A striking example comes in the first essay of White People, by the late Imtiaz Habib, a founding scholar of race in early modern England. He takes up the opening line of Shakespeare’s “Sonnet 1,” which implores a handsome young man to reproduce: “From fairest creatures we desire increase.” The key word here is fairest. In Shakespeare’s day, fair could mean physically attractive or morally just. It could also refer to complexion. More influential, it could be used to link attractiveness and justness to whiteness. When the Duke of Venice approves of Othello’s virtue, for instance, he calls him “far more fair than black.” (Is it any coincidence that the answer to the fairy-tale question “Who’s the fairest of them all?” is “Snow White”?) The scholar Kim F. Hall, another contributor to White People, demonstrated the racial valence of fair almost three decades ago in her field-defining study, Things of Darkness —a dynamic work whose implications are still contested. Although I’m in Hall’s camp, not all Shakespeare scholars agree with her ideas. As a result, it’s still common for people to read passages such as those that open “Sonnet 1” without acknowledging that a paraphrase could basically be “We want the whitest people to have more babies.” Habib calls the “Sonnet 1” opening a “declaration of the desirable eugenic privilege of white breeding,” which is the kind of bracing take, both unsettling and compelling, that this collection offers at every turn.