Heyo! Welcome to today’s Boozy Books. It’s me, C, again taking over for A by our mutual decision as she’s still at work being awesome and I’m at home playing with a kitten. OK, not so much playing as constantly having to keep him from getting into something THAT ISN’T FOR CATS.
Anyone noticed having a kitten is like having an inquisitive and highly acrobatic toddler who never, ever learns no matter how many times you tell him no?
Anyway… in between realizing I’m not cut out to be a parent and wishing it weren’t raining so I could take advantage of the first truly cool night of the year, I am now in charge of writing a Boozy Books. So… I decided to go with two of the most inappropriate twists on Shakespeare ever:
Fool and The Serpent of Venice.
I was planning on just going with the second, but I realized you have to read the first to figure out what’s going on in the second since it’s… well, it’s not quite a sequel, but it does build on the events of the first. So reading the second without the first is just not as much fun. And, frankly, missing out on the hilarity of a comedic King Lear is just NOT WORTH IT.
Oh, yeah… a comedic King Lear, told from the POV of The Fool, who is grossly inappropriate and only slightly more raunchy than Shakespeare usually is (except written in modern parlance, so more obviously raunchy to the modern reader), and re-written to be a comedy. I mean, pretty much everyone still dies, but there’s a pretty awesome ghost involved and, yeah, it’s pretty funny. Warning, though… it is grossly inappropriate. I can’t tell you this enough: it is grossly inappropriate. A lot of the humor is in Christopher Moore just going as over the top as possible in the realm of language, sex, farts, etc. Again, just like Shakespeare.
The sequel-not-sequel is a mix of Othello, The Merchant of Venice, and, funnily enough, The Cask of Amontillado. The Fool from the first book is now in, you guessed it, Venice and is getting involved (in oh-so-many ways) with all our favorites from Shakespeare’s two great Venetian plays (his only two Venetian plays). And, guess what? IT’S STILL A COMEDY! It’s overly sexual, overly scatological (I love that word), and has the Fool being inappropriate. And shut up inside a brick wall because, like I said, The Cask of Amontillado makes an appearance. There’s also a literal serpent and, you guessed it, ANOTHER GHOST. Because there’s always a fucking ghost.
As one half of the duo behind what will be the most amazing re-telling of Romeo and Juliet ever (yeah, I said it), I am always down for books that combine various Shakespeare plays, blur the lines between their respective eras (Lear definitely doesn’t take place at the same time as Othello, for example), and take what works for your storyline. It’s honoring the Bard, in my mind, and because he’s in the public domain, it doesn’t violate my dearly held beliefs regarding intellectual property. (Hint: I am not a fan of fan-fiction unless the author gives you permission to write it.) While Moore’s humor is sometimes a bit too raunchy even for my sensibilities, it typically manages to be downright Shakespearean. (Remember, Shakespeare’s the originator of the ‘yo mamma’ joke and could sometimes have lines that count as triple entendre.) And Moore is the writer of one of my favorite books of all time (Lamb, which I’ve mentioned before… a lot), so I give him some leeway.
What to drink? A cask of Amontillado! Duh!
I’ll see you Sunday… or Monday. Not sure which.