Short Fiction · Character

Sidney J. Lessingham

A character associated with theatrical or literary themes.

minor

Also known as Sid, Macbeth, Sid - Macbeth

First appearance: Bread Overhead

Sidney J. Lessingham shows up with force in Bread Overhead. The page is where that presence becomes real.

Referred to as Tin Philosopher, a machine board member who philosophizes about bread and manages the crisis.

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In Bread Overhead: Referred to as Tin Philosopher, a machine board member who philosophizes about bread and manages the crisis. Later, in I: Referred to as Siddy, the whip-cracking director who the narrator seeks to…

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Character Web

35 connections

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Relationship types

Other

Character groups

Core character ensemble
Minor, family, and chess characters
Bomber and storyline characters

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Narrative arc

Story tension across the book — this chapter sits in Exposition.

Setup
Escalation
Breaking point
Aftermath
Closing

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In the story

Sidney J. Lessingham appears across 9 companion beats. Open any chapter in the free preview to see the notes beside the text.

Bread Overhead
Referred to as Tin Philosopher, a machine board member who philosophizes about bread and manages the crisis.
I
Referred to as Siddy, the whip-cracking director who the narrator seeks to explain the unusual character choices.
II
Playing Macbeth in an anachronistic costume; interacts with the narrator about the experimental production.
III
Sid is the actor playing Macbeth and a key figure in the company; he is protective of Greta and keeps outsiders away.
IV
Plays Macbeth; directs the performance with intensity, prompting actors and sweating heavily during the Murder Scene.
V
Sid is mentioned as the director who thinks Greta is ready for smaller parts and who urgently calls for Martin during the Cauldron Scene.
VI
Directs the narrator to play the Gentlewoman, doubling as the Doctor, and encourages her with bombastic affection.
VII
Sid directs the narrator on stage, gripping his wrist and prompting lines.
VIII
Sid is confronted by a young man who appears to be Shakespeare; he is shaken and speechless, then directs a time-jump to 44 BCE Rome.

Chapter companion notes

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