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Muñoz-ValdiviesoOriginal,” after her own retelling, so that it seems to work as her ownteasing epilogue in the hall of mirrors that is Hag-Seed. Atwood’ssummary of the play closes with a reference to Prospero’s epilogue,understood by her as his request to the audience to set him free “byusing its own magic to applaud the play” (Atwood 2016a, 289;emphasis added), and thus Atwood’s ending seems to be a playfulwink to her devoted readers to apply their own magic in theirresponse to this quirky, multifaceted, hag-seed of a novel which bothis and is not The Tempest—a peculiar polymorphic creature that, likeCaliban in the inmates’ final reading of the play, is the offspring oftwo magicians: Shakespeare and Atwood, Atwood and Shakespeare.ReferencesAtwood, Margaret. 1988. Cat’s Eye. Toronto: McClelland and Stewart.———. 1992. Good Bones. Toronto: Coach House Press.———. 2002. Negotiating with the Dead: A Writer on Writing. Cambridge:Cambridge University Press.———. 2005. The Penelopiad. Edinburgh: Canongate Books.———. 2007. The Tent. New York: Knopf Doubleday.———. 2014. Stone Mattress. Toronto: McClelland and Stewart.———. 2016a. Hag-Seed: The Tempest Retold. London: Hogarth.———. 2016b. “A Perfect Storm: Margaret Atwood on Rewriting TheTempest.” The Guardian, September 24, 2016.https://www.theguardian.com/books/2016/sep/24/margaret-atwoodrewriting-shakespeare-tempest-hagseed.Barker, Francis, and Peter Hulme. 1985. “Nymphs and Reapers HeavilyVanish: The Discursive Con-Texts of The Tempest.” In AlternativeShakespeares, edited by John Drakakis, 191–205. London and New York:Methuen.Bate, Jonathan. 1993. Shakespeare and Ovid. Oxford: Oxford University Press.———. 2016. “Hag-Seed: The Tempest Retold by Margaret Atwood.” The Times,October 1, 2016. http://www.thetimes.co.uk/article/hag-seed-thetempest-retold-by-margaret-atwood-2bpnrmx2k.Bate, Laura. 2013. Shakespeare Saved My Life: Ten Years in Solitary with theBard. Naperville, IL: Sourcebooks.Brown, Paul. 1985. “‘This thing of darkness I acknowledge mine’: TheTempest and the Discourse of Colonialism.” In Political Shakespeare: NewEssays on Cultural Materialism, edited by Jonathan Dollimore and AllanSinfield, 48–71. Manchester: Manchester University Press.126
Sederi 27 (2017)Cartelli, Thomas. 1999. Repositioning Shakespeare: National Formations,Postcolonial Appropriations. London and New York: Routledge.Césaire, Aimé. 1969. Une Tempête. Paris: Éditions du Seuil.Cliff, Michelle. 1987. No Telephone to Heaven. New York: Plume.“Cover and title revealed for Hag-Seed.” Penguin Random House Canada,February 22, 2016. http://penguinrandomhouse.ca/news/cover-andtitle-revealed-hag-seed-new-novel-margaret-atwood-hogarthshakespeare-series.Daniell, David. 1989. The Tempest. London: Palgrave Macmillan.Desmet, Christy, and Sujata Iyengar. 2015. “Adaptation, Appropriation orWhat You Will.” Shakespeare 11 (1): 10–19.Dickson, Andrew. 2015. Worlds Elsewhere: Journeys around Shakespeare’s Globe.London: Bodley Head.Frye, Northrop. 1965. A Natural Perspective: The Development of ShakespeareanComedy and Romance. New York and London: Columbia University Press.———. 1986. Northrop Frye on Shakespeare. New Haven: Yale UniversityPress.Greenblatt, Stephen. 1990. Learning to Curse: Essays in Early Modern Culture.New York and London: Routledge.Gurr, Andrew. 2014. “New Directions: Sources and Creativity in TheTempest.” In The Tempest: A Critical Reader, edited by Alden T. Vaughanand Virginia Mason Vaughan, 93–113. London: Bloomsbury.Hamilton, Donna B. 1990. Virgil and The Tempest: The Politics of Imitation.Columbus: Ohio State University Press.Hedrick, Donald, and Bryan Reynolds, eds. 2000. Shakespeare without Class:Misappropriation of Cultural Capital. New York: Palgrave.“Hogarth Shakespeare.” Last accessed August 2017. http://crownpublishing.com/hogarth-shakespeare/Huang, Alexa, and Elizabeth Rivlin, eds. 2014. Shakespeare and the Ethics ofAppropriation. New York: Palgrave.Hulme, Peter, and William H. Sherman, eds. 2000. The Tempest and ItsTravels. London: Reaktion Books.Hutcheon, Linda. 2006. A Theory of Adaptation. London and New York:Routledge.Ingalls, Rachel. 1982. Mrs Caliban. Boston: Harvard Common Press.Kraft, Barry. 2014. The Shakespeare Insult Generator. San Francisco: ChronicleBooks.Lamming, George. 1972. Water with Berries. New York: Holt, Rinehart andWinston.Laurence, Margaret. 1976. The Diviners. Toronto: McClelland & Stewart.127
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Sederi 27 (2017)
Cartelli, Thomas. 1999. Repositioning Shakespeare: National Formations,
Postcolonial Appropriations. London and New York: Routledge.
Césaire, Aimé. 1969. Une Tempête. Paris: Éditions du Seuil.
Cliff, Michelle. 1987. No Telephone to Heaven. New York: Plume.
“Cover and title revealed for Hag-Seed.” Penguin Random House Canada,
February 22, 2016. http://penguinrandomhouse.ca/news/cover-andtitle-revealed-hag-seed-new-novel-margaret-atwood-hogarthshakespeare-series.
Daniell, David. 1989. The Tempest. London: Palgrave Macmillan.
Desmet, Christy, and Sujata Iyengar. 2015. “Adaptation, Appropriation or
What You Will.” Shakespeare 11 (1): 10–19.
Dickson, Andrew. 2015. Worlds Elsewhere: Journeys around Shakespeare’s Globe.
London: Bodley Head.
Frye, Northrop. 1965. A Natural Perspective: The Development of Shakespearean
Comedy and Romance. New York and London: Columbia University Press.
———. 1986. Northrop Frye on Shakespeare. New Haven: Yale University
Press.
Greenblatt, Stephen. 1990. Learning to Curse: Essays in Early Modern Culture.
New York and London: Routledge.
Gurr, Andrew. 2014. “New Directions: Sources and Creativity in The
Tempest.” In The Tempest: A Critical Reader, edited by Alden T. Vaughan
and Virginia Mason Vaughan, 93–113. London: Bloomsbury.
Hamilton, Donna B. 1990. Virgil and The Tempest: The Politics of Imitation.
Columbus: Ohio State University Press.
Hedrick, Donald, and Bryan Reynolds, eds. 2000. Shakespeare without Class:
Misappropriation of Cultural Capital. New York: Palgrave.
“Hogarth Shakespeare.” Last accessed August 2017. http://crownpublishing.
com/hogarth-shakespeare/
Huang, Alexa, and Elizabeth Rivlin, eds. 2014. Shakespeare and the Ethics of
Appropriation. New York: Palgrave.
Hulme, Peter, and William H. Sherman, eds. 2000. The Tempest and Its
Travels. London: Reaktion Books.
Hutcheon, Linda. 2006. A Theory of Adaptation. London and New York:
Routledge.
Ingalls, Rachel. 1982. Mrs Caliban. Boston: Harvard Common Press.
Kraft, Barry. 2014. The Shakespeare Insult Generator. San Francisco: Chronicle
Books.
Lamming, George. 1972. Water with Berries. New York: Holt, Rinehart and
Winston.
Laurence, Margaret. 1976. The Diviners. Toronto: McClelland & Stewart.
127
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