Abstract
What happens to the critical work of scholars, teachers, and performers of Shakespeare if we take very seriously the whiteness of our author and the critical epistemologies that develop and contour the body of his corpus? How is such work affected by the BIPOC identities of these scholars, teachers, and performers? In this essay I consider these questions through a sustained critique of Shakespeare’s whiteness and the whiteness of the critical gaze that has been directed at Shakespearean canon. My essay is subtended by the personal, which is an important facet of the confessional mode being considered, interrogated, and recapitulated in this issue. My confession, to which I turn at the close of this essay, rehearses a pedagogical experience wherein the wages of whiteness exact their usual cost from me and my students, demanding that we yield to white practices of knowledge-making in Shakespeare.
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