But it does, because the new order would be repeating the old order if it made a policy of exclusion and an aesthetics of revenge.
I read this having read some of Walcott's poetry for my postcolonialism class.
Nevertheless, Caribbean rhythms, themes, and idioms inevitably find their way into the verse—through vivid dialect personae like Shabine, the sailor in (1979), often regarded as the poet's alter-ego; in the perennially anguished voice of a "divided child," "schizophrenic, wrenched by two styles," that lurks beneath the cosmopolitan surface.
Walcott's range as a poet was remarkably varied and generous.
What the Twilight Says collects these pieces to form a volume of remarkable elegance, concision, and brilliance.
It includes Walcott's moving and insightful examinations of the paradoxes o The first collection of essays by the Nobel laureate.
Walcott's contributions to West Indian drama and poetry were immense.
He created a world-class theater ensemble in a post-colonial environment and used his poetic skills to describe the culture and beauty of his Caribbean.
Walcott was married to dancer Norline Metivier and had three children by previous marriages. Walcott received a five-year "genius" grant from the John D. Sometimes the two idioms jostle uncomfortably; yet upon occasion they combine with stunning effect to form a brilliant synthesis.
A Rockefeller fellowship brought him to the United States in 1957; he studied under the American stage director Jose Quintero, returned to the islands in 1959 to found the Trinidad Theatre Workshop. Lucia, Grenada, and Jamaica and at many American universities: Boston, Columbia, Harvard, Rutgers, and Yale. Naipaul, he kept a home in Trinidad and was a familiar and revered figure in his homeland. Central to both Walcott's drama and his poetry is an exhilarating tension between two disparate cultural traditions, the Caribbean and the European.