The publication and performance of Eugene O'Neill's new play All God's Chillun Got Wings (written 1923) in early 1924 aroused heated controversy from both the white and the black sides, due to its overt theme of miscegenation: a black protagonist, Jim Harris, marries a white woman, Ella Downey. Obviously the story reiter-ates Shakespeare's tragedy Othello; moreover, a further analysis will surface two other Othellos functioning beyond the framework of narrative setting. Replacing this undervalued play in the context of the African-American history and their theatrical tradition will lead us find the American transfiguration of Shakespeare which may be called `Sons of Othello.'  Jim overlaps with Othello in that both black men, though marginalized in the white world, are so Anglophilic that they marry white women. While Othello hopes to gain approval in Venice through distinguished military service and patronage of Chris-tianity, Jim struggles to pass the bar exam to `pass' as "the whitest of the white" in the American society of the 1920s. Yet unlike Desdemona who finds happiness in marriage with Othello, Ella istorn up between the white self and affection toward the black husband, only to go insane. Then Jim decides to feign "Uncle Jim," a kind old man of Southern plantation, throughout his life to satisfy his white wife's superiority complex. Is Jim subjugated by Ella ? Does the figure of a black husband dedicating himself to a white wife indicate a defeat of the whole black race ?  It is especially noteworthy that Jim maintains a marital relation-ship with Ella. From plantation days to the early twentieth-century when lynching was still prevalent, the white men felt misgivings that the black men would steal and rape their property, the white women. However at the end of the play, Jim succeeds in gaining what the black men in history could never obtain, that is, love of a white woman. Like the figure of "sygnifyin (g) monkey" which Henry Louis Gates, Jr. develops, this American son of Othello outwits the white authority.  The second Othello is Paul Robeson, an actor who played the role of Jim in the original run of All God's Chillun Got Wings. Despite a long convention of 'Blackface,' Robeson became one of the earliest black actors to perform black characters. Starting his career as a lawyer, he soon turned to the theater world for more chance; in 1943, he became the first black man to impersonate Othello in the white Broadway production. By playing Jim and Othello against white actresses, Robeson received love of white women, which marked the turning point in the black theater history. Furthermore, he became a political activist in the 1950s struggling for the repeal of Jim Crow laws. Robeson's career embodies the rise of black race that started from the Harlem Renaissance to culminate in the 1960s; or, in other words, a transi-tion of 'Othello' to `American Othello' in the African-American history.  The autobiographical reading of the play gives us a clue for third Othello. It is apparent that All God's Chillun Got Wings is modeled after the playwright's own parents, James O'Neill and Ella. Though there was no racial discrepancy between these two, James suffered a strong sense of class inferiority against his well-bred wife, always reciting the lines which Othello justifies his marriage with Des-demona. According to O'Neill's autobiographical masterpiece, Long Day's journey into Night (written 1941, staged 1956), James often boasted of his playing Othello against Edwin Booth in 1874; yet James fell from a talented classic actor into a cheap melo-drama star blinded by greed. When melodrama lost popularity at the turn of the century, James was also forgotten from the public. And it was James' son, Eugene O'Neill, that opened the curtain for the age of American modern drama in the 1910s. The transition of American theater history from melodrama to realism is symbol-ized by Eugene's figurative patricide. James, a son of Othello in America, was killed by his own son, Eugene.  Other interpretation is also possible.. All God's Chillun Got Wings is a biography of the author's father. The modern criticism since the 1970s has disclosed the discursive nature of a biography and reduced it as a `narrative,' not Truth. A life story told in a biography becomes a new life fabricated by way of one biographer. Thus it is possible to assume that Eugene O'Neill `killed' his father by getting a start on the American modern drama; but the son also `revived' his father through the act of writing the biographical play.