...i firmly believe he has reperesented the caribbean in a way no- one has ever done before. Derek Walcott's diction and his superb metaphors are yet to be seen in any other caribbean poet. Yet, like the jamaican reggae superstar Bob Marley, Walcott has used his art in such a way that the whole world can identify with his work. His development of major themes such as alienation and cultural identity, Caribbean history , society and development and the pOst colonial era truly represents the region in a realistic way. His poems are truly inspirational and representative of the Caribbean. Walcott's poems are a reseviour for any historian who wishes to know about the history of the Caribbean. One shoud note that Walcott has not only used the english language in his poems but he has created the rhyme and rhythm in such a way to achieve a Caribbean creole(See "Parades Parades"), thus firmly establishing his identity as a caribbean poet and writer.IN CONCLUSION, Walcott is a true genius and we in the caribbean are proud of him.

This cool dude uses language in a way no one else does. He redefines syntax, conventions, the way words are placed together, and forms a new interpretation of phrase-synthesis I can't even begin to describe. Actually, I will. There's lots of surrealism here, but not just for its own sake. There's deep philosophy here too. The sombering tones give the incredulous imagery and abstractionistic logic (this guy's a hard read, as it says in the preface) and language that makes him something like a Sylvia Plath in tuxedo, but with a much wider-spanning genius that gives his poetry a greater variety of elements and vocabulary, and with better breaks and sense of poetic rhythm.

One cannot recommend this book too highly. It is a certain classic for scores of generations to come. Derek Walcott IS the Carribean. His poems enrich the reader's sense of the Carribean without ever over-sentimentalizing. Walcott's keen observations heighten the familiar, while at times domesticating the exotic. His poem "The Spoiler's Return" is equally humorous and disturbing, as it adresses the social problems of the Carribean, and is best appreciated when read with a Carribean accent. His lines ebb and flow like a tide, but always draw you in and never disappoint. Must read poems of his: "Codicil", "The Spoiler's Return", "LI" (from the Midsummer collection), "The Schooner Flight", "The Fortunate Traveller". If you buy one collection of English poetry published after WWII, this should be the book you purchase. No one alive can make the English language work as powerfully and brilliantly for him/her as Derek Walcott can.

Walcott's photograph on the back of the 1st edition sums up the feeling of Bounty- Sorrow, the grief of the death of friends and loved ones, faith in God seen "as through a glass darkly", the exhaustion of a sensitive man aware of his own mortality. Yet, through it all is the great sense of gratitude for the folk culture of the country that has nurtured him. And if he will not make great declarations of religious faith, he is thankful for the sun on the leaves, the ocean outside his door, the songs of Sessenne the folk singer of St. Lucia. Like Crusoe and Odysseus, this fortunate traveller has returned to his bench on the edge of the sea under the breadfruit leaves, "where stars and fireflies breed." This poet is past posturing. "The only art left is the preparation of grace", and even now, ever the bright eyed poet (behind the tears of the aging sage), he is "going down to the shallow edge to begin again." Walcott's only vocation has been poetry, his universe that of letters. In this he has never lost his faith.

READING THIS IS LIKE PAINTING A PORTRAIT . IT GLIMMER LIKE THE JEWEL OF THE CARRIBEANBLUE TONE IS A DEEP PATHOSOF PERSONAL EMOTION THAT COME ONLY COME FROM THE PEN OF ONE WHO LOVES HIS HOMELAMD AND WRITE ABOUT IT

Walcott's poetry sweeps you along on a series of vivid and memorable images that leave you breathless.

In this exhaustive and thorough 714page biography, Bruce King sets out the development of Derek Walcott as a poet and dramatist whose ambition and talent led him from the colonial backwaters of the Caribbean of the forties to the Nobel stage in Stockholm in 1992. The reader will not find a gossipy, tell-all chronicle.King follows Walcott from his earliest years as a child prodigy in Saint Lucia through university in Jamaica,life in Trinidad where he formed his Trinidad Theatre Workshop and on to his jet setting years as an international writer whose personal friends were Joseph Brodsky, Seamus Heaney, Les Murray, Susan Sontag, Robert Lowell, Paul Simon et al.Through his close detailing of Walcott's relative poverty, his incessant travelling to read his work, his disappointments, his successes,his sheer prolific output of writing and art, King fulfills his goal to demonstrate the effects on a major literary talent of cultural decolonialisation, the recognition of national literatures, the place of the U.S.in encouraging artists like Walcott.Walcott's is a very modern life,an example of the changing face of the once imperial-international literary and artistic scene.Walcott's work, as seen in his most recentTieopolo's Hound (an integration of poetry and art), continues to defy literature boundaries.King's biography will further understanding of the writer, his work, the culture from which he comes, and the larger movements in 20th century arts and letters.A must for general libraries, literary collections, and for readers and students of modern literature. A recommended companion volume is also King's earlier "Derek Walcott and West Indian Drama"(Oxford,1995).

I did this book for my literature class and I thought it was vey interesting. It reminded me somewhat of Ralph Ellison's "Invisible Man". This book is vey interesting and is written by a man who is basically a minority where he is from due to his religion and up bringing. The book's main character is Makak who is ashamed of his identity as a black man and idealizes the moon because it is white. Eventually he learns to accept himself as he is.

These interviews cover writers from many styles, countries, and eras. Some are more frank than others, but each one of them has its interesting points.

Derek Walcott has always confessed his ambitions to be a painter of note.While poetry became his favourite wife, his love for painting never disappeared. Over the years he has continued to paint, and his art now decorates the covers of his poetry collections. "Tiepolo's Hound" seems one of the least personal of Walcott's books. While we get glimpses of the poet's life, he is more concerned to explore the life of Camille Pisarro to understand the heart of the individual bound to the calling of artist. It seems a tentative, searching exploration.Obviously identifying with their common Caribbean childhood and the influences of landscape and history they share, Walcott tries to see into the complex struggles of this artist who left the Caribbean for Paris, to become one of the fathers of impressionism.Seeking his epiphanic hound,he shares with us the painters who excited his artistic inspiration. Alongside his rhyming couplets he has placed twenty six of his own paintings-some very good, others less so.It is rare to find a book like this, coffetable poetry and art together by the same artist. Now seventy, this Nobel Laureate is not afraid to share his meditations on art and poetry-through art and poetry-warts and all.A collector's item.Walcott's readers must be patient with him, and try to go with him as he charts, quite bravely,his questionings of the artist's commitment and the cost."Whatever the age is, it lies in the small spring of poetry everywhere"(p66).A defining comment.Read "poetry" as the very heart of all art.

I spent almost a year of my life translating this book into Catalan. I can say this is one of the most impressive books I had ever read. I've never travelled to St. Lucia, but while I read the book I could even smell the fish and hear the sounds of the waves against the shore.

My review title shouldn't be construed as me claiming any knowledge re: Caribbean culture/history, or indeed -any- of the experiences of the disenfranchised peoples this book touches on. All I can say is that the glowing reviews here on Amazon are accurate. Walcott's poetry is supple almost beyond belief: so facile and brilliant that it would stand between the reader and the subject if Walcott himself didn't admit that, yes, he can be awfully facile and brilliant with the English language! The writer walks a dozen dangerous lines - among them, the could-be-precious placing of himself in his own poem - and walks away triumphant from every single challenge.

If you are looking for a linear "story" in the tradition of Homer but transplanted to a Caribbean locale, this isn't it. If however you are looking for great poetry and the understanding of others (and yourself) that great poetry can bring, then it is right here. OMEROS is eminently worth your time.

It was while reading this book that I fell in love with poetry. I used to hate the form, thought it unnecessarily abstract. But Walcott makes the work a joy to experience. And reveals why poetry is a necessity; why it is required of his people in the Caribbean, and mine in Africa and the States. Read the words aloud when you get it, or better yet, get the tape of him reading sections of the book. But I must warn you, the man will spoil you with his craft. Few after that will compare.

This book may seem to be a bit slow at first, but as you get into it further, Walcott's words really start to affect you. His sense of awareness of American perceptions of the Caribbean are dead on, and he exposes them for what they are. Most importantly, he address poetry in general, relating the poetry he writes to the poetry he sees around him. It is in many ways a fierce defense of the beauty and timelessness of both poetry, and the Caribbean. In just these short pages I found more food for thought and more things that have gotten me thinking than in many novels or other works I have read recently. Definitely worth it!

Almost 40 years ago my friend and mentor, Count Taylor, told me about Derek Walcott (poet, writer, watercolorist) but I'd not read Walcott until just now...a serious mistake.

THE ANTILLES: FRAGMENTS OF EPIC MEMORY, is just a small book but to read it is to step into another universe. Walcott applies layer upon layer of translucent watercolor pigment to an undulating and ever changing canvas...all to the purpose of separating the reader from her preconceptions.

Read this and you will never look at a cruise ship parked in a Caribbean harbor in the same way again.

5/24/00

Brodsky, Heaney, and Walcott helped me hear the music of Frost's poetry. They don't analyze all that many poems but the insights they offer open the door to others. For example, I learned about Frost's idea of "Sentence-Sounds" in Brodsky's review of "Home Burial" and his idea of the "Sounds of Sense" in Heaney's discussion of "Desert Places". Then when I read Frost's "To a Thinker", which does not appear in "Homage to Frost", I came across the line "...From sound to sense and back to sound", and of course I recognized a familiar theme. If you like Frost, this book makes a nice companion reader.

If you need to read one critical examination of Robert Frost, buy this & read Joseph Brodsky's fantastic, accessible take on "Home Burial". What a great book this is--three fine poets examining a brilliant poet. But it is Brodsky who best holds to the Frost credo--he speaks clearly and plainly.