- 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 this passage, taken from the start of Megan’s first chapter of narration, Megan describes sitting outside on her terrace which overlooks a set of train tracks. In the previous chapter, readers saw Megan—or “Jess,” as Rachel calls her—from Rachel’s point of view as an enviable, beautiful, in-control woman.
Now, as Megan offers her own side of the story, she confesses that she would rather be “anywhere” but where she is. Megan, like Rachel, views trains as a symbol of escape from her current circumstances. Megan feels trapped by domesticity and severed from her own potential as an artist, a…