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Caribbean tricksters at crossroads: Davlin Thomas's Lear Ananci and Hamlet: The Eshu Experience

This article examines the appropriation of the figure of the African trickster and Shakespearean characters in two Caribbean adaptations of King Lear and Hamlet. These adaptations also use the motif of the crossroads to comment on the multiple cultural strands that intersect in complex ways to make up Caribbean subjectivities. Because the crossroads also represents choice, it takes these plays beyond simple anticolonial interpretations, complicates the relationship between the Caribbean and its colonial past, and emphasizes the challenges of post-colonialism.