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87 pages 2 hours read

Margaret Atwood

Hag-Seed: William Shakespeare's The Tempest Retold

Fiction | Novel | Adult | Published in 2016

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Part 4, Chapters 30-39Chapter Summaries & Analyses

Part 4: “Rough Magic”

Part 4, Chapter 30 Summary: “Some Vanity of Mine Art”

The date is March 4, 2013. Felix wakes up disturbed by a dream. Anne-Marie reveals that she will put up with WonderBoy’s advances for the sake of the play. Felix continues to see his daughter Miranda in his home, asking for a role in the play. He imagines teaching her to drive. As the Players begin official filming, Felix worries that the digital feed will pick up his daughter’s voice.

Part 4, Chapter 31 Summary: “Bountiful Fortune, Now My Dear Lady”

The date is March 7, 2013. The filming is going well, including the special effects. Felix returns to Toronto for costumes. In Toronto, he meets with one of 8Handz’s connections. Felix pays the man for powder (later revealed to be ketamine), gel-cap pills, a hypodermic needle, and instructions on how to make concoctions with the materials.

Estelle reveals that Sal and Tony plan to pull funding for the Fletcher literacy program. They plan on coming to the screening to prove that the program is unnecessary. Felix believes this will be excellent ammunition to anger the prisoners against Sal and Tony. Estelle gives Felix the list of people accompanying Sal and Tony; included on this list is Lonnie Gordon, the chair of the Shakespeare festival. Sal’s son Frederick, who is interested in directing, will also attend.

Part 4, Chapter 32 Summary: “Felix Addresses The Goblins”

The date is March 13, 2013, the day of Sal and Tony’s visit. Felix has injected the grapes with ketamine for the guests and holds the pills in a bottle of painkillers in his pocket. Felix uses the threat of the literacy program’s cancellation to rile up the Players. He reminds the Players of the special plan. They will serve refreshments to the guests: Green cups are for Sal and Lonnie, blue cups for Tony and Sebert Stanley. The ski masks and gloves will make the actors invisible when 8Handz’s black light turns on. Another prisoner, TimEEz, will remove the guests’ security alarms. The prisoners question the ethics of the plan, but they trust Felix enough to follow along. The television sets have been rigged to broadcast their filmed adaptation of The Tempest to the rest of the prison while the secondary plan unfolds. 

Part 4, Chapter 33 Summary: “The Hour’s Now Come”

The guests arrive and are led to their own room without issue. The men are pleased with the refreshments and eager to get the visit over with. The show begins.

Part 4, Chapter 34 Summary: “Tempest”

Act 1, Scene 1 of The Tempest, reinterpreted by the Fletcher Correctional Players, begins. After a close-up of Ariel laughing, the lights turn off. Gunshots sound, and a voice screams that everyone must stay where they are during the lockdown.

Part 4, Chapter 35 Summary: “Rich and Strange”

As a gloved hand removes Frederick, Tony tells everyone to stay calm during what he assumes is a prison riot. The guests attempt to use their security pagers, but the pagers are gone. Sal is also removed. Frederick is deposited in a cell decorated like a beach. Anne-Marie joins Frederick and tells him that a madman pretending to be Prospero has cast Freddie as Ferdinand. She directs Freddie through his lines. 

Part 4, Chapter 36 Summary: “A Maze Trod”

Sal, Tony, Sebert, and Lonnie are brought through a tunnel where they hear the sounds of a storm. They are deposited in a larger cell decorated like a desert. Sal believes that Freddie has been killed. Sal and Lonnie immediately fall asleep in the cell’s bunks. Sebert and Tony discuss politics, and Tony admits that he climbed to power by getting rid of Felix Phillips as the artistic director. Sebert can’t get rid of Sal, who stands in his way to political power. Tony suggests that Sebert drown Sal in the cell’s toilet: Only Tony and Sebert would know that Sal didn’t die in a prison riot. He proposes that they suffocate Lonnie with a pillow and blame it on a heart attack brought on by the stress of the riot.

Unbeknownst to the politicians, 8Handz and Felix have recorded their conversation. They play Metallica on the cell’s speakers to wake up Lonnie and Sal. 

Part 4, Chapter 37 Summary: “Charms Crack Not”

The doors of the politicians’ cell open. They walk to the “Green Room,” empty save for a bowl of grapes. Lonnie reaches for a grape, but a voice coming from his secretly implanted speaker tells him not to eat it. The other men eat the grapes, ingesting the ketamine mixture. A voice booms through the Green Room accusing the men of betraying Felix. 

Part 4, Chapter 38 Summary: “Not A Frown Further”

Sal is inconsolable. Tony bats away an imagined threat. Sebert sees spiders crawling all over him. Red Coyote and TimEEz enter the Green Room, dressed as clowns. The voice of Caliban chants a rap accusing the politicians of being monstrous for judging the prisoners and pulling funding for the literacy program. 

Part 4, Chapter 39 Summary: “Merrily, Merrily”

The politicians and Lonnie are escorted back to the main room, where Felix makes his grand entrance. Felix tells them they’ve been in an artistic immersion experience. He demands his job as artistic director back, full funding for the Literacy Through Literature program, Tony’s political resignation, and early parole for 8Handz. Felix blackmails them with the video and audio footage of their drug use and Tony’s conversation with Sebert.

Felix brings Sal to Freddie’s cell to reunite him with his son. The guests are brought out of the main room in time for their after-party with the warden.

As Felix and 8Handz pack up their equipment, 8Handz hears a lullaby through the feed—the same lullaby Felix used to sing to his daughter Miranda.

Felix drives back to his home, perturbed that he doesn’t feel satisfied by the success of his revenge plan. 

Part 4, Chapters 30-39 Analysis

Part 4 mimics the structure of the fourth act in a Shakespearean play, in which falling action drives the plot. Though Part 4 consists of chapters full of heightened action, the action falls in the final chapters as Felix successfully pulls off his revenge plan. The relief of the plan being not only over but successful allows the plot to settle down. The major conflict of the novel, Felix’s revenge against Tony, is resolved.

Felix’s ultimate revenge is to defeat Tony using the traits and skills for which Tony had fired him from the Shakespeare festival. As an artistic director, Felix was known for his eccentric productions that pushed the envelope of adaptation and audience comfort. His controversial choices were the perfect ammunition for Tony to get rid of Felix. In conducting such an absurd, violent, chaos-inducing production to trick Tony into doing his bidding, Felix reclaims his talent.

Another element to this part that helps resolve the primary conflict is the revelation of Tony’s true character. In earlier chapters, the reader could not be as certain as Felix that Tony purposefully and cruelly fired him: Felix’s unreliable narrative voice builds suspicion rather than trust. However, when Tony encourages the assassination of Sal and Lonnie, he reveals himself to be worse than even Felix assumed. Atwood surprises the reader with the depths of Tony’s wickedness, thus redeeming Felix’s neuroses.

Finally, Felix’s lack of satisfaction underscores the falling action. He has triumphed over Tony, yet he still hears and misses his daughter Miranda. He recognizes that virtue is better than vengeance. The tension that motivated Parts 1 through 3 deflates into disappointment. Despite the resolution, Felix is still unfulfilled, proving that his 12-year pursuit of revenge was unnecessary.

In Part 4, Atwood continues to draw parallels between her characters and the characters in The Tempest. The ministers talk about the prisoners in ways that dehumanize them; they see the prisoners as problems best dealt with in a prison, away from society, with no potential for growth. This mirrors the colonialist attitude of the royal Italians who land on Prospero’s island. To Alonso and Antonio, people like Prospero and Caliban are societal rejects living in what the Italians view as uncivilized conditions. So many years spent isolated on an island place Prospero on the same level as Caliban in the eyes of the Italians. These attitudes come from a colonialist mindset that was just emerging during Shakespeare’s time period, as Europeans expanded their imperial reach and created racist and ethnocentric rationales for doing so. Just as the wealthy Italians believe Caliban cannot be civilized, so too do Tony and Sal believe that the prisoners in Fletcher cannot be rehabilitated.

In The Tempest, Prospero hopes to arrange Ferdinand and Miranda’s marriage as part of his plot to regain his rightful place in Italian society. However, his plan works almost too well because Miranda and Ferdinand do fall in love. In Hag-Seed, Felix sets up Anne-Marie to seduce Freddie, keeping him safely away from the drug-induced torture his father experiences. Like their Shakespearean counterpart, Anne-Marie and Freddie are immediately attracted to one another, and their play-acting turns into real flirtation and connection.

Felix’s immersive play, in which the prisoners act out characters from The Tempest to entrap the Ministers for blackmail material, perfectly mirrors the series of events in Acts IV and V of The Tempest. Prospero separates Ferdinand (Freddie), poisons the royal Italians with alcohol (Sal and Tony), and creates a storm (the music-light effect of 8Handz’s special effects) to intimidate the Italians into restoring him to his former role.

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