- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
In the final passage of the story, Atwood reflects that, all things being equal, endings are fundamentally uninteresting. She writes, “so much for endings,” implying that by this point the story has neatly summed up what an ending is, and has found it lacking. She argues that “beginnings are more fun,” in part because of their novelty. Meanwhile, the “true connoisseurs”—a phrase perhaps in reference to skilled writers, avid readers, or simply self-aware, well-adjusted individuals—are said to prefer the middles of stories, since they are both difficult to “do anything with” and are the only place in which stories may…