- 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
Kennedy doesn’t describe the moment of Liz’s accident until close to the end of the story, which heightens the surreal shock of its randomness and mundanity. The language, though simple in its recounting of the series of events, conveys the complexity of Roley’s grief. He expresses a strong sense of anger at the role other people played in the unfolding of events (“sliding doors barred pointlessly” and “someone’s stupid question”), despite the fact that later on in the story he is described as repeating, stunned, that it was “nobody’s fault.” Through this, Kennedy depicts the way in which grief evolves…