Shakespeare for Squirrels

by Christopher Moore
271 pgs  (Shakespeare series #3)

A Midsummer Night's Dream is my favorite Shakespeare play. So, I was excited when I learned that it was to be (or not to be) the next one to receive the "Christopher Moore" treatment. Moore began his homage to the Bard with Fool, in which he introduced Pocket, King Lear's diminutive and bawdy court jester, and unleashed him into the literary world. He followed it up with The Serpent of Venice, in which he sent Pocket to thirteenth-century Venice and had him deal with, among other things, a sea monster prowling the city's canals.

In Shakespeare for Squirrels, Pocket, along with his sidekick Drool and pet monkey Jeff, find themselves in Athens. Pocket hopes to become the Duke's fool, but instead manages to insult the Duke and has to flee for his life into the nearby forest, which is ruled by the fairy king Oberon, who happens to be in need of a new fool himself, since his last one, Robin Goodfellow (aka Puck) was found murdered. Oberon promises Pocket he can become his fool, and receive his protection from the Duke, if he can find out who killed Goodfellow.

The story that follows is a great example of why Christopher Moore is one of my favorite authors. First and foremost, his books are hilarious. They're crude, irreverent, and not the type I'm inclined to recommend to those with sensitive literary palates. But that's kind of why I like them so much. There's something to be said for a book that will regularly shock me into laughing out loud on occasion, and his always do. But Moore doesn't just tell a story in a fantastic way, he also tells fantastic stories, and Shakespeare for Squirrels is up there with his best.

★ ★ ★ ★ ☆

The Serpent of Venice

by Christopher Moore
326 pgs  (Shakespeare series #2)

In 2009 Christopher Moore introduced the foul-mouthed and depraved character of Pocket, based on the royal fool from Shakespeare's King Lear, in his aptly titled book Fool. I'll admit right up front that it wasn't my favorite Moore book, but that doesn't mean I didn't enjoy it quite a bit.

In The Serpent of Venice Moore hijacks characters from two separate Shakespeare plays, Othello and The Merchant of Venice, borrowers an element from a short story by Edgar Allan Poe, and places them in Venice in the 13th century and has them meet up with Marco Polo. I know, it's hard to imagine why someone hadn't done this already, but with Christopher Moore, it makes perfect sense.

This time around Pocket has been lured to Venice by three wealthy and powerful men who intend to eliminate the man who has been thwarting their plans for more wealth and power for far too long. When he arrives he's promised an evening with a wanton and nubile young Venetian woman, but instead is drugged, shackled, and confined behind a newly constructed wall in his cell, left to drown with the next high tide. Fortunately for Pocket he's saved by what he erroneously believes at the time to be an amorous mermaid but which turns out to be something far less worthy to brag about later on.

As Pocket goes about seeking revenge against those who think he's dead, Moore's talent for making you blush while you laugh out loud is on display. But don't let the language and the debauchery that Moore loves to throw into his stories fool you, there's a genius at work here and even though I'll never be buying one of his books for my mother, I have no doubt I'll be buying every one he writes for myself.

★ ★ ★ ★ ☆