- Jonathan Gil Harris, “Rematerializing Shakespeare’s Intertheatricality: The
Occidental/Oriental Palimpsest,” 19 , from a forthcoming book project. - Thomas Heywood, The Fair Maid of the West, Parts I and II, ed. Robert K. Turner,
Jr. (Lincoln: University of Nebraska Press, 1967 ). - From Tamb. I 3. 3. 136 ;Tamb. II 1. 1. 61 – 64. Quotations from Marlowe are from
Christopher Marlowe, The Complete Plays, ed. Frank Romany and Robert Lindsey (Lon-
don: Penguin Books, 2003 ), except where otherwise stated. - For a concise, wide-ranging survey of ostensibly “racist” representations, see espe-
cially Virginia Mason Vaughan and Alden T. Vaughan, “Before Othello: Elizabethan Rep-
resentations of Sub-Saharan Africans,” William and Mary Quarterly 3 rd ser.54,no. 4
(January 1997 ): 19 – 44. - Richard Hakluyt, The Principal Navigations, Voyages, Traffiques & Discoveries of the
English Nation, 12 vols. ( 1589 ; Glasgow: James Maclehose and Sons, 1903 – 5 ). All quotations
from Hakluyt are from this edition unless otherwise stated. - John Pory, in The History and Description of Africaby Al-Hassan Ibn-Mohammed
Al Wezâz Al-fâsi, ed. Robert Brown, 3 vols. (London: Hakluyt Society, 1896 ), 1006 , 6.
18.Quotations from this play are from William Shakespeare, Titus Andronicus, ed.
Jonathan Bate (London: Routledge, 1995 ). - John Ryle, “The Many Voices of Africa,” Granta: The Magazine of New Writing 92
(Winter 2005 ), 9 ; emphasis added. - Ryle, 9.
- Nicholas D. Kristof, “Shrugs for the Dead,” New York Times (August 8 , 2006 ), A 17.
- Kristof, A 17.
- Celia Daileader, Racism, Misogyny, and the Othello Myth: Inter-racial Couples from
Shakespeare to Spike Lee(Cambridge: Cambridge University Press, 2005 ), 6 , 10. - Gary Taylor, Buying Whiteness: Race, Culture, and Identity from Columbus to Hip
Hop(New York: Palgrave, 2005 ), 44. Taking “whiteness” as the trope that has made a tran-
shistorical difference from “Columbus to Hip Hop,” Taylor presents skin as the “first sign
system” one “learns to read,” its color hard to miss, and “the word moor” as having “every-
thing to do with dark flesh” in Othello( 2 ). - This question comes from Emma Smith.
- G. K. Hunter, “Othello and Colour Prejudice,” in Dramatic Identities and Cul-
tural Tradition: Studies in Shakespeare and His Contemporaries(New York: Barnes and
Noble Books, 1978 ), 31 – 59. As Mary Floyd-Wilson points out in a useful summary of
“Moors, Race, and the Study of English Renaissance Literature: A Brief Retrospective,”
Literature Compass 3 , no. 5 (September 2006 ): 1044 – 52 , doi: 10 .i 111 /j. 1741 – 4113. 2006.
00366 x, Hunter’s essay was initially published in 1967. - Jones, Othello’s Countrymen, 37 , 3.
- Jones, Othello’s Countrymen, 109.
- William Shakespeare, The Tempest, ed. Stephen Orgel ( 1987 ; Oxford: Oxford Uni-
versity Press, 1998 ). - See the Sierra Leone Writers Series homepage at http://www.sl-writers-series.org. I am
grateful to Emma Smith for bringing this site to my attention.
196 notes to pages 6–10