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    Miranda in Milan
    Unavailable
    Miranda in Milan
    Unavailable
    Miranda in Milan
    Ebook160 pages1 hour

    Miranda in Milan

    By Katharine Duckett

    3.5/5

    ()

    Currently unavailable

    Currently unavailable

    About this ebook

    With Miranda in Milan, debut author Katharine Duckett reimagines the consequences of Shakespeare’s The Tempest, casting Miranda into a Milanese pit of vipers and building a queer love story that lifts off the page in whirlwinds of feeling.

    After the tempest, after the reunion, after her father drowned his books, Miranda was meant to enter a brave new world. Naples awaited her, and Ferdinand, and a throne. Instead she finds herself in Milan, in her father’s castle, surrounded by hostile servants who treat her like a ghost. Whispers cling to her like spiderwebs, whispers that carry her dead mother’s name. And though he promised to give away his power, Milan is once again contorting around Prospero’s dark arts.

    With only Dorothea, her sole companion and confidant to aid her, Miranda must cut through the mystery and find the truth about her father, her mother, and herself.

    “Love and lust, mothers and monsters, magicians and masked balls, all delivered with Shakespearean panache.” —Nicola Griffith, author of Hild

    “Miranda in Milan is somehow both utterly charming and perfectly sinister, and altogether delightful. A pleasure for any lover of romance, myth, and magic—whether or not they're fans of the Bard.” —Cherie Priest, author of Boneshaker and I Am Princess X

    At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

    LanguageEnglish
    PublisherMacmillan Publishers
    Release dateMar 26, 2019
    ISBN9781250306319
    Unavailable
    Miranda in Milan
    Author

    Katharine Duckett

    KATHARINE DUCKETT’s fiction has appeared in Uncanny Magazine, Apex Magazine, Interzone, PseudoPod, and various anthologies. She is also the guest fiction editor for the Disabled People Destroy Fantasy issue of Uncanny. She hails from East Tennessee, has lived in Turkey and Kazakhstan, and attended Hampshire College in Amherst, Massachusetts, where she majored in minotaurs. Miranda in Milan is her first book. In addition to writing, Katharine works as the Publicity Manager for Tor.com Publishing. She currently resides in Brooklyn with her wife.

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    Reviews for Miranda in Milan

    3.5/5

    40 ratings4 reviews

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    • 3/5
      At the end of Shakespeare's Tempest, the previously stranded Prospero and Miranda were ready to go back to Milan, with Prospero having relinquished his magic. Katharine Duckett takes up the story at the moment when they enter Milan (although she does catch us up on what happened in between). The original play had always contained a lot of conflicting information - we know that Prospero was the good guy because he told us (and Miranda) so but his actions during and before the play makes the reader wonder. In fact everything we know outside of what we see during the play is Prospero's version of events - either directly or by what he had told his daughter. The fact that they sent her away when they exiled him seems to be giving some credence to his story but the doubts always linger. Even Caliban's wrong doings are only presented by what Prospero says about them. Duckett plays exactly on that ambiguity - what if Prospero was not the maligned innocent and actually was an awful man and Antonio was not the villain in the piece (Miranda being sent to an almost certain death as a toddler notwithstanding)? So here is part of the same story we thought we know - from Caliban's punishment for something he never did, through Miranda realizing what a monster her father is (and always had been) to her finally starting to think for herself - for the first time in her life. I liked the idea of the story although I am not sure I liked the execution as much. Miranda is way too modern and knowledgeable in certain things (and way too naive in others) in seemingly random moments - not badly enough to grate but still noticeable in some parts. Using dream walking to get us to see the past seemed like a good idea but felt a lot like the author just had no idea how to get Miranda to see the truth so dreams it is (noone dreams all their life every night...). I did not even mind her getting in love - her love for Ferdinand was born on an enchanted island when she had known a total of 2 people in her life. But then Dorothea felt almost like a deus-ex-machina in some places. I did not really dislike the story and I am happy I read it but at the end I was left wanting something more. Maybe a different structure would have helped. Maybe a bit more reality (despite it being a fantasy story) would have helped (in places it felt as one-toned as a fairy tale for very young children). And I am not entirely sure how much my impressions were colored by the fact that this is probably the Shakespearean play I like the least - both as a story and in the way it was told.
    • 3/5
      A continuation of The Tempest after Prospero and Miranda return to Milan. This read quite a bit like young adult to me. The plot and characters are not terribly complex, I don't think it comments much on themes of the original play, and there is a lesbian romance. For me, it was just meh--not terribly engaging, insightful, or memorable, but designed to please a particular audience, I'm sure.
    • 3/5
      Since my last Tempest book wasn't straightforward Tempest, I went for one that would be totally unambiguous.

      I'll give it this: I thought I had the plot figured out by the third page based on the epigraph and one detail, but I didn't. Unfortunately that's because the party involved in the twist didn't have a story quite as interesting as I'd hoped. Even more fortunately than that, though, there was another party involved that was introduced later on, which was an extra good turn because I realized after finishing that the plot I expected would have been an awful lot like Melissa Bashardoust's Girls Made of Snow and Glass (which is wonderful and I recommend it).

      For once, the cover copy is decently descriptive of what to expect: Miranda is back in Milan, her father having taken her from Naples before her official wedding to Ferdinand. This is a novella, so Prospero is established as our villain in less than a page: back to dark magic immediately, no attempt at good behavior or the appearance of it at all--which I found disappointing. Ferdinand is also dismissed in a sentence for his wandering eyes, though since I've seen that angle in plays, it wasn't such a letdown. And anyway, we need him out of the way so that Miranda can come into her own.

      She's seen as an outsider, not least becaus
    • 3/5
      Post Tempest LGBTQ retelling.