After the tempest, after the reunion, after her father drowned his books, Miranda was meant to enter a brave new world. Naples awaited her, and Ferdinand, and a throne. Instead she finds herself in Milan, in her father’s castle, surrounded by hostile servants who treat her like a ghost. Whispers cling to her like spiderwebs, whispers that carry her dead mother’s name. And though he promised to give away his power, Milan is once again contorting around Prospero’s dark arts.
With only Dorothea, her sole companion and confidant to aid her, Miranda must cut through the mystery and find the truth about her father, her mother, and herself.
Full fathom five thy father lies. Katharine Duckett's Miranda in Milan attempts to be a sequel to the fascinating Shakespearean play The Tempest. After arriving in Milan, Miranda finds herself lost in an intricate web of lies with the sole help of one of her maids. The mystery behind the whispers following her everywhere, when solved, is by far the best part of the novella, with an intriguing twist on the classical characters.
The pacing is uneven, likely due to the short format. The relationships between Miranda and Dorothea develops far too quickly, not giving the reader a moment to breathe. But Dorothea is a fascinating character, unwilling to be shackled, and there are particularly good moments where she puts into question Miranda's sheltered worldview, challenging her racism.
Miranda in Milan is a good read for anyone who wants a queer take on the play.
✨ 3.5 stars
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