King of Shadows
King of Shadows
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Paperback ©1999--
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Aladdin
Annotation: While in London as part of an all-boy acting company preparing to perform in a replica of the famous Globe Theatre, Nat Field suddenly finds himself transported back to 1599 and performing in the original theater under the tutelage of Shakespeare himself.
 
Reviews: 11
Catalog Number: #4130657
Format: Paperback
Common Core/STEAM: Common Core Common Core
Publisher: Aladdin
Copyright Date: 1999
Edition Date: 2001 Release Date: 06/01/01
Pages: 186 pages
ISBN: 0-689-84445-X
ISBN 13: 978-0-689-84445-4
Dewey: Fic
Dimensions: 20 cm.
Language: English
Reviews:
Starred Review ALA Booklist

Starred Review Nat Field is thrilled when theater director Richard Babbage chooses him to become a player in the Company of Boys, an American summer drama troupe that will appear in Shakespeare's A Midsummer Night's Dream at the new replica of the Globe Theater in London. Shortly after his arrival in England, though, Nat feels ill and falls into a troubled sleep. To the doctor's astonishment, he seems to be suffering from the effects of the bubonic plague. He awakens in 1599 as another Nat Field, a child actor from St. Paul's School who is about to go to the Globe to rehearse A Midsummer Night's Dream in the role of Puck. In the weeks of rehearsal that follow the time switch, Nat, still numb from his father's suicide some years before, opens up to William Shakespeare, who is still pained by the death of his son. Shakespeare offers his young Puck sympathy, respect, affection, and a sonnet on the constancy of love, which comforts Nat at the time and after his return to the twentieth century. Few writers have used historical characters in fiction with such conviction and grace as Cooper in her down-to-earth portrayals of Shakespeare and theater founder Richard Burbage. Nat's disorientation during his initial illness works surprisingly well as a transition between one time period and the next. The mysterious role Richard Babbage/Burbage seems to play in understanding or directing the time travel is less satisfying. Still, the book provides a sympathetic first-person narrative, a vivid evocation of everyday life in Elizabethan England, and a lively dramatization of the tension and magic as a play moves through rehearsals to performance. As the two companies of players prepare for their productions and the story rises to a crescendo, the play becomes a constant, a fixed point and in both centuries. Part historical fiction, part fantasy, and wholly entertaining reading. (Reviewed October 15, 1999)

Starred Review for Publishers Weekly (Thu Apr 28 00:00:00 CDT 2022)

Cooper (The Dark Is Rising) brilliantly weaves past and present together, using London's Globe Theatre as backdrop, to demonstrate the timelessness of Shakespeare's works and the theater at large. The first segment of the novel, set in the present, details Nathan Field's rehearsals for the part of Puck in an upcoming production of A Midsummer Night's Dream, to be mounted in the newly renovated Globe. He has been chosen, along with a group of other boys from America, to travel to England for the performance. When Nat is suddenly stricken with a serious illness, he awakens to find himself once again cast as Puck at the Globe Theatre, but the year is 1599. Cooper meticulously conveys Nat's impressions of the sights, sounds, smells and textures of Elizabethan England. She is equally adept at evoking the boy's respect and awe for his """"new"""" director, the bard himself. Shakespeare, cast as a wise, intuitive father figure, takes orphaned Nat under his wing. In return, Nat saves the playwright's life by unknowingly changing the natural course of history. Through the boy's relationship with """"Will,"""" as Nat calls him, Cooper deftly reveals Nat's unresolved feelings about his own deceased father. The judicious use of quotes from Shakespeare's plays and sonnets will awaken in novices an interest in his works and command respect from seasoned fans. Fascinating details of 16th-century troupe life as well as how costumes, make-up and stage effects were carried out add depth and layers to the depiction of life 400 years ago. An unexpected, appropriately enigmatic ending brings this masterful novel to a close--and brings home the resounding message that the show must go on. Ages 10-14. (Oct.)

Horn Book

A young actor travels back in time to 1599 and performs at the Globe Theatre alongside Shakespeare himself. Nat and Will form an intense attachment, and when Nat wakes again in 1999 he's devastated--even after he learns that his time-traveling saved the playwright's life. Ultimately, Nat learns that love is stronger than death in this powerfully rendered historical novel/fantasy/love story.

Kirkus Reviews

When Nat Field, an orphan living with his aunt, is chosen for an all-boy acting troupe traveling to London to perform Shakespeare in the reconstructed Globe Theatre, he hopes it will help him escape from his family's tragedy. Instead he finds himself switched in time with another Nat Field, who carries the Plague. In the past he performs with the Bard himself, who becomes a surrogate father and helps him deal with his sorrow, while preparing to play Oberon to Nat's Puck in a performance before the Queen. Cooper is in top form here; her confident prose, at once muscular and lyrical, vividly conveys the sights, sounds, and smells of Elizabethan London. Most powerful are her descriptions of the story and imaginative staging of A Midsummer Night's Dream, which should have readers scurrying for the original. Her poignant characterization of Nat, whose grief is released by Shakespeare and healed by his words, captures perfectly an adolescent in thrall of the theater, in all its grittiness and grandeur. A dramatic and sensory feast. (Fiction. 10-14)

Publishers Weekly (Fri Oct 04 00:00:00 CDT 2024)

"Cooper brilliantly weaves past and present together, using London's Globe Theatre as a backdrop, to demonstrate the timelessness of Shakespeare's works and the theater at large," said <EMPHASIS TYPE=""ITALIC"">PW in a boxed review. Ages 10-14. <EMPHASIS TYPE=""ITALIC"">(June)

Word Count: 48,002
Reading Level: 6.2
Interest Level: 5-9
Accelerated Reader: reading level: 6.2 / points: 8.0 / quiz: 34721 / grade: Middle Grades
Reading Counts!: reading level:7.5 / points:12.0 / quiz:Q19083
Lexile: 1010L
Guided Reading Level: Z
Fountas & Pinnell: Z
Chapter 4

"Nat?" said the voice. It was a young voice, sort of husky, and it had an accent I didn't recognize: halfway English, halfway American. "Nat?"

"Unh." I woke up with my face in the pillow, and even before I opened my eyes I knew something was wrong. My face and my body told me that I was lying on a different pillow, and a different bed; hard, both of them, and crackly. The bed was really uncomfortable. I moved my hip; surely it wasn't even a bed, but a mattress on the floor.

Maybe I was dreaming. Blurry with sleep, I turned my head, blinking in the daylight, and saw looking down at me the face of a boy I'd never seen before. He had long curly dark hair down to his shoulders, and black eyes, and he looked worried.

"How do you?" he said. "Is your fever less?" He reached out a cautious hand and felt my forehead.

I stared at him. "Who are you?" I said.

"Harry, of course. Harry, your new fellow. Have your wits gone, Nat?" He peered at me. "You look -- strange, a little. Thin in the face. But better. Dear Lord, I was afraid you had the plague."

I lay very still, with all my senses telling me that I had gone mad.The plague? Nobody's had the plague for centuries.Everything was different. This was a straw mattress I was lying on; I could feel bits of stalk prickling through the cover now. My pajamas had gone; I seemed to be wearing a long shirt instead. The room around me was smaller, with one window, divided into small panes. Sunlight slanted in through it to show rough plaster walls, a threadbare carpet on the floor, and a smaller one draped over a sort of bureau. I grew aware gradually of a rattle and hum of voices and creaking wheels and the chirp of birds from outside the window, and a stale smell in the room like...like something I had smelled before, but I couldn't think what, or when.

I was baffled, and frightened, though at least I didn't feel ill anymore.

I pushed back the rough blanket over me and scrambled to my feet. The shirt reached to my knees. My head reeled, and the boy Harry saw that I was shaky and reached for my arm. I realized that I needed to go to the bathroom. I said: "I have to -- "

He smiled, understanding, looking relieved. "Tha must be better if tha needs a piss," he said, and he drew me to a corner of the room and took a flat wooden cover off a wooden bucket, whose smell made it instantly clear what it was for. I stared at it blankly, but Harry had turned away to fold up my blanket, and since there was no time to argue, I went ahead and used the bucket. It had been pretty well used already, for assorted purposes. When I'd finished, Harry came over, glanced outdoors, picked up the bucket, and in one shatteringly casual movement, emptied it out of the window.

Such a small thing, such a huge meaning. I guess that was the moment when I first began to think, with a hollow fear in my chest, that I might have gone back in time. It was like being in a bad dream, but the dream was real. The night into which I had fallen asleep had sucked me down into the past, and brought me waking into another London, a London hundreds of years ago.

I leaned weakly against the wall. "Where am I?" I said.

Harry put down his reeking bucket and grabbed my shoulders, hard. He stared nervously into my face."Art thou he they call Robin Goodfellow?"he said.

I said automatically,"I am that merry wanderer of the night."

"Thank the good Lord," Harry said, looking relieved. "At least thou hast thy lines." He moved me sideways and then downward, to make me sit. So there I was, sitting on a little stool topped with a hard cushion, sitting in a century long, long before I was born.

"Th'art Nathan Field," he said, looking me deliberately in the eye, speaking slowly as if to someone deaf or half-witted. "Come to our new Globe Theatre for a week from St. Paul's Boys, since we lost our Puck for Master Shakespeare'sMidsummer Night's Dream.Th'art a wonderful actor, they do say, though it seems to me too much learning at that school has addled thy wits. Unless the fever has done it. Tha joined us yesterday, remember? We rehearsed lines, just thou and I together."

How could I say:Yes, I remember?That wasn't what I remembered at all.

"Aah," I said.Our new Globe Theatre,he had said. In 1999, where I lived, it was the Globe's four hundredth anniversary. So, if the Globe was new, this was 1599.

I sat there gaping at him, trying to cope with the unbelievable, with being bang in the middle of something that was totally impossible. All I could think was:Why is this happening to me?

"Come," Harry said. "It's past five. Master Burbage will be up and ready -- dress, quickly -- " And he began thrusting clothes at me from a heap at the bottom of the mattress; it was lucky he was there, to show me the right order. There was a kind of padded jockstrap of thick rough cotton; then long dark tights, like those I'd worn onstage sometimes but much worse fitting; then a bulgy padded pair of shorts, a thin floppy undershirt, and a fitted jacket to match the shorts. A doublet, he called it. Around my waist went a leather belt, with a knife like a dagger in a leather sheath attached to it.

"And I cleaned thy shoes," Harry said, and held them out; they were leather, rather like loafers, with a buckle on top. "Tha couldst never have done it, the way tha wast last night."

"Thank you," I said.

I have to write down the way he spoke, the way they all spoke, not as they really sounded but as I understood them. I'll use things like "thou" and "tha" for "you," sometimes, just to remind you that they didn't sound like us, but I can't make you hear the real speech. It was like a thick, thick dialect, with strange vowels, strange words, strange elaborate phrases. But it was more like the speech of my home than the English of today's London or New York, so perhaps that's how I understood them and they understood me.

Or then again it could just be part of the whole impossible change that took me there. I was living, but not in real life at all.

A round-faced woman came in, kind looking, with a long dress, a white pleated ruff around her neck and a sort of floppy cap on her head. Harry said at once, happily, "See, Mistress Burbage -- he's well again."

She took my chin in one hand and felt my forehead with the other. I had the best-felt forehead in London by now, it seemed to me. "The Lord be praised," she said, and then she looked at me critically, reached to the bureau, and took a damp cloth and scrubbed my face with it. I laughed, feebly, and she gave me an amiable pat. She reminded me of my Aunt Jen, a little; she was a link with the real world, in this mad dream that I was living.

Down a wooden staircase we went, clattering, Harry leading; it wasn't much more than a slanted ladder, with a rail to hold on to. In the room below, a man was sitting at a heavy wooden table with plates and mugs in front of him, and a sheaf of papers; he was chewing, and muttering to himself through the mouthfuls.

"Good day, Master Burbage," Harry said, so I said it too, and Burbage blinked at me. He was a chunky, goodlooking man, younger than Arby, older than Gil. He had a neat beard, and a rather big nose. His doublet was a wonderful glowing blue, with a broad collar.

"Better, art t'a? Good!" he said, and went back to his munching and muttering.

Mistress Burbage filled two mugs for us, from a jug with a curly handle; all these were made from a grey metal that I found out later was pewter. There was a big round loaf on the table, and a hunk of white cheese, both on square wooden plates. Harry cut us slabs from both of them, with his knife. Suddenly hungry, I took a big bite, chewed, and washed it down with a swig from my mug. The drink was cool, sour tasting but not unpleasant; I realized, with a shock, that it was a kind of beer. Ale, they called it, and it was the main thing I drank in all my time there; a weak homemade ale was the main thing everybody drank, from morning till night. You could say the whole population of Elizabethan England was slightly buzzed all day long.

Burbage said to himself, through his bread and cheese,"If I were fair, Thisbe, I were only thine....

So he was learning Bottom's part. I knew that bit. Bottom the Weaver comes back onstage saying his lines for the little play they're rehearsing, and his buddies rush away screaming because Puck has given him an ass's head.

I said, very fast and agitated,"O monstrous! O strange! We are haunted! Pray masters, fly masters! Help!"

Burbage chewed more slowly, looking at me. I could see a muscle twitching in his cheek, under his left eye. It looked sinister, though later I realized that it was just a sign of mild stress. "Hast played Quince too?" he said.

"Puck is onstage for those lines," I said.

"Thy memory is good. Will Kempe says thy tumbling is even better, is that true?"

"I do well enough," I said modestly, thinking:Wait till I show you.I knew that Arby had put me in the company partly because of my cartwheels and somersaults, back flips and handstands. For the way he wanted to do the play, they were as important as my acting or singing.

But I wasn't working for Arby now.

I had no time to worry about that; Burbage rushed us through our breakfast, eager to get to the theater. "Across the bridge today," he said. "No boat. We need to use our legs. "

He swung a wonderful short cloak about his shoulders, the same blue as his doublet, and Harry jammed a flat floppy hat on my head and the same on his own. Master Burbage had a hat with a brim, and a curling, slightly battered feather. He wore it at a jaunty angle. Out we went, raising the wooden latch of the heavy front door.

And their London swept over me, caught me up, in a nightmare mix of sight and sound and smell. Even before six in the morning, the street was filled with people bustling about, carrying huge bundles, selling fruit or pastries or pamphlets from trays slung from their necks, dodging to avoid men or horses. Carts clattered over the cobbles, creaking, rocking, splashing up muck sometimes from the stinking ditches into which Harry and everyone else had emptied their waste. Water ran through those ditches, but slowly. There were flies buzzing everywhere. The whole street smelled bad; so did the people sometimes, if a particularly unwashed one jostled you too close. Where there were gaps in the crowd, squawking crows and ravens hopped and pecked and fought over garbage in the ditches.

We passed shop fronts where bloody meat hung on enormous hooks, or vegetables and fruit were set out in gleaming rows, or a wonderful smell of fresh bread wafted out from hidden ovens. We passed a door with a bush tied over it, and the stale smell of ale strong from inside, and raucous shouting. We stayed close to Master Burbage, Harry and I, as he strode lordly down the street with his hand on the hilt of his short sword. People greeted him, here and there; sometimes he lifted his plumed hat, but he never paused. I scurried along in a blur of amazement, wonder and the beginnings of fear, past delights and horrors. A dog with no ears or tail snapped at me beside a bank of glorious roses set out for sale, and a beggar clutched at me, screaming, a filthy child with no legs, propped on a little wheeled trolley.

Then we were around another corner into an even more crowded street, narrow, lined with tall wooden buildings; between them I caught glimpses of the flat brown River Thames. We were crossing the river; the street was the bridge. It was London Bridge, I found out later; the only way of crossing the river except by taking a boat. There were houses built all along it, a row on either side, their roofs touching over the road running between. It didn't take us long to cross over; the Thames was not wide here.

And above the roofs where the bridge ended was the worst horror of all: a series of tall poles, with a strange round lump stuck on the top of each, lumps that gleamed white here and there, lumps attracting flurries of crows and other black birds that shrieked and tore at them, pecking and ripping and gobbling. It was only when I saw the farthest pole topped by a grinning white skull that I realized all the round lumps were human heads, the heads of men and women chopped off by an axe, and I stopped abruptly and heaved up my breakfast into the reeking ditch.

It occurred to me later that I'd now thrown up in two different centuries in the space of twenty-four hours.

Harry patted my back, consoling me over this last sign of my departed fever. Master Burbage was only concerned in case I'd splashed my tights.

Text copyright © 1999 by Susan Cooper



Excerpted from King of Shadows by Susan Cooper
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Only in the world of the theater can Nat Field find an escape from the tragedies that have shadowed his young life. So he is thrilled when he is chosen to join an American drama troupe traveling to London to perform A Midsummer Night's Dream in a new replica of the famous Globe theater.
Shortly after arriving in England, Nat goes to bed ill and awakens transported back in time four hundred years -- to another London, and another production of A Midsummer Night's Dream. Amid the bustle and excitement of an Elizabethan theatrical production, Nat finds the warm, nurturing father figure missing from his life -- in none other than William Shakespeare himself. Does Nat have to remain trapped in the past forever, or give up the friendship he's so longed for in his own time?


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