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Includes most of the poems in each of Walcott's collections as selected by the poet, and the complete text of Another Life.
A collection spanning the range of the writer's career includes his first published poem, his celebrated verses on violence in Africa, his mature work from "The Star-Apple Kingdom, " and his late masterpieces from "White Egrets."
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.
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.
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.
A DAZZLING NEW COLLECTION FROM ONE OF THE MOST IMPORTANT POETS OF THE TWENTIETH CENTURY In White Egrets, Derek Walcott treats the characteristic subjects of his career—the Caribbean's complex colonial legacy, his love of the Western literary tradition, the wisdom that comes through the passing of time, the always strange joys of new love, and the sometimes terrifying beauty of the natural world—with an intensity and drive that recall his greatest work. Through the mesmerizing repetition of theme and imagery, Walcott creates an almost surflike cadence, broadening the possibilities of rhyme and meter, poetic form and language. White Egrets is a moving new collection from one of the most important poets of the twentieth century—a celebration of the life and language of the West Indies. It is also a triumphant paean to beauty, love, art, and—perhaps most surprisingly—getting older.
From the Nobel laureate Derek Walcott, a book-length poem on two educations in painting, a century apart "Between me and Venice the thigh of a hound; my awe of the ordinary, because even as I write, paused on a step of this couplet, I have never found its image again, a hound in astounding light." Tiepolo's Hound joins the quests of two Caribbean men: Camille Pissarro--a Sephardic Jew born in 1830 who leaves his native St. Thomas to follow his vocation as a painter in Paris--and the poet himself, who longs to rediscover a detail--"a slash of pink on the inner thigh / of a white hound"--of a Venetian painting encountered on an early visit from St. Lucia to New York. Both journeys take us through a Europe of the mind's eye, in search of a connection between the lost, actual landscape of a childhood and the mythical landscape of empire. Published with twenty-five full-color reproductions of Derek Walcott's own paintings, the poem is at once the spiritual biography of a great artist in self-imposed exile, a history in verse of Impressionist painting, and a memoir of the poet's desire to catch the visual world in more than words.
The Bounty was the first book of poems Derek Walcott published after winning the 1992 Nobel Prize in Literature. Opening with the title poem, a memorable elegy to the poet's mother, the book features a haunting series of poems that evoke Walcott's native ground, the island of St. Lucia. "For almost forty years his throbbing and relentless lines kept arriving in the English language like tidal waves," Walcott's great contemporary Joseph Brodsky once observed. "He gives us more than himself or 'a world'; he gives us a sense of infinity embodied in the language."
The poems in this sequence of fifty-four were written to encompass one year, from summer to summer. Their principal themes are the stasis, both stultifying and provocative, of midsummer in the tropics; the pull of the sea, family, and friendship on one whose cricumstances lead to separation; the relationship of poetry to painting; and the place of a poet between two cultures. Walcott records, with his distinctive linguistic blend of soaring imagery and plainly stated facts, the experience of a mid-lief period--in reality and in memory or the imagination. As Louis Simpson wrote on the publication of Wacott's The Fortunate Traveller, "Walcott is a spellbinder. Of how many poets can it be said that their poems are compelling--not a mere stringing together of images and ideas but language that delights in itself, rhythms that seem spontaneous, scenes that are vividly there?...The poet who can write like this is a master."