Books like Always Never Yours — picked by fans

As an archery enthusiast, I always feel a bit Maid Marian when I’m practicing with my bow and arrow! This historical YA reimagining of Robin Hood gives a new perspective on one of our most beloved childhood tales. However, it doesn’t focus on Robin as we’d expect but instead on his teenage daughter as she flees the clutches of King John in search of the father she has never known. Finding herself forced into a world of criminals to search for safety. This is a great adaptation and gives the story a whole new angle which makes it feel brand-new yet still features the beloved characters we’d wish to see. I love that this book allows you to rediscover such a classic story all over again!

Peter Pan has always been a bit of a dark story, I remember as a child being quite concerned about how easy it was to kill Tinkerbell and why Peter needed his shadow stitched back on! Second Star is a modern but dark retelling of this children’s fable, set in sunny California and amongst the surfing community, we follow a 17-year-old Wendy as she searches for her missing brothers. Stepping into a dark world, she finds herself drawn to the Cove’s enigmatic leader Pete but she is also pulled towards his dangerous and drug-dealing nemesis, Jas. This novel shows how a classic can be used as inspiration but the author is still able to make the story their own and I always enjoy reading that.

I do have a real penchant for dark stories and thrillers that ooze suspense and intrigue and Daphne Du Maurier’s Rebecca is one of the best for that. I haven’t come across many stories that have adapted this so I was definitely interested in that. New Girl is a suspenseful adaptation of this classic. After the mysterious disappearance of an elite school’s most popular student, the new girl, who remains unnamed through most of the story, finds herself taking Becca’s place within the school and her friendship groups but is always aware she’ll never be able to escape her shadow. This is also a dual POV book. I enjoy both writing and reading from this perspective. This is an excellent adaptation of this mysterious classic.

Hands up who wasn’t in a play of Oliver Twist at school! This is such a classic and theatre favourite which I remember starring in twice. But this is a truly modern and interesting reimagining of a Dicken’s masterpiece. Olivia is an orphan, strong and independent but with wounds from her many years within the care system. When her computer skills are noticed she is recruited to Syke’s hacker gang of cyber thieves which masquerades as a home for unwanted children. Each chapter starts with a quote from the original which foreshadows the events to come and provides a nice correlation between this version and the original. I really love how endearing the characters can be despite their flaws. This adds a really nice dimension to the story.

In the wake of Knutson’s work, a number of seminal studies of individual playing companies from Shakespeare’s London have appeared, but I particularly value Manley and MacLean’s for the prominence they give to the role of lost plays in the repertory of Lord Strange’s Men. This book normalised the understanding that if one is to study a company—its patron, its players, its performance venues (including touring), and its style—then one cannot do so without attending to the plays once performed by the company but which have since been lost.

Inspired by Paolo Freire’s classic Pedagogy of the Oppressed, Brazilian dramatist and activist Augusto Boal makes active participants of audiences, staging oppressive interactions and then repeatedly re-staging them as “spect-actors” step up to intervene and remake the interaction. Anyone can join! A stunning synergy of empowering revolutionary theater and improvisational role-playing that has not even begun to be adapted to classrooms. You figure out why. Then figure out how to adapt and bring it on now.

Thrilling portraits of violent women in Greek tragedy—for example, Clytemnestra, Electra, and Medea—seem like an anomaly in a society that expected women to get married, bear children, be quiet, and stay at home. In this accessible introduction to the subject Rabinowitz examines tragedy in its original theatrical and social contexts. Her analyses of selected plays are grounded in psychoanalytic and feminist theory, and include vivid accounts of some modern performances. Whatever is happening in the world, there is always a Greek tragedy that speaks to it. 

Shapiro’s work is often a model of the kind of writing that I would like to attempt. This book, which focuses on a single year in Shakespeare’s life–1599–and its historical, political, and theatrical events (including performances of Henry V and Julius Caesar), brings its material to life.

It is a deeply researched book, with a wealth of resources listed in its bibliographical essay, but its handling and style are still so captivating and accessible that I couldn’t put it down when I first read it!

When we write about early modern literature and history, we construct narratives that draw on invention and imagination. Shapiro’s book reflects that vital mix of rigorous historical research, insightful interpretations of literary texts, and its own acts of storytelling.

This book appealed to my love of feminist theory and cultural studies. It explores gender and nationalism in the context of Argentine identity between 1976 and 1983.

Diana Taylor examines military tactics, geography, theatre, campaign propaganda, and the feminization of the enemy—with quite a bit of research on the Mothers of the Plaza de Mayo—and examines the way images, myths, and desires shape a collective narrative.

The chronology of my Shakespeare-era novels hasn’t reached The Tempest, but I love how this novel features a production of the play—in a prison. The relation of the inmates to their roles and the protagonist’s personal crisis give Prospero and his island new life in a setting also set apart from society. I enjoyed how the characters come to realizations about Shakespeare’s play as they rehearse, the goal of my own novels from a different angle. Many spinoffs from Shakespeare use his plot devices, but Atwood relies on The Tempest for her plot. Each ‘best’ novel here reveals new visions to the reader and gains plot and suspense from the links to Shakespeare. Though my goals aren’t identical to these authors', their works offer inspiration.