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A vibrant meditation on the difficult beauty of the Caribbean, taking the form of a dialogue between a Nobel Prize winning poet and a renowned figurative painter.
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.
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.
?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
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."
Includes most of the poems in each of Walcott's collections as selected by the poet, and the complete text of Another Life.
Friedman has gathered together reproductions of paintings, drawings and sculpture, many from private collections, by a pantheon of great writers, including Hermann Hesse, Fyodor Dostoevsky and Joseph Conrad.
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.
Nobel Laureate Derek Walcott's 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 this book of poems, 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.
On a Caribbean island, the morning after a full moon, Felix Hobain tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Hobain, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people. Dream on Monkey Mountain was awarded the 1971 Obie Award for a Distinguished Foreign Play when it was first presented in New York, and Edith Oliver, writing in The New Yorker, called it "a masterpiece." Three of Derek's Walcott's most popular short plays are also included in this volume: Ti-Jean and His Brothers; Malcochon, or The Six in the Rain; and The Sea at Dauphin. In an expansive introductory essay, "What the Twilight Says," the playwright explains his founding of the seminal dramatic company where these works were first performed, the Trinidad Theatre Workshop. First published in 1970, Dream on Monkey Mountain and Other Plays is an essential part of Walcott's vast and important body of work.