By Any Other Name
The No.1 New York Times bestseller from the author of My Sister’s Keeper and Mad Honey
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Beschreibung des Verlags
They Never Met. But Their Lives Are Bound by a Secret, a Sacrifice, and a Story That Demands to Be Told…
The #1 New York Times Bestseller
'Her best one yet' JOJO MOYES
'A timeless classic' CHRIS WHITAKER
'[An] inspiring work of feminist literature' ELLE
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New York playwright Melina Green fights to have her voice heard in a man’s world - forced to hide behind a lie to get her work on stage.
Centuries before, her ancestor Emilia Bassano, mistress to one of Elizabeth I’s nobles, faced the same silence. Her bold act of rebellion changed everything - but at a great cost.
Two women, separated by time, united by defiance. Together, they challenge a world built to keep them quiet.
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PRAISE FOR BY ANY OTHER NAME
‘A likeable heroine and a fun, readable evocation of Elizabethan court life and theatre’ THE TIMES
'Stunning. So interesting, clever, educational and moving. One of the best books I've read in recent times' GILLIAN McALLISTER
'Had me absolutely captivated . . . I loved all the questions this novel raised about who gets to tell which stories and how complex that can become. Jodi Picoult is a genius' JENNIFER SAINT
‘A fun jaunt through Elizabethan London, full of literary easter eggs’ INDEPENDENT
PRAISE FOR JODI PICOULT
'A writer the world needs to be reading right now' Independent
'It is hard to exaggerate how well Picoult writes' Financial Times
'She is the master of her craft' Daily Telegraph
'There are writers who try and do what Picoult does, and then there's Picoult' Marie Claire
Jodi Picoult, New York Times bestseller, April 2023
Jodi Picoult's books have sold 40 million copies worldwide, BBC May 2024
Jodi Picoult, New York Times bestseller, September 2024
PUBLISHERS WEEKLY
Picoult (Wish You Were Here) offers a stimulating if muddled parallel narrative of two women writers, each of whose work is credited to a man. In 1582, poet Emilia Bassano becomes consort to Lord Hunsdon, Queen Elizabeth's Lord Chamberlain. At the time, women were forbidden to have anything to do with the theater, but when Emilia crosses paths with William Shakespeare, he's impressed with her work and agrees to pay for the sonnets and plays she's secretly written if he can take credit for them. Thus begins a working relationship that spans decades. In the present day, Emilia's descendant Melina Green writes a play about Emilia and Shakespeare, but fears she won't be able to get it produced after being told that people only relate to plays by men. Unbeknownst to Melina, her roommate, Andre, submits the play to a fringe festival under the pseudonym Mel Green, leading the artistic director to assume the writer is a man. After the play is accepted, Andre poses as Mel during the production, with Melina pretending to be his assistant. The Elizabethan sections, which follow Emilia through an unhappy marriage as the work she wrote for Shakespeare receives acclaim, are the strongest. In comparison, Picoult's depictions of racism and sexism in the contemporary theater world are a bit simplistic. It's a mixed bag.
