Shakespeare Quarterly is a highly selective journal that is eager to receive strong work in all areas of Shakespeare studies by scholars at every career-stage. In the interest of making our editorial procedures as transparent as possible, we provide the following information….

As many of you probably know, Shakespeare Quarterly is behind schedule. In spite of  production delays, we continue to receive and accept exciting, cutting-edge scholarly work, and we want to do what we can to let our readers know what is forthcoming. For Spring 2020 abstracts, click here.

We are very pleased to announce that, effective September 1, 2020, James Kuzner has joined the Shakespeare Quarterly editorial team as the journal’s first-ever Book Reviews Editor. If you would like to review a book for SQ, or if you hope to have SQ review your book, please contact James directly at james_kuzner@brown.edu…

The Editorial Board of Shakespeare Quarterly expresses its strong support for the call to action posted by the RaceB4Race collective this June (https://medium.com/the-sundial-acmrs/its-time-to-end-the-publishing-gatekeeping-75207525f587). We reaffirm the journal’s interest in receiving and publishing work in early modern critical race studies…

“If you find a Christ figure in Shakespeare you fail this course.” “You’re like a butterfly; you touch on everything and alight on nothing.” “The Magi are the intellectuals in the story: they come late, compromised, bearing useless gifts.” Not what I, a first-year student at Fordham University, expected to hear from the Jesuit before me, the imposing Father Tim Healy…

Sightings of my bin-liner began on the first day of spring break. My cell phone buzzed with unusual frequency as incoming texts arrived from friends and colleagues, all sent from the security check-point in the Reno-Tahoe International Airport, and all accompanied by iPhone photos of the plastic bins that go through the x-ray scanners…

In its allusions to past, present, and even futuristic theater, the Thomas Jolly Richard III seemed a perfect beginning to the year of Shakespeare commemoration in France, focused as it is on his afterlife. I was surprised that most of the people I talked to in Paris interpreted this production simply as something intended to appeal to a young audience, and perhaps, therefore, selling out…

For many, including the friend who invited me to join her at the theater, Shakespeare’s Midsummer Night’s Dream should be staged in an Arthur Rackham world, replete with nineteenth-century fairies clothed in gossamer robes. Although my friend was deeply disappointed that Peter Brook’s famous 1970 production did not conform to her…

Shakespeare Quarterly has some exciting news to share. On January 1, 2019, Oxford University Press (OUP) will become the journal’s new publisher.

Both Ewan Fernie and Paul Kottman have recently published books that address the expansive topics of Shakespeare and freedom. In addition to each author reviewing the other’s book in our Fall 2017 issue, Fernie and Kottman answered a set of our questions to further explore the relationship between Shakespeare and freedom.

The influence of early printed poetical collections upon the second edition of Shakespeare’s collected sonnets (John Benson, 1640) has been convincingly argued in recent scholarship, but many structural elements found in Benson’s edition are also drawn from practices more common in early modern manuscript miscellanies …

The Merchant of Venice challenges audiences to reckon with the uncertainties of maritime venturing. It does so by marking out a network of news that extends between Venice and Belmont, then making the news itself seem doubtful and even perilous …