Cultural Politics In Derek Walcott S Prose And Poetry

This book offers a new reading of the Caribbean Nobel Laureate Derek Walcott, by not only focusing on his totally neglected essays, but also introducing him as a postcolonial theoretician. Probing into Walcott’s writings, the study singles out a set of concepts that parallel, support and sometimes precedes most of the seminal views in postcolonial theory. Wedding theory to practice, the book takes the reader on a scholarly trip whereby Walcott’s theoretical views are applied on his poems.

?An important contribution to the study of Walcott?s poetry and plays.??Modernism/modernity ?Walcott, [Burnett] says, has assimilated western tradition to his own project, using it to create a new plural world of open-ended possibilities. . . . A book that should be of interest to any student of Walcott?s literature.??Times Higher Education Supplement ?This ambitious book takes in the full corpus of Walcott?plays, essays, interviews, etc., as well as the poetry?and argues the essential unity of his (humanistic) vision.??Wasafiri ?Burnett is very good on Walcott?s aesthetic and technical strategies, particularly the mythopoeic framework of his thought, and the epic form which he frequently employs.??New West Indian Guide ?Convincingly suggests that Walcott?s art radiates outward from St. Lucia to the West Indies, the Caribbean, Latin America, and the Americas, becoming an art that honors and enlarges the English language and its multiple histories and usages.??World Literature Today

The articles in this collection are representative of the criticism that has followed Walcott's career from the 1940s into the 1990s. Ten entries by Walcott himself (including one not previously published and two vital interviews) are complemented by some 40 incisive essays and reviews, ranging from professional assessments to the rare, personal observations of Walcott's earliest mentors.

The first collection of essays by the Nobel laureate Derek Walcott, What the Twilight Says, drawn from pieces originally published in The New York Review of Books, The New Republic, and elsewhere. This collection forms a volume of remarkable elegance, concision, and brilliance. It includes Walcott's moving and insightful examinations of the paradoxes of Caribbean culture, his Nobel lecture, and his reckoning of the work and significance of such poets as Robert Lowell, Joseph Brodsky, Robert Frost, Les Murray, and Ted Hughes, and of prose writers such as V. S. Naipaul and Patrick Chamoiseau. On every subject he takes up, Walcott the essayist brings to bear the lyric power and syncretic intelligence that made him one of the major poetic voices of our time.

Terada describes this approach as one of the most ancient and critical oppositions in Western culture. She considers the ways in which Walcott's poetry, written from this ambiguous vantage point, illuminates the relationship of American poetry to Old World culture, as well as the ways in which American languages relate to one another and to the material world. While mimetic theories of art hold that culture is a representation of something original (nature), Walcott's does not. Thus, he must re-examine the relationship between culture and nature. Beginning broadly with Walcott's mental map of the world, Terada demonstrates how his "geographic imagination" is played out in Omeros. She goes on to explore Walcott's unusual openness to his poetic precursors, among them Homer, Beaudelaire, John Donne, William Butler Yeats, and Robert Lowell, which for some critics is as problematic as his adoption of the creoles and dialects of the Caribbean.

Postcolonial Odysseys: Derek Walcottâ (TM)s Voyages of Homecoming highlights the importance of the trope of voyaging in Derek Walcottâ (TM)s poetics, primarily as it pertains to the poetâ (TM)s engagement with classical verse. Focusing specifically on the engagement with Homeric myth, and The Odyssey in particular, it articulates the manner in which Walcottâ (TM)s postcolonial reconfigurations of epic verse both highlights the endurance of the classics as well as demonstrating how cultural practices can remake and transform ancient texts. Concomitant with the poetâ (TM)s presentation of self as divided, this study traces opposing forces in operation within this trope: a centrifugal force that corresponds to the outward journey away from his island home in search of greater publishing opportunities and broader readerships, and a centripetal force corresponding to the return journey, or homecoming. The enabling potential of Greek myth is marked by a similar to-ing and fro-ing in Walcottâ (TM)s verse as he repeatedly engages with, and simultaneously disavows, Homeric configurations. Insisting on the reciprocal nature of poetic appropriation, the act of rewriting also signalling new ways of rereading, Walcottâ (TM)s appropriations effectively enter into a critical dialogue with Homeric verse. Further depth to Walcottâ (TM)s rewriting of Homer is provided by an analysis of the mediating influence of Euro-American modernism. Through an examination of the postcolonial aftermath of modernism, it challenges the perceived exclusivity of each, illustrating this premise through case studies of Walcottâ (TM)s relation to both Romare Bearden and James Joyce. This study is therefore interdisciplinary and inter-artistic in nature, transgressing the borderline between poetry and prose, and that of literary and artistic disciplines. Highlighting the permeability of such boundaries, it investigates the journey of Odysseus, as prototypical wanderer, through time and space, from oral to print culture, from word to image.

Drawing from every stage of his career, this volume collects selected poems from Nobel Prize winner Derek Walcott's lifetime of work. Walcott's Selected Poems brings together famous pieces from his early volumes, including "A Far Cry from Africa" and "A City's Death by Fire," with passages from the celebrated Omeros and selections from his later major works, which extend his contributions to reenergizing the contemporary long poem. Here we find all of Walcott's essential themes, from grappling with the Caribbean's colonial legacy to his conflicted love of home and of Western literary tradition; from the wisdom-making pain of time and mortality to the strange wonder of love, the natural world, and what it means to be human. We see his lifelong labor at poetic crafts, his broadening of the possibilities of rhyme and meter, stanza forms, language, and metaphor. Edited and with an introduction by the Jamaican poet and critic Edward Baugh, this volume is a perfect representation of Walcott's breadth of work, spanning almost half a century.

Nobel Laureate Derek Walcott's The Prodigal is a journey through physical and mental landscapes, from Greenwich Village to the Alps, Pescara to Milan, Germany to Cartagena. But always in "the music of memory, water," abides St. Lucia, the author's birthplace, and the living sea. In this book of poems, Derek Walcott has created a sweeping yet intimate epic of an exhausted Europe studded with church spires and mountains, train stations and statuary, where the New World is an idea, a "wavering map," and where History subsumes the natural history of his "unimportantly beautiful" island home. Here, the wanderer fears that he has been tainted by his exile, that his life has become untranslatable, and that his craft itself is rooted in betrayal of the vivid archipelago to which, like Antaeus, he must return for the very sustenance of life.