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Compares "tension between collaboration and coercion" in Tempest to "unequal institutional labor networks within academia." Focuses on play's "dramatization of settler-colonial structures, enslavement, and violence." Concludes that Shakespeare studies should "focus not on 'the Bard' but on the students, scholars, and Shakespeare enthusiasts who study him."

Considers the first folio as an "institution" in Shakespeare studies, whose prefatory materials emphasize "instruction and succession." Recounts how "the teaching of Shakespeare was central to the establishment of colonial order and authority," and how the first folio was instrumental in this pedagogy. Calls for premodern critical race studies to resist calcification and institutionalization by "working collectively toward justice."

Argues that the First Folio's textual apparatus constructs "Shakespeare both as quintessentially native and as white." Rejects universal readings of Shakespeare's works.

"Examines John Heminge and Henry Condell’s contributions (in conjunction with the publishing syndicate) to the 1623 Shakespeare Folio as a part of white English racial formation." Describes how George Wither's dispute with the Stationers' Company in terms of power and  "structures of silent whiteness in the early modern English book trade." Relates concerns about who can and should buy first folios, tracing anxiety about American collectors, including Henry and Emily Folger.

Describes Princess Izabela Czartoryska's 1790 purchase of a chair purportedly belonging to Shakespeare, now in the national museum in Krakow, Poland. Traces the chair's provenance, noting its damage from political insurrections and reconstruction as part of a reliquary. Positions chair as "material relic" and "essential element of a poet's cult."

Analyzes functions of reading in Antony and Cleopatra alongside George Steevens's often-republished annotations on the play. Suggests play's self-conscious portrayal of reading parallels eighteenth-century editorial practice with its extensive intertextuality.

Shows how Shakespeare is called upon in present-day crisis and valued in post-apocalyptic novels, including Emily St. John Mandel's Station Eleven (q.v.) and Garrett P. Serviss's The Second Deluge (1911). Traces portrayals of Shakespeare as part of "survivance": "an ongoing process or performance that must be remade continually."

Interrogates how Tempest "came to be seen as an ‘essential’ Shakespearean text in a post-[covid]-lockdown America, ultimately concluding that what is essential about The Tempest is not found within Shakespeare’s text, but in the social demand that producing the play places on theatres who wish to reframe the play as anti-racist." Suggests that post-covid popularity of Tempest performances in America was attempt to respond to Black Lives Matter. Advocates for American theatres to "replace The Tempest with works that celebrate blackness, and Black joy in particular." English summary, 596.

Suggests that Horatio's responses to the ghost of King Hamlet are not meant to represent a unified philosophy, but rather, exemplifies the early modern understanding of belief as "dispositional" and something that can be changed. English summary, 394.

Offers "a fluid-dynamic understanding of theatrical affect" that considers liquid staging of strong emotions in Romeo and Juliet and Titus Andronicus. Shows how liquids can reflect unbounded emotions; suggests audiences respond to "theatrical atmospheres" that include fluid forms and emotions.