Harold Bloom, the doyen of American literary critics and author of 'The Western Canon', has spent a professional lifetime reading, writing about, and teaching Shakespeare. In this magisterial interpretation, Bloom explains Shakespeare's genius in a radical and provocative re-reading of the plays.

Harold Bloom's Shakespeare examines the sources and impact of Bloom's Shakespearean criticism. Through focused and sustained study of this writer and his best-selling book, this collection of essays addresses a wide range of issues pertinent to both general readers and university classes: the cultural role of Shakespeare and of a new secular humanism addressed to general readers and audiences; the author as literary origin; the persistence of character as a category of literary appreciation; and the influence of Shakespeare within the Anglo-American educational system. Together, the essays reflect on the ethics of literary theory and criticism.

In Harold Bloom's New York Times bestselling Shakespeare: The Invention of the Human, the world's foremost literary critic theorized on the authorship of the historic play Hamlet. In this engaging new stand-alone work, he offers a full and warmly personal account of the play itself, explores its extraordinary impact throughout the history of western literature, and seeks to uncover the mystery at its heart.

Suitable for students just beginning their exploration of Shakespeare, this study guide presents some of the best of Shakespeare criticism, since the 17th century. It provides on each of Shakespeare's greatest works, emphasising on the greatest critics in our literary tradition.

In the board game 'Othello', players must turn double-sided counters to their advantage. This doubleness is shared by Shakespeare's play of 1604, marked from its outset by a dual and paradoxical title 'Othello, or the Moor of Venice'. This study teases out instances of doubleness, duplication and paradox to discuss the play's language and its themes. Chapters cover the issues of substitution, of racial polarity and its confusions, of the contested place of the domestic in the play, and the mixed generic signals this comedy-turned-tragedy gives out to its audiences. Throughout the emphasis is on the close readings of the play on the page and on stage, informed by the recent scholarship that has made Othello so pressing a play for the vexed cultural politics of the twenty-first century.

Bloom, the best-known literary critic of our time, shares his extensive knowledge of and profound joy in the works of a constellation of major writers, including Shakespeare, Cervantes, Austen, Dickinson, Melville, Wilde, and O'Connor in this eloquent invitation to readers to read and read well.

“The great poems, plays, novels, stories teach us how to go on living. . . . Your own mistakes, accidents, failures at otherness beat you down. Rise up at dawn and read something that matters as soon as you can.” So Harold Bloom, the most famous literary critic of his generation, exhorts readers of his last book: one that praises the sustaining power of poetry. "Passionate. . . . Perhaps Bloom’s most personal work, this is a fitting last testament to one of America’s leading twentieth-century literary minds."—Publishers Weekly “An extraordinary testimony to a long life spent in the company of poetry and an affecting last declaration of [Bloom's] passionate and deeply unfashionable faith in the capacity of the imagination to make the world feel habitable”—Seamus Perry, Literary Review "Reading, this stirring collection testifies, ‘helps in staying alive.’“—Kirkus Reviews, starred review This dazzling celebration of the power of poetry to sublimate death—completed weeks before Harold Bloom died—shows how literature renews life amid what Milton called “a universe of death.” Bloom reads as a way of taking arms against the sea of life’s troubles, taking readers on a grand tour of the poetic voices that have haunted him through a lifetime of reading. “High literature,” he writes, “is a saving lie against time, loss of individuality, premature death.” In passages of breathtaking intimacy, we see him awake late at night, reciting lines from Dante, Shakespeare, Milton, Montaigne, Blake, Wordsworth, Hart Crane, Jay Wright, and many others. He feels himself “edged by nothingness,” uncomprehending, but still sustained by reading. Generous and clear‑eyed, this is among Harold Bloom’s most ambitious and most moving books.