The author is too charmed by her main character, Agnes (Anne) Hatheway. This is not uncommon in literature, but I think there are some interesting insights into how this particular version of the trope reflects our times.
This fictionalized version of William Shakespeare’s wife, Agnes, is supernaturally intuitive, able to discern a person’s thoughts just by holding their hand. She is wise in the ways of plants and flouts social norms; these traits portray her as above the crude pragmatism and small-mindedness of the rest of the villagers. She passes gracefully from manic pixie dream girl to goddess mother, birthing her first daughter in the serenity of the forest.
The author has no problem subjecting her heroine to strife. Agnes’s beloved nymph-like mother dies in childbirth early in Agnes’s childhood. Her step-mother is cruel and her in-laws treat her little better. Her youngest daughter is born sickly, and needs special care. Her son dies.
The author is, however, unable to portray a real change in Agnes. At the end of the novel, Agnes is who she is at the start and throughout each of these challenges: plant-wise, norm-flouting, guided by intuition. She has climbed out of the depths of her mourning of her son, and discovered that her husband, too, was grappling with grief; and yet she has not confronted herself, her fears, her weaknesses, and transformed, in the way we expect of a novel’s heroine. Agnes is a fantasy: an ideal of womanhood and femininity that is all intuition, emotion, and connection with nature.
This is a seductive fantasy, and so it is not surprising the author is disinclined to confront it — a necessary critique if Agnes is to undergo a character transformation. At first blush, this fantasy appears as a challenge to patriarchy: women are granted special powers, special knowledge, that men could never have. Agnes’s nurturing care and herbs are favourably contrasted to the cool, distant, and ineffective male plague doctor, for example. But underneath, there is nothing liberatory about it. Agnes achieves material wealth through the literary successes of the husband she chose based on her magical visions. This provides her a degree of emancipation, but it is granted by a man, and denied to other women. Reverence of the magic of reproduction does not challenge a system that (often violently) controls how women reproduce.
The novel foils Agnes’s intuition against masculine rationality. The author is, of course, limited by historical fact: women were overwhelmingly denied access to literacy and education. There are examples of female characters learning their letters; Agnes’s eldest daughter learns accounting and writing and takes over the running of the household. But it is not shown as liberatory, or really even useful beyond the domestic sphere. Indeed, this example serves only to show how cycles of teenage rebellion repeat, as the daughter despairs of ever being able to escape her home, just as Agnes once did. Agnes’s intuition is ultimately as useful as anything that can be taught in books. Her plant knowledge appears similarly innate — there are allusions to mentors who taught her falconing and bee-keeping and other such skills, but they happen off-page; to struggle with systematizing knowledge, or to portray trial and failure of such witchy skills might dampen the fantasy.
We could contrast this with Virginia Woolf’s thought experiment about the importance of education and training in A Room of One’s Own. Conveniently, she picks a near-identical character: William Shakespeare’s sister. Woolf emphasizes the lack of education that makes up women’s oppression:
She had no chance of learning grammar and logic, let alone of reading Horace and Virgil. She picked up a book now and then, one of her brother's perhaps, and read a few pages. But then her parents came in and told her to mend the stockings or mind the stew and not moon about with books and papers.
Indeed in Woolf’s view, motherhood is a source of oppression, not power.
So is Hamnet rooted in the past? A pre-Woolf vision of feminine empowerment? Not at all. Indeed the book ought to be read in the context of modern debates over motherhood: natural versus medicated births, the trauma arising from one’s “birth plan” not being followed, the way caring for a special needs kid shapes your decision-making. Agnes, it goes without saying, is on the side of natural births and at-home births (or, at-forest births, as it were). She fits in with the spirituality of the “wellness industry”.
In place of character growth, the author focuses on lushly painting intense emotions. She wields language unusually to do so; the entire novel is told in the present tense. She leans heavily on lists of three — a pattern so distracting that the reader should try her best to put it out of mind and simply allow the redundant adjectives to wash over her. Her unique style is very effective for those dreamlike moments of life, like the depths of grief, where even the smallest experiences feel sharp yet disconnected from ordinary life. It is also effective when the narrative shifts from following Agnes to following inanimate things: some of the most memorable passages trace the journey of a plague-carrying flea and a news-laden letter. Her choice of style is less effective when narrating the more routine aspects of life, like business negotiations. In these scenes, the prose heightens the importance of everything yet weighs it down in its excess of lush detail. It is sensuous prose, relishing in being and feeling.
And so we have a novel that emphasizes intuition and feeling. We have a superhuman, who inherits her elevated sensitivity from her mother, and passes it on to her children. We have a book that revels in the magic and beauty of motherhood. It is a heady combination. It is also a familiar combination. The name that we gave to that 20th century movement that celebrated irrationality over reason, Übermenschen, naturalism and a fantastical version of maternity is, of course, fascism.