‘“To Love the Moor”: Postcolonial Artists Write Back to Shakespeare’s Othello

TY - JOUR

T1 - ‘“To Love the Moor”

T2 - Postcolonial Artists Write Back to Shakespeare’s Othello

AU - Chambers, Claire Gail

N1 - © 2016, The Author(s). Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details.

PY - 2016/6/30

Y1 - 2016/6/30

N2 - In this essay, I consider the issue of ‘writing back’ through the case study of how William Shakespeare’s tragedy Othello has been adapted and challenged by global writers. I begin by exploring Salih’s parody and inversion of Othello in Season of Migration to the North, through which he not only exposes Mustafa’s colonized anger towards his white lovers, but also calls into question Shakespeare’s depiction of the ‘noble Moor’ (III. iv: 26). In doing so, he is participating in what literary critics term intertextuality; in other words, he creates a web of references to other texts. Later postcolonial writers have fashioned full adaptations of Othello or ‘written back’ to the play. I scrutinizeToni Morrison’s 2012 play Desdemona, which is accompanied by music from the Malian singer Rokia Traoré. Morrison brings Desdemona centre stage and suggests that her individual beauty and purity were partly facilitated by an almost-silenced figure in the play, her attentive African maid, Barbary/Sa’ran.For the essay’s second half, I examine a group of Indian artists writing back to Othello. Vishal Bhardwaj’s Omkara (2006) is the second film in a twenty-first-century Bollywood trilogy of Shakespearean adaptations. In Omkara, issuesof caste and bi-racial identity in colour-conscious India replace Shakespeare’s interest in the people then known as blackamoors. Finally, I engage with comic novelist Upamanyu Chatterjee’s short story ‘Othello Sucks’, in which his characters are critical of Shakespeare. Their irreverence towards the play in the context of New India is entertaining and instructive.

AB - In this essay, I consider the issue of ‘writing back’ through the case study of how William Shakespeare’s tragedy Othello has been adapted and challenged by global writers. I begin by exploring Salih’s parody and inversion of Othello in Season of Migration to the North, through which he not only exposes Mustafa’s colonized anger towards his white lovers, but also calls into question Shakespeare’s depiction of the ‘noble Moor’ (III. iv: 26). In doing so, he is participating in what literary critics term intertextuality; in other words, he creates a web of references to other texts. Later postcolonial writers have fashioned full adaptations of Othello or ‘written back’ to the play. I scrutinizeToni Morrison’s 2012 play Desdemona, which is accompanied by music from the Malian singer Rokia Traoré. Morrison brings Desdemona centre stage and suggests that her individual beauty and purity were partly facilitated by an almost-silenced figure in the play, her attentive African maid, Barbary/Sa’ran.For the essay’s second half, I examine a group of Indian artists writing back to Othello. Vishal Bhardwaj’s Omkara (2006) is the second film in a twenty-first-century Bollywood trilogy of Shakespearean adaptations. In Omkara, issuesof caste and bi-racial identity in colour-conscious India replace Shakespeare’s interest in the people then known as blackamoors. Finally, I engage with comic novelist Upamanyu Chatterjee’s short story ‘Othello Sucks’, in which his characters are critical of Shakespeare. Their irreverence towards the play in the context of New India is entertaining and instructive.

KW - writing back, postcolonial, William Shakespeare, Othello

M3 - Article

VL - 1

SP - 1−39

JO - Postcolonial Interventions: An Interdisciplinary Journal of Postcolonial Studies

JF - Postcolonial Interventions: An Interdisciplinary Journal of Postcolonial Studies

SN - 2455-6564

IS - 2

M1 - 1

ER -