- 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
Directly after being confronted with the image of Adora babying thirteen-year-old Amma, Camille witnesses Amma throw a childlike tantrum over a mistake in her dollhouse, a perfect replica of Adora’s sprawling Victorian manse. The combined—and contrasting—oddity of Amma’s behaviors sets Camille on edge, and as she retreats upstairs to her bedroom, she examines the wounds she has inflicted on herself over the course of her life, since the age of thirteen—just after her younger sister Marian died. Camille’s scars, one of the novel’s most potent images, are a symbol both for her rejection of traditional femininity, having had it forced…