Explored in this essay collection is how Shakespeare is rewritten, reinscribed and translated to fit within the local tradition, values, and languages of the world's various communities and cultures. Contributors show that Shakespeare, regardless of the medium - theater, pedagogy, or literary studies - is commonly 'rooted' in the local customs of a people in ways that challenge the notion that his drama promotes a Western idealism. Native Shakespeares examines how the persistent indigenization of Shakespeare complicates the traditional vision of his work as a voice of Western culture and colonial hegemony. The international range of the collection and the focus on indigenous practices distinguishes Native Shakespeares from other available texts.

Table of Contents:
Introduction, Craig Dionne, Parmita Kapadia; Part 1 Lowly Subjects: Tranwsposing Tradition; Chapter 1 The Face in the Mirror: Joyce’s Ulysses and the Lookingglass Shakespeare, Thomas Cartelli; Chapter 2 Commonplace Literacy and the Colonial Scene: The Case of Carriacou’s Shakespeare Mas, Craig Dionne; Chapter 3 “The Forms of Things Unknown”: Richard Wright and Stephen Henderson’s Quiet Appropriation, John Carpenter; Chapter 4 The Fooler Fooled: Salman Rushdie’s Hybrid Revision of William Shakespeare’s Hamlet Through “Yorick”, Santiago Rodríguez Guerrero-Strachan, Ana Sáez Hidalgo; Part 2 Local Productions: Nationalism and Hegemony From the Third Space; Chapter 5 Jatra Shakespeare: Indigenous Indian Theater and the Postcolonial Stage, Parmita Kapadia; Chapter 6 Nationalizing the Bard: Québécois Adaptations of Shakespeare Since the Quiet Revolution, Jennifer Drouin; Chapter 7 An Aboriginal As You Like It: Staging Reconciliation in a Drama of Desire, Maureen McDonnell; Chapter 8 Movers and Losers: Shakespeare in Charge and Shakespeare Behind Bars, Niels Herold; Part 3 Translating Across: Between the National and the Cultural; Chapter 9 Shakespeare and Transculturation: Aimé Césaire’s A Tempest, Pier Paolo Frassinelli; Chapter 10 Twin Obligations in Solomon Plaatje’s Diphosho-phosho, Ameer Sohrawardy; Chapter 11 In Fair Havana, Where We Lay Our Scene: Romeo and Juliet in Cuba, Donna Woodford-Gormley; Chapter 12 “I am no Othello. I am a lie”: Shakespeare’s Moor and the Post-Exotic in Tayeb Salih’s Season of Migration to the North, Atef Laouyene; afterword Afterword: The Location of Shakespeare, Jyotsna G. Singh;