Jodi Picoult is the #1 New York Times bestselling author of twenty-nine novels, including Mad Honey (co-authored with Jennifer Finney Boylan), Wish You Were Here, The Book of Two Ways, A Spark of Light, Small Great Things, Leaving Time, and My Sister’s Keeper, and, with daughter Samantha van Leer, two young adult novels, Between the Lines and Off the Page. She lives in New Hampshire with her husband.

Klappentext

#1 NEW YORK TIMES BESTSELLER • From the co-author of Mad Honey comes an “inspiring” (Elle) novel about two women, centuries apart—one of whom is the real author of Shakespeare’s plays—who are both forced to hide behind another name.

“You’ll fall in love with Emilia Bassano, the unforgettable heroine based on a real woman that Picoult brings vividly to life in her brilliantly researched new novel.”—Kristin Hannah, author of The Women

Young playwright Melina Green has just written a new work inspired by the life of her Elizabethan ancestor Emilia Bassano. But seeing it performed is unlikely, in a theater world where the playing field isn’t level for women. As Melina wonders if she dares risk failure again, her best friend takes the decision out of her hands and submits the play to a festival under a male pseudonym.

In 1581, young Emilia Bassano is a ward of English aristocrats. Her lessons on languages, history, and writing have endowed her with a sharp wit and a gift for storytelling, but like most women of her day, she is allowed no voice of her own. Forced to become a mistress to the Lord Chamberlain, who oversees all theatre productions in England, Emilia sees firsthand how the words of playwrights can move an audience. She begins to form a plan to secretly bring a play of her own to the stage—by paying an actor named William Shakespeare to front her work.

Told in intertwining timelines, By Any Other Name, a sweeping tale of ambition, courage, and desire centers two women who are determined to create something beautiful despite the prejudices they face. Should a writer do whatever it takes to see her story live on . . . no matter the cost? This remarkable novel, rooted in primary historical sources, ensures the name Emilia Bassano will no longer be forgotten.

Leseprobe
Melina

May 2013

Many years after Melina graduated from Bard College, the course she remembered the most was not a playwriting seminar or a theater intensive but an anthropology class. One day, the professor had flashed a slide of a bone with twenty-nine tiny incisions on one long side. “The Lebombo bone was found in a cave in Swaziland in the 1970s and is about forty-three thousand years old,” she had said. “It’s made of a baboon fibula. For years, it’s been the first calendar attributed to man. But I ask you: what man uses a twenty-nine-day calendar?” The professor seemed to stare directly at Melina. “History,” she said, “is written by those in power.”

The spring of her senior year, Melina headed to her mentor’s office hours, as she did every week. Professor Bufort had, in the eighties, written a play called Wanderlust that won a Drama Desk Award, transferred to Broadway, and was nominated for a Tony. He claimed that he’d always wanted to teach, and that when Bard College made him head of the theater program it was a dream come true, but Melina thought it hadn’t hurt that none of his other plays had had the same critical success.

He was standing with his back to her when she knocked and entered. His silver hair fell over his eyes, boyish. “My favorite thesis student,” he greeted.

“I’m your only thesis student.” Melina pulled an elastic from her wrist and balled her black hair on top of her head in a loose knot before rummaging in her backpack for two small glass bottles of chocolate milk from a local dairy. They cost a fortune, but she brought Professor Bufort one each week. High blood pressure medication had robbed him of his previous vices—alcohol and cigarettes—and he joked that this was the only fun he got to have anymore. Melina handed him a bottle and clinked hers against it.

“My savior,” he said, taking a long drink.

Like most high school kids who had notched productions of The Crucible and A Midsummer Night’s Dream on their belts, Melina had come to Bard assuming that she would study acting. It wasn’t until she took a playwriting course that she realized the only thing mightier than giving a stellar performance was being the person who crafted the words an actor spoke. She started writing one-acts that were performed by student groups. She studied Molière and Mamet, Marlowe and Miller. She took apart the language and the structure of their plays with the intensity of a grandmaster chess champion whose understanding of the game determined success.

She wrote a modern Pygmalion, where the sculptor was a pageant mom and the statue was JonBenét Ramsey, but it was her version of Waiting for Godot, set at a political convention where all the characters were awaiting a savior-like presidential candidate who never arrived, that caught the attention of Professor Bufort. He encouraged her to send her play to various open submission festivals, and although she never was selected, it was clear to Melina and everyone else in the department that she was going to be one of the few to make it as a produced playwright.

“Melina,” Bufort asked, “what are you going to do after graduation?”

“I’m open to suggestions,” she replied, hoping that this was where her mentor told her about some fabulous job opportunity. She wasn’t naïve enough to believe that she could survive in New York City without some sort of day job, and Bufort had hooked her up before. She’d interned one summer for a famous director in the city—a man who once threw an iced latte at a costume designer who hadn’t adjusted a hem, and who took her to bars even though she was underage because he preferred to drink his lunch. Another summer, she’d been behind the cash register at a café at Signature Theatre and behind a merch booth at Second Stage. Professor Bufort had connections.

This whole business ran on connections.

“This is not a suggestion,” Bufort said, handing her a flyer. “This is more of a command.”

Bard College would be hosting a collegiate playwriting competition. The prize was a guaranteed slot at the Samuel French Off-Off-Broadway Short Play Festival.

The professor leaned against the desk, his legs inches away from Melina’s. He set down his chocolate milk, crossed his arms, and smiled down at her. “I think you could win,” he said.

She met his gaze. “But . . . ?”

“But.” He raised a brow. “Do I have to say it? Again?”

Melina shook her head. The only negative comment she ever received from him was that although her writing was clean and compelling, it was emotionally sterile. As if she had put up a wall between the playwright and the play.

“You are good,” Bufort said, “but you could be great. It’s not enough to manipulate your audience’s feelings. You must make them believe that there’s a reason you are the one telling this story. You have to let a bit of yourself bleed into your work.”

And therein lay the problem: you couldn’t bleed without feeling the sting of the cut.

Melina began to pleat the…