By Susan Ring, Sterling Professor of the Humanities Harold Bloom
A set of severe essays talk about the works of the Trinidadian writer.
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Additional info for Derek Walcott (Bloom's Modern Critical Views)
Lucia, his birthplace, forms his primary subject matter, he has also written about Manhattan and Mandelstam. In the eyes of the public, however, his unique position as the ﬁrst English-speaking Caribbean poet of international renown threatens to make him “... a man no more / but the fervour and intelligence / of a whole country” (Another Life).
He simply has absorbed, the way whales do plankton or a paintbrush the palette, all the stylistic idioms the North could offer; now he is on his own, and in a big way. His metric and genre versatility is enviable. In general, however, he gravitates to a lyrical monologue and to a narrative. That, and the tendency to write in cycles, as well as his verse plays, again suggest an epic streak in this poet, and perhaps it’s time to take him up on that. For almost forty years his throbbing and relentless lines kept arriving in the English language like tidal waves, coagulating into an archipelago of poems without which the map of modern literature would effectively match wallpaper.
In his love celebration, the blood of nature becomes the blood of sacrament: And a vein opened in the earth, its drops congealing into plum, sorrel, and berry, the year bleeding again, Noel, Noel, blood for the bloodless birth, blood deepening the poinsettia’s Roman blades after the Festival of the Innocents. The Historical burden of his people: The bones of our Hebraic faith were scattered over such a desert, burnt and brackened gorse, their war was over, it had not been the formal tapestry bled white by decorum, it had infected language, gloria Dei and the glory of the Jacobean Bible were the same.
Derek Walcott (Bloom's Modern Critical Views) by Susan Ring, Sterling Professor of the Humanities Harold Bloom