- 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
Susie Salmon, the novel’s narrator and protagonist, lets her audience know within the first three sentences of her story that she is the victim of a murder. Subverting common tropes of the murder-mystery novel, Sebold chooses to ascribe to Susie an omniscience and a direct address that allows her to communicate the hard facts of her own murder—as well as the events that precede it and follow it—directly. By getting these details out of the way early on, so to speak, Susie frees up time and space to focus not on the hows of what happened to her, but the…