- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
This passage champions the power of communing—in almost any form and around almost anything at all—to achieve love. Even oppression, it seems, constitutes something that can draw people together, whether they are “pimps, whores, racketeers, church members, [or] children.” Baldwin speaks of the “complex of risks” that the oppressed must “run,” a phrase that suggests—by its use of the word “complex”—that specific manifestations of oppression range widely between peoples’ varied experiences. Rather than pointing to this as evidence that oppression keeps people apart or renders them fundamentally different from one another, Baldwin celebrates this idea—after all, assembling a mosaic of…