O'Farrell's careful plotting and intricate world-building ensures a perspective that, like her heroine, refuses to be confined by traditional narratives or societal expectations.

She will surround it with a thorn-thicket or a high fence, like a castle in a folktale' speaks to the uncanny power dynamics of marriage more broadly.ĭespite being, at its heart, a keenly insightful character study, O'Farrell's novel also succeeds as literary suspense.

And while Alfonso's Janus-faced personality takes on a brutality that is the stuff of nightmares, Lucrezia's realization that 'if she is to survive this marriage, or perhaps even to thrive within it, she must preserve this part of herself and keep it away from him, separate, sacred. This novel, however, manages to juggle this cinematic portrayal of a period alongside a startlingly intimate portrait of a woman whose rebellious spirit must be confined to the wild images she hides in her landscape paintings. Like Hamnet, The Marriage Portrait captures a time and place in such textured and atmospheric detail that it is easy to get lost in its world. But while Alfonso appears considerate and patient at first, Lucrezia soon begins to see that a much different, much more dangerous, man lurks beneath his calm exterior. Originally engaged to marry Lucrezia's recently deceased sister, Alfonso is desperate for an heir to consolidate his power. Lucrezia is only 15 years old in 1560 when she is forced to leave her home in Florence to marry Alfonso II d'Este, the Duke of Ferrara. The Marriage Portrait by Maggie O'Farrell-the National Book Award-winning author of Hamnet-unspools the immersive and poignant story of the woman who was the inspiration for Robert Browning's famous poem 'My Last Duchess,' Lucrezia di Cosimo de' Medici.

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