This essay seeks to disrupt temporal distance to consider what an Anzaldúan perspective of Shakespeare contributes to the powerful conversations that premodern critical race studies have engendered. By drawing on what I term the temporal borderlands of Shakespeare—a borderlands rich with varied critical approaches and cultural products from which to consider the boundaries of periodization that demarcate, define, and inform strategies of race making—I offer an intervention that unsettles the critical frameworks that have, for far too long, reinforced the white rage and linguistic violence that sustain Shakespeare's white capital.