Cultural Politics In Derek Walcott S Prose And Poetry
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Cultural Politics in Derek Walcott’s Prose and Poetry by Naglaa Saad M. Hassan Pdf
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 first collection of essays by the Nobel laureate. Derek Walcott has been publishing essays in The New York Review of Books, The New Republic, and elsewhere for more than twenty years. What the Twilight Says collects these pieces to form 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 have made him one of the major poetic voices of our time. Derek Walcott was born in St. Lucia in 1930. His recent works include Omeros (FSG, 1990) and The Bounty (FSG, 1997). He received the Nobel Prize in Literature in 1992. He lives in New York City and Castries, St. Lucia.
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.
Critical Perspectives on Derek Walcott by Robert D. Hamner Pdf
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.
Do not diminish in my memory villages of absolutely no importance, ... Hoard, cherish your negligible existence, your unrecorded history of unambitious syntax, your clean pools of unpolluted light over close stones. 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 his new work, 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.
Drawing from every stage of his career, Derek 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 latest 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.
"Nobody's Nation" offers an illuminating look at the St. Lucian, Nobel-Prize-winning writer, Derek Walcott, and grounds his work firmly in the context of West Indian history. Paul Breslin argues that Walcott's poems and plays are bound up with an effort to re-imagine West Indian society since its emergence from colonial rule, its ill-fated attempt at political unity, and its subsequent dispersal into tiny nation-states. According to Breslin, Walcott's work is centrally concerned with the West Indies' imputed absence from history and lack of cohesive national identity or cultural tradition. Walcott sees this lack not as impoverishment but as an open space for creation. In his poems and plays, West Indian history becomes a realm of necessity, something to be confronted, contested, and remade through literature. What is most vexed and inspired in Walcott's work can be traced to this quixotic struggle. Linking extensive archival research and new interviews with Walcott himself to detailed critical readings of major works, "Nobody's Nation" will take its place as the definitive study of the poet.
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.
A selection of the poetry of Derek Walcott, winner of the 1992 Nobel Prize for Literature. The nature of memory and the creative imagination, the history, politics and landscape of the West Indies, Walcott's loves and marriages and his enduring awareness of time and death, are recurring themes.
Conversations with Derek Walcott by Derek Walcott Pdf
When Derek Walcott was awarded the Nobel Prize, he was cited for "a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment." The lively interviews in this collection reveal Walcott's generous and brilliant intelligence as well as his strong, forthright opinions. He discusses the craft of poetry, the status of contemporary poetry and drama, his founding of the Trinidad Theatre Workshop, and his views on a number of influential writers, including Eliot, Auden, Brodsky, Heaney, and Naipaul. Boldly speaking his mind, Walcott takes many controversial positions on a wide range of subjects, such as Caribbean and U.S. politics, literary instruction in American universities, the proper role of sound in modern poetry, and the "ego" apparent in contemporary American poetry, and problems of race. Whatever the subject, Walcott responds fully and candidly.
Derek Walcott’s Poetry Deconstructed, Its Political and Sociological Discourse Revealed From “In A Green Night” to “The Fortunate Traveler” A Product of Hallucinatory Whiteness by Daurius Figueira Pdf
This is a deconstruction of the published books of poetry of Derek Walcott from 1961 to 1981 to unearth, expose and analyze the discourse and worldview of Walcott of miscegenated being, the Caribbean dystopia and the existential condition of the African and Indian Diasporas in the Caribbean dystopia. Walcott segregates himself from the Caribbean dystopia as he excoriates the African and Indian Diasporas blaming them for constructing the dystopia, they are trapped in. Walcott exempts white supremacist colonial and neo-colonial imperial power relations which condemns us to dependency and underdevelopment at the level of the idea. Which he must do for Walcott insists that what separates him from the Dystopia and enables his freedom from the dystopia, his flight to the North Atlantic is his white grandfather's legacy bequeathed to him by his miscegenated father. At the level of his genome Walcott is special, exceptional in the realm of the Dystopia compelled to prove and affirm this state of being in the North Atlantic. Walcott then frames his poetry on the foundation of the binary, Manichean duality of white North Atlantic discourse. I had a white grandfather and father which makes this deconstruction a personal conversation between two conflicting discourses of miscegenated being and our place in the world.
Derek Walcott, The Journeyman Years, Volume 1: Culture, Society, Literature, and Art by Gordon Collier Pdf
During the same period in which Derek Walcott was pouring immense physical, emotional, and logistical resources into the foundation of a viable first-rate West Indian theatre company and continuing to write his inimitable poetry, he was also busy writing newspaper reviews, chiefly for the Trinidad Guardian. His prodigious reviewing activity extended far beyond those areas with which one might most readily associate his interests and convic¬tions. As Gordon Rohlehr once prescient¬ly observed, “If one wants to see a quoti¬dian workaday Walcott, one should go back to [his] well over five hundred arti¬cles, essays and reviews on painting, cinema, calypso, carnival, drama and lite¬rature,” articles which “reveal a rich, vari¬ous, witty and scrupulous intelligence in which generous humour counterpoints acerbity.” These articles capture the vital¬ity of Caribbean culture and shed addi-tional light on the aesthetic preoccupa¬tions expressed in Walcott’s essays pub¬lished in journals. The editors have exam¬ined the corpus of Walcott’s journalistic activity from its beginnings in 1950 to its peak in the early 1970s, and have made a generous selection of material from the Guardian, along with occasional pieces from such sources as Public Opinion (Kingston) and The Voice of St. Lucia (Castries). The articles in Volume 1 are organized as follows: Caribbean society, culture, and the arts generally; literature and society; periodicals; anglophone poe¬try, prose fiction, and non-fiction; African and other literatures; and the visual arts (Caribbean and beyond). The volume closes with a selection of Walcott’s mis¬cellaneous satirical essays. The volume editor Gordon Collier has written a search¬ing introductory essay on a central theme – here, a critical, comparative analysis of Walcott’s development as journalist against the historical background of press activity in the Caribbean, coupled with an illustrative discussion (drawing on Wal¬cott’s newspaper articles) of his attitudes towards prose fiction and poetry.
Derek Walcott's eighth collection of poems, The Arkansas Testament, is divided into two parts--"Here," verse evoking the poet's native Caribbean, and "Elsewhere." It opens with six poems in quatrains whose memorable, compact lines further Walcott's continuous effort to crystallize images of the Caribbean landscape and people. For several years, Derek Walcott has lived mainly in the United States. "The Arkansas Testament," one of the book's long poems, is a powerful confrontation of changing allegiances. The poem's crisis is the taking on of an extra history, one that challenges unquestioning devotion.
Communication Images in Derek Walcott's Poetry by Sadia Gill Pdf
This book investigates the potential purpose of recurrent communication images in the poetry of Derek Walcott. The recipient of the Nobel Prize for literature in 1992, Walcott is one of the most important postcolonial poets of the 20th century. His poetry delves into the dynamics of Caribbean marginalization and seeks to safeguard the paradigms characteristic of his island home. Several major studies have examined themes in his poetry but the images of communication in his poetics have not been explored. This book examines Walcott's poetry expressions that the poet brings into play in order to demonstrate the relevance of the Caribbean in the contemporary world--firstly through a study of communication imagery, and secondly through an examination of the conclusions he reaches through these means. The quantitative chart demonstrates that Walcott is especially reliant upon images of communication from the 1980s. Extensive textual analysis indicates that the place and contextual meaning of communication imagery, for example, page mirrors the historical plight of the Caribbean region; likewise, line expresses an identity deficit. Finally, this book validates that Walcott's extensive use of communication imagery in his poetry contributes to a fluid notion of self that embraces multiculturalism while maintaining the imaginary intact.
