Derek Walcott was born in 1930 [January 23] in the town of Castries
in Saint Lucia, one of the Windward Islands in the Lesser Antilles. The
experience of growing up on the isolated volcanic island, an ex-British
colony, has had a strong influence on Walcott's life and work. Both his
grandmothers were said to have been the descendants of slaves. His
father, a Bohemian watercolorist, died when Derek and his twin brother,
Roderick, were only a few years old. His mother ran the town's Methodist
school. After studying at St. Mary's College in his native island and at
the University of the West Indies in Jamaica, Walcott moved in 1953 to
Trinidad, where he has worked as theatre and art critic. At the age of
18, he made his debut with 25 Poems, but his breakthrough came with the
collection of poems, In a Green Night (1962). In 1959, he founded the
Trinidad Theatre Workshop which produced many of his early plays.
Walcott has been an assiduous traveler to other countries but has always, not least in his efforts to create an indigenous drama, felt himself deeply-rooted in Caribbean society with its cultural fusion of African, Asiatic and European elements. For many years, he has divided his time between Trinidad, where he has his home as a writer, and Boston University, where he teaches literature and creative writing.
From Nobel Lectures, Literature 1991-1995, Editor Sture All'n, World Scientific Publishing Co., Singapore, 1997
This autobiography/biography was first published in the book series Les Prix Nobel. It was later edited and republished in Nobel Lectures. To cite this document, always state the source as shown above.
Selected
Poems
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Hardcover: 328 pages
Publisher: Farrar, Straus and Giroux (January 9, 2007)
Language: English
ISBN-10: 0374260664
ISBN-13: 978-0374260668
"No poet rivals Mr. Walcott in humor, emotional depth, lavish inventiveness in language or in the ability to express the thoughts of his characters and compel the reader to follow the swift mutations of ideas and images in their minds . . . [His poetry] makes us realize that history, all of it, belongs to us." 'The New York Times
This career-spannning retrospective, culled from nearly 50 years of work, will go a long way toward reminding readers of the breadth and depth of Nobel laureate Walcott's achievement. Though he is perhaps best known for his modern epic, Omeros, which tells a Homeric tale set in St. Lucia, Walcott is a fine lyric poet as well, writing in traditional forms and meters as well as in powerful free verse. Alongside the epic tone that he brought into modern verse
I sing of Achille, Afolabe's son,
who never ascended in an elevator
is lustful writing about a woman humming Bob Marley on a bus, a casual description of being mugged in Greenwich Village or a painter's-eye view of a fish. The political Walcott is also here; observing a crowd listening to a politician, he writes,
Who will name this silence
respect? Those forced, hoarse hosannas
awe?"
The lyric Walcott is well represented, but the long poems which are
necessarily excerpted'prove more problematic. At best, the editor can
hope that readers, hooked by one of these narrative poems, will be
compelled to seek out the complete version. Nonetheless, this book
represents a milestone in the career of a major writer.
'Copyright ' Reed Business Information, a division of Reed Elsevier Inc.
All rights reserved.
Omeros
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Paperback: 325 pages
Publisher: Farrar, Straus and Giroux (June 1, 1992)
Language: English
ISBN-10: 0374523509
ISBN-13: 978-0374523503
This magnificent modern epic by poet-playwright Walcott ( The
Arkansas Testament ) follows the wanderings of a present-day Odysseus
and the inconsolable sufferings of those who are displaced and traveling
with trepidation toward their homes. Written in seven circling books and
magically fluid tercets, the poem illuminates the classical past and its
motifs through an extraordinary cast of contemporary characters from the
island of Santa Lucia: humble fishermen Achilles, Philoctete and Hector;
a feverishly beautiful house servant, Helen, who incites her own Trojan
War; a local seer, Seven Seas; and the narrator himself, who wanders to
the States, to Europe and back again although he knows, "the nearer
home, the deeper our fears increase, / that no house might come to meet
us on our own shore." Singularly ambitious, and as moving as the works
of its namesake, Omeros (Greek for "Homer") remains accessible despite
its complexity and divergent strains, which include the privations of
Native Americans, African natives and exiled English colonials. 'Copyright 1990 Reed Business Information, Inc.
 Dream
on Monkey Mountain and Other Plays
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Paperback: 326 pages "Dream on Monkey Mountain is a poem in dramatic form or a drama in poetry, and poetry is rare in the modern theatre. Every line of it plays...there is a sound psychological basis for every action and emotion."'Edith Oliver, The New Yorker |
Tiepolo's
Hound
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Paperback: 208 pages
Publisher: Farrar, Straus and Giroux (May 15, 2001)
Language: English
ISBN-10: 0374527792
ISBN-13: 978-0374527792
After writing the Odyssey of his native St. Lucia with Omeros (1990), the epic poem that helped earn him the 1992 Nobel Prize in Literature, Walcott has increasingly sought to sensualize the Caribbean landscape within the competing contexts of colonialism, history and Western artistc traditions. The dual narrative of his latest book-length poem looks at these inheritances by intertwining the career of impressionist Camille Pissarro, who was a Sephardic Jew from St. Thomas, with the poet's own quest to revisit a Venetian painting, of a hound, he once saw in New York. As a painter himself, Walcott associates his narrator's artistic island origins with Pissarro's in smooth, masterful couplets:
I still smell linseed oil in the wild views
Of villages and the tang of turpentine... Salt wind encouraged us, and
the surf's white noise.
As the poet makes his way toward Venice and "Tiepolo's Hound," his journey mirrors Pissarro's transition from St. Thomas to Europe. Place names serve as the poem's focal points, forming an extended near-sestina: the names Pontoise; Paris; the Seine; St Thomas's Dronningens Street and Charlotte Amalie; and the ubiquitous "Tiepolo's ceiling" appear again and again.
While the repetitions give a powerful sense of cultural geography, Walcott is not committed to giving us his characters' whole story, but rather a sort of embellished art-history-in-verse, as he imagines Pissarro in Paris, or how Pissarro would have painted slaves, "the umber and ebony of their skin." The narrator's eventual reunion with the painting thus proves something of an anti-climax, as he hasn't generated enough psychological tension to sustain an epic. Still, Walcott's majestic linguistic vistas will be more than enough to carry readers through gorgeously imagined encounters with painters, painting and the visual nostalgia of the exile. 'Copyright 2000 Reed Business Information, Inc.
