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Completed with the enthusiastic support and participation of the late Laureate, Jean Antoine-Dunne's lively and enriching study begins in a recognition of how important film has been in the whole of Derek Walcott's career. It is not merely that Derek Walcott wrote a number independent film scripts such as The Rig, The Haitian Earth and To Die for Grenada and wrote film treatments of several of his plays such as for Marie Laveau, Ti Jean and O Babylon, and also a film treatment of his poetic epic Omeros, but that the whole of Walcott's work, whether poetry, drama or painting, is infused with the sense of the filmic.
Derek Walcott's Encounter with Homer puts Derek Walcott's epic poem Omeros in conversation with Homer, especially the Odyssey, to show how reading them against each other changes our understanding of the poems of both poets. It explores Walcott's conscious use of the Odyssey and the Homeric persona of Omeros to explore his own deepening relationship with his craft and his identity as a Caribbean poet. Walcott's ability to serve as the vessel of history for his people and their landscapes rests on his transformation into (and self-perception as) Homer's contemporary and equal. Central to the project of Omeros is thus an account of his shift from a diachronic to synchronic relationship with Homer: over the course of the poem his poetic persona, the "Poet", and Homer come to occupy the same temporality and creative space. By locating the poems of Walcott and Homer in a zone of vibrant and unexpected encounter, Rachel Friedman demonstrates how they can be seen as mutually informing texts, each made richer in the presence of the other. The argument follows two intertwined thematic threads. The first focuses on the poems' landscapes and seascapes and the ways in which Omeros reworks the Odyssey's affective geography. While the Odyssey represents the sea as a dangerous space and valorizes life on land, Walcott reverses this trajectory from sea to land, bearing witness to the painful histories carried in the St Lucian soil and relocating homecoming to the space of the Caribbean Sea, a space which accommodates diasporic histories and the imagining of fluid forms of emplacement. The second thread focuses on Walcott's poetic persona: his journey in and out of the poem and his positioning of himself as a "tribal poet" like Homer. Central to the project of Omeros is the Poet's account of the processes by which he becomes the poet who can adequately give voice to the histories of his people and the archipelago they inhabit.
Coming some five years after the death of poet, playwright, teacher and painter Derek Walcott, this book brings together essays, memoirs, and creative work addressing many aspects of his life and work. 20 years after Walcott became the first Caribbean writer to win the Nobel Prize for Literature, this volume gathers renowned and emerging poets, friends, theatre critics and artists to lay bare their own relationship with a larger-than-life figure and cast their ‘various light’ on his by-no-means unproblematic legacy.
Edited by Rose Mary Allen and Sruti Bala, this comprehensive handbook of gender studies scholarship on the Dutch Caribbean islands thematically covers the history of movements for gender equality; the relation of gender to race, colonialism, sexuality; and the arts and popular culture. The handbook offers unparalleled insights into a century of debates around gender from the six islands of the Dutch Caribbean (Curaçao, Bonaire, Aruba, St. Maarten, St. Eustatius and Saba). This handbook makes gender studies in the Dutch Caribbean accessible to an international readership. Besides key academic writings, it includes primary historical sources, translations from Papiamento and Dutch, as well as personal memoirs and poetry.
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."
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 convictions. As Gordon Rohlehr once presciently observed, “If one wants to see a quotidian workaday Walcott, one should go back to [his] well over five hundred articles, essays and reviews on painting, cinema, calypso, carnival, drama and lite¬rature,” articles which “reveal a rich, various, witty and scrupulous intelligence in which generous humour counterpoints acerbity.” These articles capture the vitality of Caribbean culture and shed additional light on the aesthetic preoccupations expressed in Walcott’s essays published in journals. The editors have examined 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 2 are organized as follows: the performing arts; general surveys of anglophone Caribbean drama, theatre, and society; festivals, theatre companies, and productions; British and American drama; dance and music theatre; Carnival and calypso; and cinema screenings in Trinidad. Volume 2 additionally contains an exhaustive annotated and cross-referenced chronological bibliography of Walcott’s journalism up to 1990. The co-editor Christopher Balme has written a searching introductory essay on a central theme – here, a survey of West Indian theatre and Walcott’s engagement with it, particularly the idea of a ‘National Theatre’, coupled with an illustrative discussion of the playwright’s seminal dramatic spectacle Drums and Colours.
The plethora of commentary from highly respected voices in a broad cross-section of academic disciplines, which V. S. Naipaul's death on 11 August 2018 elicited, ranged so widely, both cognitively and emotionally, that if a student of literature, unfamiliar with the Naipaulian era, read it all, they would have failed to make sense of the divergences. Allegations included that he 'was a cruel man', 'a scarred man', 'the darkest dungeons of colonialism incarnate: self-punishing, self-loathing, world-loathing, full of nastiness and fury', 'a ventriloquist for the nastiest cliches European colonialism had devised to rule the world with arrogance and confidence' and so on. On the other hand, writers referred to Naipaul as a 'brilliant writer's writer', one 'who holds a mirror of imagination unto society to capture a certain view of reality' and one who 'has turned the genre of the travelogue into an art form'. Debates aside, many of us appreciate the value of Naipaul's writing to the deepest possible comprehension of the imperial impulse and the myriad reasons it manifested as colonialism. The First Naipaul World Epics is the first in a series of critical collections that aim to demonstrate this value. At the same time, the series seeks to help the new student through the quagmire of divergent opinions his personality and writing have generated.
First produced by Joseph Papp's New York Shakespeare Festival in 1979, Remembrance is the story of an evasively eloquent retired teacher who cannot reconcile his anachronistic love of British culture with the evolution of his family and community in independent Trinidad. "A lyrical, audience-pleasing work" (Variety). Mr. Walcott is a poet, and his writing is of a quality we seldom hear in the theatre" (The New Yorker). Pantomime is a fast-paced comedy set in Tobaco. In the hope of entertaining future guests, an English hotel owner proposes that he and his black handyman work up a satire on the Robinson Crusoe story. The play was produced by BBC Radio and London's Keskidee Theatre in 1979. "A brilliantly extended set of variations on the master-and-servant relationship" (The Times). "Gentle wit, immaculately placed irony" (New Statesman). "Dazzling theatrical virtuosity" (Financial Times).
This book examines the life and art of those contemporary artists who by force or by choice find themselves on other shores. It argues that the exilic challenge enables the émigré artist to (re)establish new artistic devices, new laws and a new language of communication in both his everyday life and his artistic work.
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.