- 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
At this point in the novel, the action shifts, improbably, from the bombing investigation to Winnie and Stevie’s mother’s journey to the charity house. On the surface, this passage is about Winnie’s mother’s relocation in a shabby, slow carriage, but it also shifts the focus to the character who will be the turning point in the story: Stevie.
Stevie becomes characteristically distraught when the cabby whips his emaciated, feeble horse in order to speed the carriage’s journey. The driver isn’t being wantonly cruel; in fact, he is as unwell as his horse, with a hook for a hand, and himself…