Derek Walcott
Derek Walcott
He studied as a writer, becoming "an elated, exuberant poet madly in love with English" and strongly
influenced by modernist poets such as T. S. Eliot and Ezra Pound.[2] Walcott had an early sense of a
vocation as a writer. In the poem "Midsummer" (1984), he wrote:
At 14, Walcott published his first poem, a Miltonic, religious poem, in the newspaper The Voice of St
Lucia. An English Catholic priest condemned the Methodist-inspired poem as blasphemous in a response
printed in the newspaper.[6] By 19, Walcott had self-published his first two collections with the aid of his
mother, who paid for the printing: 25 Poems (1948) and Epitaph for the Young: XII Cantos (1949). He
sold copies to his friends and covered the costs.[12] He later commented:
I went to my mother and said, "I'd like to publish a book of poems, and I think it's going to
cost me two hundred dollars." She was just a seamstress and a schoolteacher, and I remember
her being very upset because she wanted to do it. Somehow she got it—a lot of money for a
woman to have found on her salary. She gave it to me, and I sent off to Trinidad and had the
book printed. When the books came back I would sell them to friends. I made the money
back.[6]
The influential Bajan poet Frank Collymore critically supported Walcott's early work.[6]
After attending high school at Saint Mary's College, he received a scholarship to study at the University
College of the West Indies in Kingston, Jamaica.[13]
Career
After graduation, Walcott moved to Trinidad in 1953, where he became a critic, teacher and journalist.[13]
He founded the Trinidad Theatre Workshop in 1959 and remained active with its board of
directors.[12][14]
Exploring the Caribbean and its history in a colonialist and post-colonialist context, his collection In a
Green Night: Poems 1948–1960 (1962) attracted international attention.[2] His play Dream on Monkey
Mountain (1970) was produced on NBC-TV in the United States the year it was published. Makak is the
protagonist in this play; and "Makak"s condition represents the condition of the colonized natives under
the oppressive forces of the powerful colonizers".[15] In 1971 it
was produced by the Negro Ensemble Company off-Broadway in
New York City; it won an Obie Award that year for "Best Foreign
Play".[16] The following year, Walcott won an OBE from the
British government for his work.[17]
His later poetry collections include Tiepolo's Hound (2000), illustrated with copies of his
watercolours;[20] The Prodigal (2004), and White Egrets (2010), which received the T. S. Eliot Prize[2][13]
and the 2011 OCM Bocas Prize for Caribbean Literature.[21]
Derek Walcott held the Elias Ghanem Chair in Creative Writing at the University of Nevada, Las Vegas in
2007.[22] In 2008, Walcott gave the first Cola Debrot Lectures[23] In 2009, Walcott began a three-year
distinguished scholar-in-residence position at the University of Alberta. In 2010, he became Professor of
Poetry at the University of Essex.[24]
As a part of St Lucia's Independence Day celebrations, in February 2016, he became one of the first
knights of the Order of Saint Lucia.[25]
Writing
Themes
Methodism and spirituality have played a significant
role from the beginning in Walcott's work. He
commented: "I have never separated the writing of
poetry from prayer. I have grown up believing it is a
vocation, a religious vocation." Describing his writing
process, he wrote: "the body feels it is melting into
what it has seen… the 'I' not being important. That is
the ecstasy... Ultimately, it's what Yeats says: 'Such a
sweetness flows into the breast that we laugh at
everything and everything we look upon is blessed.'
That's always there. It's a benediction, a transference.
It's gratitude, really. The more of that a poet keeps, the Wall poem "Omeros" in Leiden
more genuine his nature."[6] He also notes: "if one
thinks a poem is coming on... you do make a retreat, a
withdrawal into some kind of silence that cuts out
everything around you. What you're taking on is
really not a renewal of your identity but actually a
renewal of your anonymity."[6]
Influences
Walcott said that his writing was influenced by the
work of the American poets Robert Lowell and
Elizabeth Bishop, who were also friends.[6]
Essays
In his 1970 essay "What the Twilight Says: An Overture", discussing art and theatre in his native region
(from Dream on Monkey Mountain and Other Plays), Walcott reflects on the West Indies as a colonized
space. He discusses the problems for an artist of a region with little in the way of truly Indigenous forms,
and with little national or nationalist identity. He states: "We are all strangers here... Our bodies think in
one language and move in another". The epistemological effects of colonization inform plays such as Ti-
Jean and his Brothers. Mi-Jean, one of the eponymous brothers, is shown to have much information but
truly knows nothing. Every line Mi-Jean recites is rote knowledge gained from the coloniser; he is unable
to synthesize it or apply it to his life as a colonised person.[28]
Walcott identified as "absolutely a Caribbean writer", a pioneer, helping to make sense of the legacy of
deep colonial damage.[6] In such poems as "The Castaway" (1965) and in the play Pantomime (1978), he
uses the metaphors of shipwreck and Crusoe to describe the culture and what is required of artists after
colonialism and slavery: both the freedom and the challenge to begin again, salvage the best of other
cultures and make something new. These images recur in later work as well. He writes: "If we continue to
sulk and say, Look at what the slave-owner did, and so forth, we will never mature. While we sit moping
or writing morose poems and novels that glorify a non-existent past, then time passes us by."[6]
Omeros
Walcott's epic book-length poem Omeros was published in 1990 to critical acclaim. The poem very
loosely echoes and references Homer and some of his major characters from The Iliad. Some of the
poem's major characters include the island fishermen Achille and Hector, the retired English officer
Major Plunkett and his wife Maud, the housemaid Helen, the blind man Seven Seas (who symbolically
represents Homer), and the author himself.[29]
Although the main narrative of the poem takes place on the island of St. Lucia, where Walcott was born
and raised, Walcott also includes scenes from Brookline, Massachusetts (where Walcott was living and
teaching at the time of the poem's composition), and the character Achille imagines a voyage from Africa
onto a slave ship that is headed for the Americas; also, in Book Five of the poem, Walcott narrates some
of his travel experiences in a variety of cities around the world, including Lisbon, London, Dublin, Rome,
and Toronto.[30]
Composed in a variation on terza rima, the work explores the themes that run throughout Walcott's
oeuvre: the beauty of the islands, the colonial burden, the fragmentation of Caribbean identity, and the
role of the poet in a post-colonial world.[31]
In this epic, Walcott speaks in favour of unique Caribbean cultures and traditions to challenge the
modernity that existed as a consequence of colonialism.[32]
Most reviews of Walcott's work are more positive. For instance, in The New Yorker review of The Poetry
of Derek Walcott, Adam Kirsch had high praise for Walcott's oeuvre, describing his style in the following
manner:
By combining the grammar of vision with the freedom of metaphor, Walcott produces a
beautiful style that is also a philosophical style. People perceive the world on dual channels,
Walcott's verse suggests, through the senses and through the mind, and each is constantly
seeping into the other. The result is a state of perpetual magical thinking, a kind of Alice in
Wonderland world where concepts have bodies and landscapes are always liable to get up
and start talking.[35]
Kirsch calls Another Life Walcott's "first major peak" and analyzes the painterly qualities of Walcott's
imagery from his earliest work through to later books such as Tiepolo's Hound. Kirsch also explores the
post-colonial politics in Walcott's work, calling him "the postcolonial writer par excellence". Kirsch calls
the early poem "A Far Cry from Africa" a turning point in Walcott's development as a poet. Like Logan,
Kirsch is critical of Omeros, which he believes Walcott fails to successfully sustain over its entirety.
Although Omeros is the volume of Walcott's that usually receives the most critical praise, Kirsch believes
Midsummer to be his best book.[35]
In 2013 Dutch filmmaker Ida Does released Poetry is an Island, a feature documentary film about
Walcott's life and the ever-present influence of his birthplace of St Lucia.[36][37]
Personal life
In 1954 Walcott married Fay Moston, a secretary, and they had a son, the St. Lucian painter Peter
Walcott. The marriage ended in divorce in 1959. Walcott married a second time to Margaret Maillard in
1962, who worked as an almoner in a hospital. Together they had two daughters, Elizabeth Walcott-
Hackshaw and Anna Walcott-Hardy, before divorcing in 1976.[38] In 1976, Walcott married for a third
time, to actress Norline Metivier; they divorced in 1993. His companion until his death was Sigrid Nama,
a former art gallery owner.[14][39][40][41]
Walcott was also known for his passion for travelling to countries around the world. He split his time
between New York, Boston, and St. Lucia, and incorporated the influences of different locations into his
pieces of work.[2]
In 2009, Walcott was a leading candidate for the position of Oxford Professor of Poetry. He withdrew his
candidacy after reports of the accusations against him of sexual harassment from 1981 and 1996.[44]
When the media learned that pages from an American book on the topic were sent anonymously to a
number of Oxford academics, this aroused their interest in the university's decisions.[45][46] Ruth Padel,
also a leading candidate, was elected to the post. Within days, The Daily Telegraph reported that she had
alerted journalists to the harassment cases.[47][48] Under severe media and academic pressure, Padel
resigned.[47][49] Padel was the first woman to be elected to the Oxford post, and some journalists
attributed the criticism of her to misogyny[50][51] and a gender war at Oxford. They said that a male poet
would not have been so criticized, as she had reported published information, not rumour.[52][53]
Numerous respected poets, including Seamus Heaney and Al Alvarez, published a letter of support for
Walcott in The Times Literary Supplement, and criticized the press furore.[54] Other commentators
suggested that both poets were casualties of the media interest in an internal university affair because the
story "had everything, from sex claims to allegations of character assassination".[55] Simon Armitage and
other poets expressed regret at Padel's resignation.[56][57]
Death
Walcott died at his home in Cap Estate, St. Lucia, on 17 March
2017.[58] He was 87. He was given a state funeral on Saturday, 25
March, with a service at the Cathedral Basilica of the Immaculate
Conception in Castries and burial at Morne Fortune.[59][60]
Legacy
In 1993, a public square and park located in central Castries, Saint
Lucia, was named Derek Walcott Square.[61] A documentary film,
Poetry Is an Island: Derek Walcott, by filmmaker Ida Does, was
produced to honour him and his legacy in 2013.[62]
List of works
Works by Derek Walcott (https://openlibrary.org/authors/OL32247A) at Open Library
Poetry collections
1948: 25 Poems
1949: Epitaph for the Young: Xll Cantos
1951: Poems
1962: In a Green Night: Poems 1948—60
1964: Selected Poems
1965: The Castaway and Other Poems
1969: The Gulf and Other Poems
1973: Another Life
1976: Sea Grapes
1979: The Star-Apple Kingdom
1981: Selected Poetry
1981: The Fortunate Traveller
1983: The Caribbean Poetry of Derek Walcott and the Art of Romare Bearden
1984: Midsummer
1986: Collected Poems, 1948–1984, featuring "Love After Love"
1987: The Arkansas Testament
1990: Omeros
1997: The Bounty
2000: Tiepolo's Hound, includes Walcott's watercolors
2004: The Prodigal
2007: Selected Poems (edited, selected, and with an introduction by Edward Baugh)
2010: White Egrets
2014: The Poetry of Derek Walcott 1948–2013
2016: Morning, Paramin (illustrated by Peter Doig)
Plays
1950: Henri Christophe: A Chronicle in Seven Scenes
1952: Harry Dernier: A Play for Radio Production
1953: Wine of the Country
1954: The Sea at Dauphin: A Play in One Act
1957: Ione
1958: Drums and Colours: An Epic Drama
1958: Ti-Jean and His Brothers
1966: Malcochon: or, Six in the Rain
1967: Dream on Monkey Mountain
1970: In a Fine Castle
1974: The Joker of Seville
1974: The Charlatan
1976: O Babylon!
1977: Remembrance
1978: Pantomime
1980: The Joker of Seville and O Babylon!: Two Plays
1982: The Isle Is Full of Noises
1984: The Haitian Earth
1986: Three Plays: The Last Carnival, Beef, No Chicken, and A Branch of the Blue Nile
1991: Steel
1993: Odyssey: A Stage Version
1997: The Capeman (book and lyrics, both in collaboration with Paul Simon)
2002: Walker and The Ghost Dance
2011: Moon-Child
2014: O Starry Starry Night
Other books
1990: The Poet in the Theatre, Poetry Book Society (London)
1993: The Antilles: Fragments of Epic Memory (New York: Farrar, Straus & Giroux)
1996: Conversations with Derek Walcott, (Jackson, MS: University of Mississippi)
1996: (With Joseph Brodsky and Seamus Heaney) Homage to Robert Frost (New York:
Farrar, Straus & Giroux)
1998: What the Twilight Says (essays), (New York: Farrar, Straus & Giroux)
2002: Walker and Ghost Dance (New York: Farrar, Straus & Giroux)
2004: Another Life: Fully Annotated, Boulder, CO: Lynne Rienner Publishers
See also
Black Nobel Prize laureates
"Love After Love", a poem by Derek Walcott
Omeros, epic poetry by Derek Walcott
Caribbean Epic
References
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Further reading
Abani, Chris. The myth of fingerprints: Signifying as displacement in Derek Walcott's
"Omeros". University of Southern California, PhD dissertation. 2006.
Abodunrin, Femi. "The Muse of History: Derek Walcott and the Topos of {Un} naming in
West Indian Writing". Journal of West Indian Literature 7, no. 1 (1996): 54–77.
Amany Abdelkahhar Aldardeer Ahmed, Amany. "The Quest for a Cultural Identity in Derek
Walcott's Another Life". 57 مجلة کلية اآلداب, no. 3 (2020): 101–146.
Baer, William, ed. Conversations with Derek Walcott. Jackson: University Press of
Mississippi, 1996.
Baugh, Edward, Derek Walcott. Cambridge: Cambridge University Press, 2006.
Breslin, Paul, Nobody's Nation: Reading Derek Walcott. Chicago: University of Chicago
Press, 2001. ISBN 0-226-07426-9
Brown, Stewart, ed., The Art of Derek Walcott. Chester Springs, PA.: Dufour, 1991;
Bridgend: Seren Books, 1992.
Burnett, Paula, Derek Walcott: Politics and Poetics. Gainesville: University Press of Florida,
2001.
Figueroa, John J. "Some subtleties of the isle: A commentary on certain aspects of Derek
Walcott's sonnet sequence. Tales of the Islands. (1976): 190–228.
Fumagalli, Maria Cristina, The Flight of the Vernacular: Seamus Heaney, Derek Walcott and
the Impress of Dante. Amsterdam-New York: Rodopi, 2001.
Fumagalli, Maria Cristina, Agenda 39:1–3 (2002–03), Special Issue on Derek Walcott.
Includes Derek Walcott's "Epitaph for the Young" (1949), republished here in its entirety.
Goddard, Horace I. "Untangling the thematic threads: Derek Walcott's poetry." Kola 21, no. 1
(2009): 120–131.
Goddard, Horace I. "The Rediscovery of Ancestral Experience in Derek Walcott's Early
Poetry." Kola 29, no. 2 (2017): 24–40.
Hamner, Robert D., Derek Walcott. Updated edition. Twayne's World Authors Series. TWAS
600. New York: Twayne, 1993.
Izevbaye, D. S. "The Exile and the Prodigal: Derek Walcott as West Indian Poet." Caribbean
Quarterly 26, no. 1–2 (1980): 70–82.
King, Bruce, Derek Walcott and West Indian Drama: "Not Only a Playwright But a
Company": The Trinidad Theatre Workshop 1959–1993. Oxford: Clarendon Press, 1995.
King, Bruce, Derek Walcott, A Caribbean Life. Oxford: Oxford University Press, 2000.
Marks, Susan Jane. That terrible vowel, that I: autobiography and Derek Walcott's Another
life. Master's thesis, University of Cape Town, 1989.
McConnell, Justine (2023). Derek Walcott and the creation of a classical Caribbean.
London: Bloomsbury Academic. ISBN 9781474291521.
Müller, Timo (2016). "Forms of Exile: Experimental Self-Positioning in Postcolonial
Caribbean Poetry". Atlantic Studies. 13 (4): 457–471. doi:10.1080/14788810.2016.1220790
(https://doi.org/10.1080%2F14788810.2016.1220790). S2CID 152181840 (https://api.seman
ticscholar.org/CorpusID:152181840).
Sarkar, Nirjhar. "Existence as self-making in Derek Walcott's The Sea at Dauphin" (https://sc
holarlyrepository.miami.edu/anthurium/vol14/iss2/4/). Anthurium: A Caribbean Studies
Journal. 14.2 (2018): 1–15.
Sinnewe, Dirk :Divided to the Vein? Derek Walcott‘s drama and the formation of cultural
Identities. Königshausen u. Neumann, Dec. 2001.
Terada, Rei, Derek Walcott's Poetry: American Mimicry. Boston: Northeastern University
Press, 1992.
Thieme, John, Derek Walcott. Manchester: Manchester University Press, 1999.
External links
British Council writers' profile (https://web.archive.org/web/20110104042528/http://www.cont
emporarywriters.com/authors/?p=authC2D9C28A0a4dc1BE88LsX2F7F9A1), works listing,
critical review
Profile, poems written and audio (http://www.poetryarchive.org/poetryarchive/singlePoet.do?
poetId=7830) at Poetry Archive
Profile and poems (http://www.poetryfoundation.org/bio/derek-walcott) at Poetry Foundation
Profile, poems audio and written (http://www.poets.org/poet.php/prmPID/220), Poetry of
American Poets
Profile and analysis (http://www.english.emory.edu/Bahri/Walcott.html), Emory University
Profile, interviews, articles, archive (http://www.pwf.cz/en/authors-archive/derek-walcott/).
Prague Writers' Festival
Edward Hirsch, "Derek Walcott, The Art of Poetry No. 37" (http://www.theparisreview.org/inte
rviews/2719/the-art-of-poetry-no-37-derek-walcott), The Paris Review, Winter 1986
Lannan Foundation Reading and Conversation With Glyn Maxwell (http://www.lannan.org/ev
ents/derek-walcott-with-glyn-maxwell). November 2002 (audio).
Biography available in Saint Lucians and the Order of CARICOM (https://www.amazon.com/
dp/B00MNEGJEC)
Appearances (https://www.c-span.org/person/?46744) on C-SPAN
Appearance on Desert Island Discs (https://www.bbc.co.uk/programmes/p0093z3h), BBC
Radio 4, 9 June 1991
Derek Walcott (https://www.nobelprize.org/laureate/669) on Nobelprize.org