesh with the drama, irony, and tragedy that gave the original play its fame.
Pulitzer Prize winner Anne Tyler sets her retelling of Shakespeare’s classic comedy, The Taming of the Shrew, in contemporary Baltimore, featuring Kate, a socially awkward preschool teacher and her unlikely romance with Pyotr, her father’s Russian lab assistant. Vinegar Girl is a hilarious and heartwarming tale that is sure to delight both longtime fans of Tyler and devotees of the Bard.
UNTITLED on The TEMPEST
10/11/2016“Now does my project gather to a head: My charms crack not; my spirits obey.” Acclaimed critic and novelist Margaret Atwood tackles The Tempest, often seen as the most biographical work in Shakespeare’s canon. “It has always been a favourite of mine, and working on it will be an invigorating challenge. Is Caliban the first talking monster? Not quite, but close . . .,” she writes.