Unpicking the ecopolitics of Shakespeare's plays at the Stuart court, Shakespeare Beyond the Green World establishes that the playwright was remarkably attentive to the environmental issues of his era. As a court dramatist, he designed his plays to captivate a patron deeply involved in both the conservation and exploitation of a burgeoning empire's natural resources. Spurred by James' campaign to unify his kingdoms, the Jacobean Shakespeare ventures beyond the green and pleasant lowlands of England to chart the wild topographies of an expansionist Great Britain: the blasted heath in Macbeth, the caves and mines of Timon of Athens, the overfished North Sea in Pericles, the Welsh mountains in Cymbeline, the Arctic fur country in The Winter's Tale, the fens in The Tempest, overcrowded London and empty Ulster in Measure for Measure and Coriolanus, and the night in Antony and Cleopatra and King Lear. While these plays often simulate a monarch's-eye-view of the natural world, t reveal that Crown policies were fiercely contested from below. In addition to trekking beyond verdant landscapes, Shakespeare Beyond the Green World seeks to mitigate the Anglocentric and anthropocentric bias of the archive by putting the plays into conversation with texts in which the subaltern wild growls back. Combining deep dives into environmental history with close readings of Shakespearean wordplay, original typography, and original performance conditions, this study re-wilds the Renaissance stage. It spotlights Shakespeare's tendency to humanize beasts and bestialize allegedly godlike monarchs, debunking fantasies of human exceptionalism. By clarifying how the Jacobean plays expose monarchical dominion as ecological tyranny, this study remains scrupulously historicist while reasserting Shakespearean drama's scorching relevance in the Anthropocene.

Pushing ecocriticism beyond the typical boundaries of ‘nature’ writing, this interdisciplinary account introduces one of the most lively areas of Shakespeare studies and presents a convincing case for his continuing relevance to contemporary theory.

Did Shakespeare write Shakespeare? This authoritative collection of essays brings fresh perspectives to bear on an intriguing cultural phenomenon.

The Oxford Handbook of Shakespearean Comedy offers critical and contemporary resources for studying Shakespeare's comic enterprises. It engages with perennial, yet still urgent questions raised by the comedies and looks at them from a range of new perspectives that represent the most recent methodological approaches to Shakespeare, genre, and early modern drama. Several chapters take up firmly established topics of inquiry such Shakespeare's source materials, gender and sexuality, hetero- and homoerotic desire, race, and religion, and they reformulate these topics in the materialist, formalist, phenomenological, or revisionist terms of current scholarship and critical debate. Others explore subjects that have only relatively recently become pressing concerns for sustained scholarly interrogation, such as ecology, cross-species interaction, and humoral theory. Some contributions, informed by increasingly sophisticated approaches to the material conditions and embodied experience of theatrical practice, speak to a resurgence of interest in performance, from Shakespeare's period through the first decades of the twenty-first century. Others still investigate distinct sets of plays from unexpected and often polemical angles, noting connections between the comedies under inventive, unpredicted banners such as the theology of adultery, early modern pedagogy, global exploration, or monarchical rule. The Handbook situates these approaches against the long history of criticism and provides a valuable overview of the most up-to-date work in the field.

Bronwen Wallace Memorial Award-winning poet Sonnet L'Abbé returns with her third collection, in which a mixed-race woman decomposes her inheritance of Shakespeare by breaking open the sonnet and inventing an entirely new poetic form. DOROTHY LIVESAY POETRY PRIZE FINALIST RAYMOND SOUSTER AWARD FINALIST How can poetry grapple with how some cultures assume the place of others? How can English-speaking writers use the English language to challenge the legacy of colonial literary values? In Sonnet's Shakespeare, one young, half-dougla (mixed South Asian and Black) poet tries to use "the master's tools" on the Bard's "house," attempting to dismantle his monumental place in her pysche and in the poetic canon. In a defiant act of literary patricide and a feat of painstaking poetic labour, Sonnet L'Abbé works with the pages of Shakespeare's sonnets as a space she will inhabit, as a place of power she will occupy. Letter by letter, she sits her own language down into the white spaces of Shakespeare's poems, until she overwhelms the original text and effectively erases Shakespeare's voice by subsuming his words into hers. In each of the 154 dense new poems of Sonnet's Shakespeare sits one "aggrocultured" Shakespearean sonnet--displaced, spoken over, but never entirely silenced. L'Abbé invented the process of Sonnet's Shakespeare to find a way to sing from a body that knows both oppression and privilege. She uses the procedural techniques of Oulipian constraint and erasure poetries to harness the raw energies of her hyperconfessional, trauma-forged lyric voice. This is an artist's magnum opus and mixed-race girlboy's diary; the voice of a settler on stolen Indigenous territories, a sexual assault survivor, a lover of Sylvia Plath and Public Enemy. Touching on such themes as gender identity, pop music, nationhood, video games, and the search for interracial love, this book is a poetic achievement of undeniable scope and significance.