O'Connor, Garry. William Shakespeare; a popular life.

Applause. 377p. notes. index. c2000. 1-55783-465-2. $16.95. SA

Do we really need another biography of Shakespeare? Garry O'Connor believes that we do. He explains in his Introduction that his purpose is to present "a popular, imaginatively told life of Shakespeare." He further explains his intention to "depict him as he has not been shown before, in a biography that is based on and rooted in the conception that Shakespeare is a contemporary figure--belonging as much to our age as to his own." In his attempt to "uncover the secret Shakespeare," O'Connor demonstrates his thorough knowledge of Shakespeare's canon as well as the results of many interviews with "the best Shakespearian minds and interpreters of our own age."

The text is organized into five major parts, which is undoubtedly a reflection of O'Connor's immersion in the structure of the plays themselves. He follows Shakespeare's life chronologically, tying events in Shakespeare's life and their possible effects on him to the works themselves. For example, O'Connor suggests that the brilliance of the characterization of Shylock is the result of "the nightmares of the Shakespeare family's financial losses and shame" brought on by the actions of John Shakespeare, William's father. Another example relates to the death of Shakespeare's son, Hamnet. O'Connor believes that the character of Hamlet is "a realistic romantic vision of an ideal prince such as he would have liked his son to become."

All of the plays receive attention as well as the sonnets. O'Connor even suggests that the ordering of the sonnets in the first edition of 1609 could have been orchestrated by none other than Shakespeare himself. "He was exposing himself, but a distant self, not an immediate persona." Shakespeare's relationships with his parents, his wife, his children, with the Earl of Southampton, Ben Jonson, and Christopher Marlowe are all woven into O'Connor's unique portrait. In fact, O'Connor has some thoughts on the Chandros portrait of Shakespeare that hangs in London's National Portrait Gallery. He suggests that this could be "a complete fake" and that a portrait by Frans Hals of an older Shakespeare (included in the text) is truer to his own reflections of Shakespeare.

Following the text are two Tables of Facts and Traditions that provide in a compact manner the facts of Shakespeare's life in Stratford and in London chronologically measured against traditions, contemporary events and allusions, as well as a final column of unproved assertions. There is also an extensive section of notes and references that documents in greater detail exactly which sources O'Connor used in each section of the book.

This is a biography of Shakespeare unlike any other I have read. It is not intended for young students. However, teachers should find this book helpful in providing some new perspectives on works that they use in the classroom. Anthony J. Pucci, English Dept. Chair., Notre Dame H.S., Elmira, NY