![]() ![]() ![]() Macbeth has just learned of the death of this wife, and is in despair. In Macbeth, the protagonist’s “tomorrow and tomorrow and tomorrow / creeps in this petty pace” soliloquy laments the meaninglessness of life. Yet the title has been fully appropriated, de-contextualized from its original intent. What this says about how we have been conditioned, as readers, is interesting, especially given that the title of the book draws from Shakespeare, master of romance and key forebear to the genre writ large. Though we are well beyond the era of “the marriage plot,” the book seems dead-set, even slightly elbows-out, about the fact that this is not a love story, and still, I wondered the entire time whether Sadie and Sam would end up together. There are moments in which you think the two protagonists might turn lovers, and there is even a slightly titillating will-they-won’t-they energy that Zevin courts, but Sadie (and, it is to be assumed, Zevin) asserts: romantic relationships are “common,” while “true collaborators in this life are rare.” The fact that this message supersedes all else in this complicated, dark, expansive plot is a feat in and of itself, and an interesting “talk back” to convention. Gabrielle Zevin’s Tomorrow and Tomorrow and Tomorrow is a story of creative kinship between two gamers, Sam and Sadie, whom we meet as children and follow through their quarterlives. ![]() ![]() Alert: This Tomorrow and Tomorrow and Tomorrow book review contains spoilers. ![]()
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