Abstract
Shakespeare's The Tempest has an abrupt and problematic ending; later authors rewriting the work have tried to either impose a fixed closure or prise the ending open. This is particularly true of Conrad's Victory, which provides an uncharacteristic (for Conrad) closed, definitive ending, and later postcolonial rewritings which often, even typically, insist on unresolved plots—both personal and national. We see this clearly in Aimé Cesaire's Une Tempête, Samuel Beckett's Endgame, and Iris Murdoch's The Sea, the Sea. In Prospero's Daughter, Elizabeth Nunez offers a new alternative by presenting a closed ending with poetic justice; this text's conclusion, however, includes its own defiance of colonial and racial narratives of domination.
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