Through mainly a New Historicist critical approach, this book explores how Shakespeare and Achebe employ supernatural devices such as prophecies, dreams, gods/goddesses, beliefs, and divinations to create complex characters. Even though these features indicate the preponderance of the belief in the supernatural by some people of the Elizabethan, Jacobean, and traditional Igbo societies, Shakespeare and Achebe primarily use the supernatural to represent the states of mind of their protagonists. Both writers appropriate supernatural features to mirror tragic flaws such as ambition, arrogance, impulsiveness, and fear that contribute to the downfall of Macbeth, Lear, Okonkwo, and Ezeulu. We relate to some of these characters because they project our inner minds, principal drives that may be hidden within us. Therefore, Shakespeare and Achebe’s preoccupation with the supernatural adds subtlety to their characterization and enhances their readability by situating their art beyond time, place, or particularity.

In the Atlantic World, different groups were aromatically classified in opposition to other ethnic, gendered, and class assemblies due to an economic necessity that needed certain bodies to be defined as excremental, which culminated in the creation of a progressive tautology that linked Africa and waste through a conceptual hendiadys born of capitalist licentiousness. The African subject was defined as a scented object, appropriated as filthy to create levels of ownership through discourse that marked African peoples as unable to access spaces of Western modernity. Embodied cultural knowledge was potent enough to alter the biological function of the five senses to create a European olfactory consciousness made to sense the African other as foul. Fascinating, informative, and deeply researched, The Smell of Slavery exposes that concerns with pungency within the Western self were emitted outward upon the freshly dug outhouse of the mass slave grave called the Atlantic World.

Afro-Nordic Landscapes: Equality and Race in Northern Europe challenges a view of Nordic societies as homogenously white, and as human rights champions that are so progressive that even the concept of race is deemed irrelevant to their societies. The book places African Diasporas, race and legacies of imperialism squarely in a Nordic context. How has a nation as peripheral as Iceland been shaped by an identity of being white? How do Black Norwegians challenge racially conscribed views of Norwegian nationhood? What does the history of jazz in Denmark say about the relation between its national identity and race? What is it like to be a mixed-race black Swedish woman? How have African Diasporans in Finland navigated issues of race and belonging? And what does the widespread denial of everyday racism in Nordic societies mean to Afro-Nordics? This text is a must read for anyone interested in issues of race in the Nordic region and Europe writ large. As Paul Gilroy writes in his foreword, it is a book that "should be studied with care and profit inside the Nordic countries and also outside them by the broader international readership that has been established around the study of racism and 'critical race theory'."

Shakespeare s Widows moves thirty-one characters appearing in twenty plays to center stage. Through nuanced analyses, grounded in the widows material circumstances, Kehler uncovers the plays negotiations between the opposed poles of residual Catholic precept and Protestant practice - between celibacy and remarriage. Reading from a feminist materialist perspective, this book argues that Shakespeare s insights into the political and economic pressures the widows face allow them to elude mechanistic ideology. Kehler s book provides extensive historical background into the various religious and cultural attitudes towards widows in early modern England.

The book comprises essays, each highlighting a particular word or term germane to the study of race and ethnic studies.