A Review of Variable Objects: Shakespeare and Speculative Appropriation, edited by Valerie M. Fazel and Louise Geddes (Edinburgh UP, 2021)

William Shakespeare, a literary and cultural icon, and his no less iconic texts continue to fuel the performance and adaptation landscape, various areas of pedagogy, and, inexhaustibly, academic criticism. Dynamically developing theoretical approaches, be it corpus linguistics, media studies, adaptation studies, or posthumanism, reach out to Shakespeare for stimulating research material, taking Shakespeare studies further into exciting and productive areas. One of the issues that keeps returning to the centre of various discourses is the question of what Shakespeare is, and how to approach, understand, and analyze this complex assemblage of meanings— the poet of Stratford-upon-Avon, the theatre person, the theatrical texts themselves, metonymically referred to by the name of the man, as well as their afterlives in print, performance, and appropriations across centuries, cultures, and media. What emerges as an intuitive answer to that question is “Shakespeare”—the Shakespeare object—easily recognizable through its numerous fragmentary landmarks. Variable Objects: and Speculative Appropriation , a collection M. and Geddes, ventures the exploration of that very concept. With its rich and stimulating interdisciplinary approach, it examines how “Shakespeare” keeps circulating in our world, but it does a lot more than discover ways to read Shakespeare’s texts anew. Recognizing “the interchangeability of humans and objects as its starting point” ( VO 2), the volume takes for granted the power of Shakespeare’s texts to generate an abundance of new ideas. What it does is to propose a focus on how fragments and objects, material and immaterial, human and non-human, rhizomatically networking away from the “Shakespeare”