Standing in solidarity with women of color who want to escape objectification from the white male gaze.

Aaron refuses to feel ashamed for being Black while the weight of “The Story of OJ” rests in elements of shame.

The erasure of black voices and absence of black bodies in literature throughout history speaks volumes about the extent to which racial injustice has prevailed, and the works of Shakespeare are no exception.

Halsey’s “Nightmare” and Aaron’s final speech in Titus run parallel. The two pieces echo the idea of returning bad treatment with worse.

Can we trust Shakespeare to tell stories of people of color? Anyone who claims to care about including the stories and voices of people of color in the dramatic arts should be using the standard that Fairview offers

Verse one of “FIGHT” begins with the confession, “My male role models [are] drug dealers and thugs.” Similarly, black writers, such as Maya Angelou and James Baldwin, do not have many black literary idols to admire, while the literary community, collectively, is made to revere Shakespeare.

I’d like to suggest an alternate approach to reading Shakespeare’s plays: rebellion. Yes, let’s all revert back to our angsty-teen selves, embrace our seemingly limitless ability to shit on the figure(s) of authority, and renegotiate the means by which we are made to read Shakespeare.

Why do we expect students who have no connection to Shakespeare—and likely don’t want to read Shakespeare—to suddenly attach themselves to plays that deal with racial trauma, abuse, and privilege?

The speaker in Shakespeare’s sonnets express “love” for a “dark lady,” a woman who is undeniably manipulated by the speaker and his ego.