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Derek Walcott's identity as a poet is evident even in his literary criticism. Who else would produce a sentence such as "Let the shaggy, long horde of spiky letters and the dark rumbling of hexametrical phalanxes rise over the outback towards the capital of the English language" to describe the work of a fellow poet--in this case, Australian Les Murray? Indeed, each of the essays in What the Twilight Says is at least as rich in language as it is in ideas; so much so, in fact, that at times the view is obscured by the verbiage. Nevertheless, beneath the loco rococo turns of phrase Walcott has some serious points to make. In his discussion of V.S. Naipaul, for example, he offers some telling insights into the effects of colonialism on his subject's psyche: "What is the cost to his Indianness of loving England?" Walcott asks; "To whom does he owe any fealty? Ancestors? The surroundings that history placed them in, the cane fields of Trinidad, were contemptible, as they themselves would have to be, having lost both shame and pride. Therefore, the only dignity is to be neither master nor servant, to choose a nobler servitude: writing. The punishment for the choice is the astonishment of gratitude; to be grateful to the vegetation of an English shire. Not to India or the West Indies, but to the sweet itch of an old wound." Walcott praises Naipaul's genius while calling him on his racism, selfishness, and disdain for his roots--in effect loving the sinner while hating the sin. His essay on Joseph Brodsky is an intelligent meditation on the art of translation while "The Muse of History" looks at the influence of history in New World literature. From a discussion of the poetry of Ted Hughes to an open love letter to Martiniquan writer Patrick Chamoiseau, Derek Walcott provides plenty of provocative food for thought wrapped in poetical prose. --Alix Wilber
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From Publishers Weekly
In essays originally published between 1970 and 1997, Walcott, winner of a Nobel prize in 1992 for his poetry and plays (Omeros, The Bounty), engages with literature, politics and their intersection. This is Walcott's first prose collection but the writing here is so intense that it threatens to disintegrate into lyric; in fact, the pieces deserve to be read aloud for their finely wrought metaphors, their intelligent, conversational observations and the beauty of their sound. Brilliant insights come suddenly, even unexpectedly, as in the aside that "reading [Wallace] Stevens is like having Chocolate for breakfast." Most of the essays are considerations of a wide range of writers such as Patrick Chamoiseau, Joseph Brodsky and Ernest Hemingway. The remaining few, including the Nobel prize address, "The Antilles: Fragments of an Epic Memory," are intense meditations on the state of West Indian writing and culture. A recurring concern is the relation of the postcolonial writer to the imperial language: Walcott, who now lives in both the United States and his native St. Lucia, describes "barbarian Bards" who "recite long passages of the imperial literature as if it were their own; and with a vigour, even a love, that brings a blush to the civilized cheek." But while he criticizes V.S. Naipaul for turning his back on the West Indies, and praises card-carrying anti-imperialists like C.L.R. James and Aime Cesaire, Walcott is no hard-liner. He is indignant toward those who reject any aspect of the West Indian heritage, whether it be African, Asian, indigenous American or European, acting on his own contention that poetry must not dwell on the scars of history, but should instead embrace the beauty and the possibilities of the present.
Copyright 1998 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright 1998 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
