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Acknowledgments ACKNOWLEDGMENTS s Harry Berger has shown in his acknowledg- ments at the beginning of Making Trifles of A Terrors, the act of acknowledging is emotion- ally laden for Shakespeareans because of Stanley Cavell’s 1969 essay on King Lear called “The Avoidance of Love.” I do not want to avoid; therefore, I first acknowledge the inspiration of the late Tay Gavin Erickson, especially for my interest in the visual. I have received help from many directions, and I am particularly grateful to the Shakespeareans engaged in race studies who have built the intellectual realm in which I currently dwell. Scholars whose work has enabled me to feel the energizing sense of participating in this collective project include Dympna Callaghan, Kim Hall, Arthur Little, Ania Loomba, Joyce Green MacDonald, Patricia Parker, Francesca Royster, and Ayanna Thompson. I could not have made it this far without the support of Jean Howard, Coppélia Kahn, and Virginia Vaughan. During the final stages of completing this book, I greatly benefited from three-month research fellowships at the Clark Art Institute, whose visiting scholars program is led by Michael Holly, and at the Folger Shakespeare Library, directed by Gail Kern Paster. The rich intellectual and social mix at each institution has been a special pleasure. Marathon critic Harry Berger has kept me going with the extraordinary example of his staying power—from him I have gleaned what it means to be committed for the 172 Acknowledgments long haul, to go the distance. Now dispersed in distant locations and fields, my three children continue to be my mainstays and I greet them from within the pages of this book. Though I met Lisa Graziose Corrin after completing the manuscript for this book, my subsequent discovery of her writing in Mining the Museum, Going for Baroque, Loose Threads, and Give & Take has sustained and strengthened the excitement I feel about cross-historical connections between the cultural past and contemporary art. I thank Lisa not only for seeing me through the book’s production phase but also for changing my life. Previously published articles have all been revised for inclusion here. Chapter 2 is a slightly altered version of “Rita Dove’s Shakespeares” in Transforming Shakespeare: Contemporary Women’s Re-Visions in Literature and Performance, ed. Marianne Novy (New York: St. Martin’s, 1999), 87–101, and used with permission of Palgrave Macmillan. I appreciate Rita Dove’s generosity in again granting permission to quote from her poetry. Different versions of chapters 4 and 6 appeared as “‘Yet you can quote Shakespeare, at the drop of a pin’: The Function of Shakespearean Riffs in Leon Forrest’s Divine Days,” Upstart Crow: A Shakespeare Journal 22 (2002): 41–49 and “Contextualizing Othello in Reed and Phillips,” Upstart Crow: A Shakespeare Journal 17 (1997): 101—07, respectively. I have added new sections on Forrest’s Meteor in the Madhouse and on Djanet Sears’s Hamlet Duet. For the material as originally published in Upstart Crow, I acknowledge permission from Clemson University Digital Press. Acknowledgments 173 An earlier version of chapter 7, “Respeaking Othello in Fred Wilson’s Speak of Me as I Am,” published by the College Art Association in Art Journal 64, no. 2 (Summer 2005): 4–19, was based on the text of my Clark Fellows lecture at the Clark Art Institute on December 14, 2004. I am grateful to Evie Lincoln and Jonathan Weinberg for helpful comments on that initial occasion, to Patricia C. Phillips and Joe Hannan of Art Journal, and especially to Fred Wilson. The essay appears here in expanded form. Additional images of Wilson’s work can be seen in the original article. NOTES Introduction 1. Christopher Ricks, Allusion to the Poets (Oxford: Oxford UP, 2002), 1, 157. 2. John Keats, Selected Poems and Letters, ed. Douglas Bush (Boston: Houghton Mifflin, 1959), 279. 3. Harold Bloom, The Anxiety of Influence: A Theory of Poetry (Oxford: Oxford UP, 1973). 4. Harry Berger, Jr., Fictions of the Pose: Rembrandt Against the Italian Renaissance (Stanford: Stanford UP, 2000), 427–29. See also the related discussion of “intertextuality” at the level of canon in Berger’s Situated Utterances: Texts, Bodies, and Cultural Representations (New York: Fordham UP, 2005): “When viewed retrospectively or ‘preposter- ously,’ from the latest work backward, every new epic poet appears to invent his own version of the genre he ‘inherits’ (represents as inherited), and to do so in order to overthrow that paradigm” (37–38). “This implies a different relationship between the given text and its intertextual environment, one in which the lines of force and ‘moments of authority’ derive not from the series but from the text” (37). 5. Adrienne Rich’s “When We Dead Awaken: Writing as Re-Vision” (1971)—in On Lies, Secrets, and Silence (New York: Norton, 1979), 33–49—inspired the three-volume project edited by Marianne Novy: Women’s Re-Visions of Shakespeare (Urbana: U of Illinois P, 1990), Cross- Cultural Performances: Differences in Women’s Re-Visions of Shakespeare (Urbana: U of Illinois P, 1993), and Transforming Shakespeare: Contemporary Women’s Re- Visions in Literature and Performance (New York: St. Martin’s Press, 1999). A full picture of black writers’ uses of Shakespeare can be completed only when male writers are taken into account. 176 Notes 6. Joanne Tompkins uses the term “re-playing” in “Re-Citing Shakespeare in Post-Colonial Drama,” Essays in Theatre/Études théâtrales 15, no. 1 (1996): 15–22. Although Tompkins’s analysis is deliberately restricted to the genre of drama, my goal is to show that the concept of re-citing as re-siting or “re-situating” extends across the range of contemporary genres. 7. Citations of Shakespeare here, and throughout this book, are from The Norton Shakespeare, gen. ed. Stephen Greenblatt (New York: Norton, 1997). 8. For Yeats’s poetry, I use The Collected Poems of W. B. Yeats Definitive ed. (New York: Macmillan, 1956). 9. Norman O. Brown, Love’s Body (New York: Random House, 1966), 184, 188. The title of Brown’s book con- denses John Donne’s lines “Love’s mysteries in souls do grow/But yet the body is his book.” Brown’s vivid compression makes us think all the more of the missing third term—book—that mediates between love and body. However, Brown’s use of the Yeats poem complicates not only Donne’s image of the body but also the con- cept of a book. 10. T. S. Eliot, Collected Poems, 1909–1962 (New York: Harcourt, Brace and World, 1963). 11. The latter appears in Derek Walcott’s The Castaway and Other Poems (London: Jonathan Cape, 1965) and is included in Walcott’s Collected Poems, 1948–1984 (New York: Farrar, Straus and Giroux, 1986), 83–84. 12. In T. S. Eliot and Prejudice (London: Faber and Faber, 1988), Christopher Ricks notes “the melodramatized (i.e., irresponsibly diffused) animus” of Eliot’s poem (33). Eliot’s approach to Othello in “Shakespeare and the Stoicism of Seneca” (in Selected Essays, 1917–1932 [New York: Harcourt, Brace and Company, 1932], 110–11) is dismissive, while his seemingly generous accolade “universal” in describing Othello’s account of his plight in the final speech does not acknowledge, and therefore effectively blocks, consideration of the play’s racial issues. For an overview of Eliot’s allusions, see James Longenbach, “‘Mature poets steal’: Eliot’s Notes 177 Allusive Practice,” in The Cambridge Companion to T. S. Eliot, ed. A. David Moody (Cambridge: Cambridge UP, 1994), 176–88. 13. In the chapter “Some Versions of Tradition,” in Rewriting Shakespeare, Rewriting Ourselves (Berkeley: U of California P, 1991), I give a critical account of why the conception of ongoing change in T. S. Eliot’s “Tradition and the Individual Talent” is inadequate to the scope of change undertaken in post-1960s revisions of the canon. Additional background is supplied in my essays from the early 1990s: “Rather than Reject a Common Culture, Multiculturalism Advocates a More Complicated Route by Which to Achieve It,” Chronicle of Higher Education, June 26, 1991, B1–B3; “Multiculturalism and the Problem of Liberalism,” Reconstruction 2, no. 1 (1992): 97–101; “What Multiculturalism Means,” Transition 55 (1992): 105–14; and “Singing America: From Walt Whitman to Adrienne Rich,” Kenyon Review n.s. 17, no. 1 (Winter 1995): 103–19. 14. Rita Dove, “‘Either I’m Nobody, or I’m a Nation,’” Parnassus: Poetry in Review 14, no. 1 (1987): 49–76; quotations from 49, 52, 54. See also Dove’s comments on Walcott in Therese Steffen, Crossing Color: Transcultural Space and Place in Rita Dove’s Poetry, Fiction, and Drama (Oxford: Oxford UP, 2001), 172–73, and in Malin Pereira, Rita Dove’s Cosmopolitanism (Urbana: U of Illinois P, 2003), 171–72. Chapter 1 1. Nadine Gordimer, My Son’s Story (New York: Farrar, Straus and Giroux, 1990). 2. Michael Neill, “Post-Colonial Shakespeare?: Writing away from the Centre,” in Post-Colonial Shakespeares, ed. Ania Loomba and Martin Orkin (London: Routledge, 1998), 164–85; Neill’s discussion of My Son’s Story appears on 176–78. 178 Notes 3. Homi K. Bhabha, The Location of Culture (London: Routledge, 1994), 9–18, especially 13–15. 4. Lars Engle and Thomas Cartelli speak to this sense of disjunction through more complicated, qualified images of Shakespeare but, in the end, revert to Neill’s notion of mastery and hence confirm Shakespearean continuity. In “Western Classics in the South African State of Emergency: Gordimer’s My Son’s Story and Coetzee’s Age of Iron,” in Thresholds of Western Culture: Identity, Postcoloniality, Transnationalism, ed. John Burt Foster, Jr., and Wayne Jeffrey Froman (New York: Continuum, 2002), 114–30, Engle associates Shakespeare with “ambivalence” (120), which he then uses to justify Shakespeare’s “mastery” (122).
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