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Publication Date: 2012
- Written by an eminent Shakespearean scholar and experienced theatre reviewer
- Pays particular attention to Shakespeare's theatrical contemporaries and the ways in which they influenced his writing
- Offers an intriguing account of the life and work of the great poet-dramatist structured around the idea of memory
- Explores often neglected literary and historical contexts that illuminate Shakespeare's life and works
Lois Potter recently retired as Ned B. Allen Chair at the University of Delaware. She has also taught at the Universities of Aberdeen, Leicester, and Paris III-Sorbonne Nouvelle, and at Tsuda College, Tokyo. Her publications include Twelfth Night: Text and Performance (1986), the Arden edition of The Two Noble Kinsmen (1997, 2001), and Shakespeare in Performance: Othello (2002). She is also the editor of two volumes in the Revels History of Drama in English series (1981 and 1984), and has been a frequent reviewer of plays for the Times Literary Supplement, Shakespeare Quarterly, and Shakespeare Bulletin.
“Two of the Mighty dead have been brought back to life in exemplary fashion: Shakespeare in Lois Potter’s The Life of William Shakespeare: A Critical Biography, which very cleverly uses expert theatre-knowledge as a way of making her enigmatic subject seem plausibly substantial; and Keats in Nicholas Roe’s John Keats: A New Life, which puts the poet properly in his place.” (The Guardian, 24 November 2012)
“This study will have wide appeal to readers who wish to expand their appreciation of the works of William Shakespeare. Summing Up: Highly recommended. Upper-division undergraduates through faculty; general readers.” (Choice, 1 November 2012)
“A richly suggestive, undogmatic book in which Lois Potter ranges across the entire canon and the period that helped produce it.” (Around the Globe, 1 October 2012)
“Lois Potter’s Life of William Shakespeare, ranks with the most distinguished examples of its kind … Her achievement lies in her catholicity, her simultaneous commitment to matters personal, historical, theatrical, literary, cultural. She exhibits an absolute command of the available facts, a lifetime’s acquaintance with the works gained in teaching and playgoing, an unparalleled familiarity with theatrical history from 1567 to the present, and a talent for connecting the fictional and the actual.” (Times Literary Supplement, 10 August 2012)