ABSTRACT
The incongruity of bringing Shakespeare and posthumanism together is almost painful. Ed. Graham Bradshaw’s study, meanwhile, provides an appealing overview of prefigurations within literature and popular culture of prominent posthumanist themes and tropes, like metamorphosis, humanmachine interfaces or dystopian and post-apocalyptic words. The reaction to that in a world where academics have to speak so much about “impact” and to reassess the public value of the humanities cannot be, however, any insipid rapprochement that leaves both the Shakespearean’s world and the posthumanist’s horizon untransgressed and untransformed. Desire and desires, which some posthumanist worlds would re-engineer away, therefore swamp the play elementally, epically, tragically. Macbeth, in the guise of that instant, is not unignorant about the present or the future of the humanity, its togetherings and its gatherings-to, and it is because of that wisdom that its posthumanist potentialities are worth such scrutiny.
