Shakespeare References in Tinsel

William Goldman’s novel Tinsel contains several Shakespeare references. In the first, Julian Garvey, who is talking about his role as movie producer, says, “When I did my Eastwood film, all those dreary John Wayne shitkickers, I was aware going in that the product stood little chance of being Shakespearian” (p. 36). The second is a reference to King Lear. Goldman writes, “However, since nothing comes from nothing, there were, once, droolers, and Philip Schwartzman is one of the last” (p. 63). In the first act, King Lear says to Cordelia: “Nothing will come of nothing. Speak again.” The next is to Hamlet. When the character Pig is offered the possibility of an acting job, she says, “Act in front of people?” The response to her question is, “Relax, it ain’t Hamlet; and anyway, they probably won’t take you” (p. 129). Then there is a reference to Shakespeare himself: “Were they great and lasting like Schubert and Shakespeare or just Burke and Van Heusen with a mystique wrapped around them?” (p. 147). The final reference is to Hamlet, with Pig saying: “I assume you’re sending Scofield out in Hamlet. He’s been after me to do Ophelia; tell him I’ll give him a break” (p. 341).

Tinsel was published in 1979. The copy I read was a hardcover Book Club Edition.

Much Ado About Nothing (2012) DVD Review

Director Joss Whedon and his group of friends created one of the most enjoyable Shakespeare films I’ve seen, and they did it in his house, and with modern dress, and presented it in black and white. It is an absolute delight from beginning to end. The film stars Amy Acker, Alexis Denisof, Nathan Fillion, Clark Gregg, Reed Diamond, Fran Kranz and Jillian Morgese.

Act I

There is an added moment at the beginning of the film, showing Benedick and Beatrice together, with Benedick sneaking out quietly after a night with her, a bit of their history together, which is hinted at in the text. We then get to the text, with the first scene taking place in the kitchen. Leonato (Clark Gregg) is amused by Beatrice (Amy Acker), which is great in establishing both of their characters and the general atmosphere. There is a playful quality to Beatrice’s speeches straight away. We also see Don John (Sean Maher) as the villain immediately. Beatrice’s line “You always end with a jade’s trick” is delivered with sincerity, a serious moment that shows us she is interested in Benedick (Alexis Denisof), but is sad about it. Claudio (Fran Kranz) has a certain innocence and seems at first to think the plan of Don Pedro (Reed Diamond) to woo Hero in his stead is to actually get her for himself. Until Don Pedro says “she shall be thine,” Claudio seems poised to object. Act I Scene ii is cut. Conrade (Riki Lindhome) is female in this telling of the story, and she and Don John have something of a relationship. At the beginning of the third scene, she and Don John lie in bed together. And when Don John calls himself a “plain-dealing villain,” it gets her excited.

Act II

Leonato, Hero (Jillian Morgese) and Beatrice are having wine at the beginning of the second act. A servant brings in a box of masks for them to choose from. After Beatrice’s “some other metal than Earth” line, we go to the party. During the party, “Sigh No More” is playing. This is a sweet scene. Not everyone is masked, though most are. Beatrice’s “We must follow the leaders” is a reference to a conga line that has formed and that she now aims to join. Because of Claudio’s initial reaction to Don Pedro’s plan, he is easily persuaded by Don John that Don Pedro woos Hero for himself. When Beatrice mentions that Benedick lent her his heart, we get brief flashbacks to their relationship. I like the hints of sadness in Beatrice, even before Leonato says “There’s little of the melancholy element in her.” As Don Pedro, Leonato, Claudio and Hero raise glasses to making a match between Beatrice and Benedick, we see that Don John has been watching from upstairs, and then we go into Act II Scene ii. This scene ends with Borachio’s line “Look you for any other issue?” Benedick gives his speech at the beginning of Scene iii while exercising and stretching, and the lines are spoken to himself, not to the camera. When Don Pedro, Claudio and Leonato begin speaking of how Beatrice loves Benedick, Benedick pops up behind them, visible through the window, a funny moment. Claudio gets a bit carried away, and Don Pedro and Leonato hold his arms to help persuade him to tone it down a bit. Benedick is delightfully goofy after hearing that Beatrice loves him.

Act III

The beginning of the Act III is cut, and the first scene begins when Beatrice enters. Beatrice stumbles down the stairs when she overhears Ursula (Emma Bates) and Hero saying how Benedick loves her. Benedick’s beard is shaved before Act III Scene ii. Whenever Don John enters, the music turns dark and sinister, which is delightful. Claudio reacts with anger at first when hearing of Hero’s betrayal, pushing Don John against the wall. Act III Scene iii takes place in a police station and begins with monitors hooked to security cameras. Dogberry (Nathan Fillion) hands off a flashlight on “bear you the lantern.” When Borachio (Spencer Treat Clark) tells his tale of villainy, we see flashes of it. When Hero then holds the dress that we saw Margaret (Ashley Johnson) wear, Margaret says, “Troth, I think your other gown were better,” and selects another for her, a wonderful touch (though the original line is “rabato were better”). Act III ends with Dogberry’s “examination these men.”

Act IV

Leonato is so good in the wedding scene. Claudio pushes Hero into Leonato’s arms. Beatrice goes to rush at Claudio to defend her cousin, but Leonato stays her by grabbing her wrist. Then he himself questions Claudio, an excellent moment. And Claudio’s delivery of “most foul, most fair” is perfect. When things turn ugly at the wedding, the guests are ushered out. The exchange between Benedick and Beatrice takes place back inside the house. I love the look Beatrice gives when Benedick declares his love for her. They are both fantastic in this scene, when Beatrice bids Benedick kill Claudio. The second scene takes place at the police station. Because of Conrade’s gender in this film, her response to Dogberry, “I am a gentleman, sir,” is cut. Borachio reacts with surprise when hearing that Hero has died.

Act V

This act begins with Benedick ready to challenge Claudio, and the first line is Claudio’s “Now, signior, what news?” There is a silly bit when Dogberry and Verges (Tom Lenk) realize they’ve locked their keys in the car. There is added a funeral procession for Hero. When Benedick sings that snippet of song, a dog in the distance answers with barking. So sweet, that moment when Beatrice and Benedick catch and read the papers containing their words of love. The film ends with everyone dancing, just as performances ended during Shakespeare’s day.

Special Features

The DVD contains two commentary tracks. The first is by director Joss Whedon, who talks about how he and his friends would gather to read Shakespeare’s plays, that A Midsummer Night’s Dream was the first they read at his house. He mentions that this film was done quickly while he was working on The Avengers, and was shot at his house, giving the film a casual flavor. He also talks about how the story in this play is about perceptions, and states his reasons for presenting it in black and white, as well as his reasons for wanting to film the play, that mixture of darkness and comedy. He explains his choice in presenting Conrade the way he does, and has plenty of interesting things to say about the characters of Borachio and Claudio, and the way those two are often portrayed in productions of this play. I love what he has to say about the sadness of Margaret’s character when she knows she’s being used, which is different from most productions. The second commentary track is done by Joss Whedon along with most of the cast, including Amy Acker, Alexis Denisof, Clark Gregg, Reed Diamond, Fran Kranz, Jillian Morgese, Sean Maher, Spencer Treat Clark, Riki Lindhome, Ashley Johnson, Emma Bates, Tom Lenk, Nick Kocher, Brian McElhaney, and Romy Rosemont. With that many people, all of whom are friends, the track is filed with laughter. There is a weird beeping sound at the 18:33 mark. What was said then?

Making Ado Out Of Nothing is a behind-the-scenes featurette that includes interviews with Joss Whedon and some of the cast members. The decision to present the film in black and white is discussed, as is the photographer character. This is approximately twenty-two minutes. Bus Ado is a short piece about the cast’s trip to the film festival in Austin. The music video for “Sigh No More” is also included.

Much Ado About Nothing was directed by Joss Whedon, and released on DVD on October 8, 2013.

Time: 109 minutes.

Titus Andronicus (Shakespeare By The Sea 2020 Online Production) Theatre Review

Which of Shakespeare’s plays is most fitting for Halloween? Obviously, a good case can be made for Macbeth, with its witches and ghosts and apparitions. But for sheer, over-the-top horror, Titus Andronicus is unsurpassed. There are decapitations, limbs being chopped off, rape, and two men baked in a pie and served to their own mother. Most contemporary horror films pale in comparison. And it was Titus Andronicus that Shakespeare By The Sea decided to present last night in an online production for our Halloween entertainment. It is also a fitting choice for 2020, a year that has played like an unrelenting horror show. Like everything else that is fun, Shakespeare By The Sea’s summer program was canceled this year because of the pandemic. And for this production, the company took all the recommended precautions, conducting the rehearsals through a video conferencing service, and setting up the stage outside for the run-throughs and performance. The performance was done just as it would have been presented in the parks had they been able to go ahead with the season, with a brief introduction, and microphones at the edge of the stage and so on, except with this filmed version we get multiple angles and close-ups.

The production uses the sound effect of a crowd in a few scenes, as in the opening scene when Saturninus (Cylan Brown) and Bassianus (Christopher Nelson) speak to their followers. In the play’s first lines, Saturninus urges his followers to arm themselves and plead his case for succeeding as emperor with those arms. Those lines, at least in my lifetime, have never been more frightening or more apt. On the verge of an important national election, supporters of the current president have armed themselves and are doing just as Saturninus urges here. Scary times, indeed. When Tamora (Tara Donovan) pleads for her son’s life, her words are heartfelt and moving, and as her son is led off stage, she cries out. It’s important for this moment to be strong, because of course all her other actions follow from it. Titus Andronicus (Patrick Vest) smiles at Saturninus just before asking the people to throw their support to him. It is an honest and friendly look, a trusting look, which is wonderful. And it is then that Saturninus’ disposition seems to change. This is such a great moment, for we see how Titus believes that he and Saturninus are allies, and that he is doing the right and proper thing by supporting Saturninus. And we know how wrong he is. Of course, that might be helped by the cutting of the line where Saturninus asks his followers to draw their swords, for with that line present, it seems more that Titus is trying to calm the situation.

The action regarding Lavinia (Melissa Booey) and Bassianus moves quickly, and in this production it feels like Saturninus uses that action to turn against Titus and choose Tamora for his queen. That moment has always been a bit problematic for me, the way it often feels so abrupt, but it works really well here and makes sense, for Saturninus has been established as having a fiery temper, and seemed ready, even eager, to turn against Titus from the beginning, and now is using this as justification of sorts. It is also telling that even after he has chosen Tamora, Saturninus is still angry regarding Bassianus and Lavinia. It shows that he is a rather small and petty man, again reminding us of a certain person currently occupying the White House. Another interesting element of these scenes is that Aaron (Rogelio Douglas III) is a silent presence, watching the action and making us wonder what function he already serves with Tamora. When the others leave, he then steps forward to deliver his first speech, which opens the second act. Chiron (Ryan Knight) and Demetrius (Aaron McGee) are shown to be incredibly weak of character, deserving of derision. When Chiron says “my sword,” he pulls out a dagger, and then refers to it on “little skill I have,” a humorous moment playing on the shortness of his sword. There is more humor here as Chiron professes his love for Lavinia. It is interesting how Chiron and Demetrius begin by fighting with each other over their supposed affection for Lavinia, and end up by being ready to join together to take her by force, at the suggestion of Aaron. These two men are so weak of character, easily led and misled.

Tamora doesn’t seem as wicked in this production. She has a sort of sweetness, particularly in her affection for, or attraction to, Aaron. There is something perhaps too loveable about her countenance. I like how when Bassianus and Lavinia see Tamora and Aaron together, they know exactly what is going on. They at first react to them with a sort of humor, seeing Tamora’s lies to her sons as clearly ludicrous. But soon we see their looks change as they realize the danger they might be in as the sons take their mother’s words seriously. The humor and confidence quickly drain from their faces. This is another great moment. Lavinia is particularly excellent here. How can Tamora not be moved by her words, by her plea? And when she is led off stage, her screams are powerful, and not brief. When Saturninus hears of Bassianus’ death, he does seem genuinely upset, a nice human moment for him. And when Titus kneels to plead on his sons’ behalf, we see a pleased look on Tamora’s face, which is perfect. When Marcus (Jonathan Fisher) bids Lavinia to go to her father, she moves in the other direction at first, not wanting her father to see her like this, not wanting to burden him, a nice touch. And when Titus kneels down, begging on behalf of the lives of his sons, we can’t help but wonder how things would have been if he’d accepted the people’s wish that he be crowned the new emperor.

Titus’ reaction to the news that Lucius is banished is fantastic. And when Lavinia enters, we can see in Titus’ expression the realization that all his valiant acts have been in vain, that everything he’s done has been for naught. Titus is absolutely fantastic in this scene. And the image of his broken family is effective. “Are not my sorrows deep, having no bottom?” Titus wails. And when Marcus says “Now is a time to storm,” we can’t help but agree. We want Titus to get his revenge immediately, but we have to wait a bit. Titus’ lines to Lavinia about taking his severed hand in her teeth are cut, perhaps because they are sometimes met with laughter. However, the image of Titus and Marcus each carrying a severed head, while Lavinia, her own hands missing, carries her father’s hand in her teeth is a delightfully horrific one, and it is a shame to lose it.

Chiron reacts with disgust and horror upon seeing Aaron’s baby. And Aaron at last displays some compassion for a fellow human being when he protects his son. It is interesting that Chiron and Demetrius are shocked and horrified when Aaron stabs the nurse. After all, they’ve committed their own horrific crimes. But they are as foolish children, weak and uncertain of purpose. And so we understand their reaction. Aaron takes great joy in the telling of his own foul deeds. The action of the final scene moves rapidly, as it always does. What I love most is that Titus pauses before stabbing Lavinia. And Lavinia stands there, looking down, as if she knows what will happen and accepts it. It’s a powerful and disturbing moment, and an image that will stay with me.

This production of Titus Andronicus was directed by Stephanie Coltrin. There is one intermission, coming at the end of Act III Scene i. The performance is available online. Click here to watch it.

Shakespeare References in The Vampire Armand

I’ve read four books from Anne Rice’s series about vampires, and each has contained Shakespeare references. The Vampire Armand contains several references, beginning with one to Macbeth. Rice writes, “Life was no longer a theatrical stage where Banquo’s ghost came again and again to seat himself at the grim table” (p. 5). Banquo is at first friend to Macbeth, but soon is killed at Macbeth’s behest. That, to Macbeth’s dismay, is not the last he sees of Banquo. The second reference is to Cymbeline, and specifically to a song from the fourth act. Rice writes: “‘“Fear no more the heat of the sun,”’ he whispered. ‘Nor the furious winter’s rages. Fear no more…”’” (p. 14). (And, yes, the book is missing one quotation mark before the word “Nor.”) Guiderius sings those lines in the play. There are also a couple of references to Hamlet. The first is to a phrase used by Hamlet in his most famous soliloquy, with Rice writing, “It’s a penance to kill, Amadeo, that’s the rub” (p. 108). The second is to a plot device, with Lord Harlech using a rapier with a poisoned blade to attack Amadeo, much as Laertes uses in his fight with Hamlet. There is also a reference to Romeo And Juliet, and specifically to a film adaptation. Rice writes, “Louis standing in the rain on a slick deserted downtown street watching through the store window the brilliant young actor Leonardo DiCaprio as Shakespeare’s Romeo kissing his tender and lovely Juliet (Claire Danes) on a television screen” (p. 277). The next reference is to Shakespeare himself. Rice writes: “It was winter, and I was contented in London, haunting the theatres to see the plays of Shakespeare, and reading the plays and the sonnets the whole night long. I had no other thoughts just now but Shakespeare. Lestat had given him to me. And when I’d had a bellyful of despair, I’d opened the books and begun to read” (p. 285). The final reference is to one of the sonnets, the first line of Sonnet 29. Rice writes, “If or when she wants to rise in ‘fortune and men’s eyes,’ I’ll clear the way for her” (pages 359 – 360). The first lines of the sonnet are “When, in disgrace with fortune and men’s eyes,/I all alone beweep my outcast state.”

The Vampire Armand was published in 1998. The copy I read was a First Trade Edition.

Shakespeare References in Memnoch The Devil

The first two books in The Vampire Chronicles – Interview With The Vampire and The Vampire Lestat – contain Shakespeare references. I thought I had copies of the third and fourth books, but couldn’t locate them, and so moved onto the fifth book, Memnoch The Devil. This book isn’t nearly as good as the others, and gets fairly tedious, but there are a couple of Shakespeare references. The first reference is to Othello. Rice writes, “‘I don’t look so much for simple, evil people, murderers, you know, so much as a more sophisticated kind of criminal, someone with the mentality of an Iago’” (p.12). Iago, of course, is the character that misleads Othello, making him think his wife has been unfaithful. The book’s other reference is to The Merchant Of Venice, with Rice writing: “‘Of course I believe in the sanctity of it. It’s all I believe in! That’s my point, don’t you see? It’s all you believe in too…what glitters and what is gold’” (p. 87). That refers to the moment when the Prince of Morocco opens the golden casket only to read, “All that glisters is not gold.”

Memnoch The Devil was published in 1995. The copy I read was a First Edition.

Shakespeare References in The Vampire Lestat

Anne Rice’s Interview With The Vampire included a few Shakespeare references. And so does the second book in the series, The Vampire Lestat. This second book is narrated by the character Lestat. The first reference is to Shakespeare himself, with Rice writing, “I learned more after that from the English language writers – everybody from Shakespeare through Mark Twain to H. Rider Haggard, whom I read as the decades passed” (p. 4). The second reference is to Shakespeare as well: “Musicians performed Mozart as well as jazz and rock music; people went to see Shakespeare one night and a new French film the next” (pages 8-9).

The next few references are to Macbeth, and all three are to my personal favorite of Macbeth’s speeches. Rice writes, “‘“Handsome enough” is this Grim Reaper,’ I half uttered, ‘who can snuff all these “brief candles,” every fluttering soul sucking the air, from this hall’” (p. 137). The “brief candle” of course refers to Macbeth’s line “Out, out, brief candle.” A little later Rice writes: “‘Tomorrow…tomorrow night,’ I think I stammered. That line came back to me from Shakespeare’s Macbeth… ‘Tomorrow and tomorrow and tomorrow…’” (p. 147). That same line is referred to a few pages later: “I was thinking about her as if there were ‘tomorrow and tomorrow and tomorrow…’” (p. 154).

The next reference is to Shakespeare, with Rice writing, “And why should I bother to tell of the times he came to me in wretched anxiety, begging me never to leave him, of the times we walked together and talked together, acted Shakespeare together for Claudia’s amusement” (p. 499). The book’s final reference is to Macbeth, and again to that great speech: “‘There’ll be time after,’ I answered. ‘“Tomorrow and tomorrow and tomorrow”’” (p. 524).

The Vampire Lestat was published in 1985. The first Ballantine Books edition was published in October 1986. The copy I read is, I believe, from 1993 or 1994.

Shakespeare References in The Moon Is Always Female

Marge Piercy’s book of poetry The Moon Is Always Female contains a few Shakespeare references, and interestingly all of them are to Othello. The first is in a poem titled “Under red Aries.” Piercy writes, “You are impossible, you know it,/holy March hairiness, my green/eyed monster” (p. 30). That refers to Iago’s lines about jealousy, “It is the green-eyed monster which doth mock/The meat it feeds on.” The second reference might be a bit of a stretch, and I wouldn’t have listed it here at all were it not for the other two Othello references. But, anyway, in the poem “Arofa,” Piercy writes, “you want a monogamous relationship/ with me. Othella, if you were/big as me you’d have nipped/my head off in a fit” (p. 68). The name seems to be the female version of Othello, and the poem seems to be about a jealous cat. The final reference comes in “Shadows of the burning,” in which Piercy writes “Death at the open end of a gun/from a jealous man, a vengeful man/Othello’s fingers, Henry’s ax” (p. 101).

The Moon Is Always Female was published in 1980 by Alfred A. Knopf, Inc.

 

Shakespeare References in Interview With The Vampire

Anne Rice’s novel Interview With The Vampire contains a few Shakespeare references. The first reference is to Hamlet’s most famous soliloquy. In the section where Louis describes his limited training as a vampire, Rice writes, “I was reacting too much as if the ‘mortal coil’ had not been shaken off” (p. 30). The next reference is also to Hamlet, this time to Horatio’s speech after Hamlet dies: “‘Good night, sweet prince,’ said Lestat ‘and here’s your fifty dollars’” (p. 71), a humorous variation on “Good night, sweet prince/And flights of angels sing thee to thy rest.”

This book also contains a reference to Othello, and specifically to the moment when Othello is about to kill Desdemona. Rice writes: “‘Put out the light…and then put out the light,’ Lestat said softly. And then he took her into his arms like a struggling moth and sank his teeth into her” (p. 79). Clearly Lestat is a fan of Shakespeare’s works, which surprises Louis. Rice writes, “He loved the great figure we cut, the three of us in our box at the new French Opera House or the Theatre d’Orleans, to which we went as often as possible, Lestat having a passion for Shakespeare which surprised me” (p. 100). There is also a reference to King Lear, with Rice writing, “And suppose the vampire who made you knew nothing, and the vampire who made that vampire knew nothing, and the vampire before him knew nothing, and so it goes back and back, nothing proceeding from nothing, until there is nothing!” (p. 121). In Act I, after Cordelia answers, “Nothing,” Lear says, “Nothing will come of nothing.”

Annie Rice also refers to Macbeth. She writes: “He always wanted me along. I think I must have seen Macbeth with him fifteen times. We went to every performance, even those by amateurs, and Lestat would stride home afterwards, repeating the lines to me and even shouting out to passers-by with an outstretched finger, ‘Tomorrow and tomorrow and tomorrow!’ until they skirted him as if he were drunk” (p. 129). The “Tomorrow and tomorrow and tomorrow” line comes from my favorite speech of that play.

Interview With The Vampire was published in 1976. The copy I read was the Ballantine Books edition, which was first published in May of 1977. The copy I read was the thirtieth printing, from October of 1989.

Shakespeare References in Good As Gold

Joseph Heller’s novel Good As Gold contains a few Shakespeare references. The first is to a line from The Second Part Of King Henry The Sixth. Heller has Gold’s father say: “Cancer. It ate her up. See that taxi driver, the funny one? Toyt. Like a doornail. A stroke” (p. 42). Though there is some evidence that Shakespeare did not invent the phrase “dead as a doornail,” it is from his work that most people learned it. In Act IV, Cade says, “Look on me well: I have eat no meat these five days; yet, come thou and thy five men, and if I do not leave you all as dead as a doornail, I pray God I may never eat grass more.” Shakespeare used the phrase again in The Second Part Of King Henry The Fourth. Falstaff asks, “What, is the old king dead?” And Pistol replies, “As nail in door.”

Later in the book, one of Gold’s students tells him that he is disappointed in the class Gold is teaching. The class is titled “Monarchy and Monotheism in Literature from the Medieval to the Modern,” and the student says, “But it seems to be a course in Shakespeare’s history plays” (p. 136). Heller then writes: “‘We’ll be moving on to the major tragedies soon,’ Gold answered breezily. ‘All but Othello and the Roman plays. In Othello, unfortunately, there is no monarch, and the Romans were not monotheistic” (p. 136). Heller has Gold explain the misleading course title: “We feel that anyone interested in literature ought to study Shakespeare and we know that few students will do so unless we call it something else” (p. 136). Then Gold tells him to major in Urban Studies. “But do it soon. Otherwise you might find me there in a year or two and have to read Shakespeare’s history plays all over again” (0. 137).

Good As Gold was published in 1979.

Shakespeare References in Dead Crazy

Nancy Pickard’s mystery novel Dead Crazy contains a couple of Shakespeare references. This book is a volume in the author’s Jenny Cain Mystery series. From that same series came her Say No Murder, and interestingly the first reference in Dead Crazy is to the same line from The First Part Of King Henry The Fourth that Pickard referred to in that earlier novel. The line is Falstaff’s “The better part of valor is discretion, in the which better part I have saved my life.” In Dead Crazy, Pickard writes, “It finally fishtailed one too many times for my nerves, and – while staring at the bumper of the Chrysler with which I had nearly collided – I decided the better part of valor was to abandon my car” (p. 59). The second reference is to Hamlet. Pickard writes: “More to the point, it sounded plausible to Geof and to the other detectives. But proving it, aye, that was the rub” (p. 266). That, of course, is a reference to a line from Hamlet’s most famous soliloquy. “To sleep, perchance to dream — ay, there’s the rub,/For in that sleep of death what dreams may come/When we have shuffled off this mortal coil,/Must give us pause.”

Dead Crazy was published in 1988. The First Pocket Books Edition was published in 1989.

Shakespeare References in Say No To Murder

Nancy Pickard’s mystery novel Say No To Murder contains a couple of Shakespeare references. The first is to The First Part Of King Henry The Fourth, and specifically a reference to one of Falstaff’s most famous lines. After a fire is put out on the boat, Jenny Cain and her boyfriend, Geof, check on each other. Pickard writes: “‘Discretion being the better part of valor,’ Geof said, ‘we’d better get dressed. You sure you’re all right?’” (p. 45). Falstaff’s line, from Act V Scene iv, is “The better part of valor is discretion, in the which better part I have saved my life.” The second reference is to Shakespeare himself. Jenny is getting her father settled on the boat. She tells him, “Great men reap what humble seeds they sow” (p. 71). Then Pickard writes: “My father straightened his shoulders and gazed off into the distance. ‘How terribly profound,’ he breathed. ‘Shakespeare?’” (p. 72). Jenny answers, “Jabberwocky.”

Say No To Murder was published in 1985. The edition I read is the Pocket Books edition, published in 1988.