Biography of Derek Alton Walcott

Name: Derek Alton Walcott
Bith Date: January 23, 1930
Death Date:
Place of Birth: Casties, St. Lucia, West Indies
Nationality: West Indian
Gender: Male
Occupations: poet

Derek Alton Walcott

Nobel Prize winning poet and dramatist from the West Indies, Derek Alton Walcott (born 1930) used a synthesis of Caribbean dialects and English to explore the richness and conflicts of the complex cultural heritage of his homeland.

Derek Alton Walcott was born in Casties, St. Lucia, West Indies, on January 23, 1930. The son of a civil servant and a teacher, he was of mixed African, Dutch, and English heritage. He received a B.A. from St. Mary's College, St. Lucia, in 1953 and attended the University of the West Indies at Kingston, Jamaica. 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. He taught in St. Lucia, Grenada, and Jamaica and at many American universities: Boston, Columbia, Harvard, Rutgers, and Yale.

Walcott was married to dancer Norline Metivier and had three children by previous marriages. Unlike fellow West Indian writer V. S. Naipaul, he kept a home in Trinidad and was a familiar and revered figure in his homeland. Walcott received a five-year "genius" grant from the John D. and Catherine T. MacArthur Foundation in 1981.

Central to both Walcott's drama and his poetry is an exhilarating tension between two disparate cultural traditions, the Caribbean and the European. Sometimes the two idioms jostle uncomfortably; yet upon occasion they combine with stunning effect to form a brilliant synthesis.

Walcott observed: "My society loves rhetoric, performance, panache, melodrama, carnival, dressing up, playing roles. Thank God I was born in it...." In his dramatic works, this vivacious island culture, with its historical roots and its political subtexts, takes precedence. Henri Christophe: A Chronicle (1950), his first play, explores the popular story of a 19th-century slave who became king of Haiti. Another early play, The Sea at Dauphin (1953), experiments with French/English island patois, transforming it into a powerful poetic tool. Dream on Monkey Mountain (Obie Award winner, 1971) illustrates the way the dreams of a poor charcoal vendor, however flawed and quixotic, help preserve tribal memories within the sterile colonial world. O, Babylon (1974) employs interludes of dance, along with a contemporary score by Galt McDermott, to recount events in a small Rastafarian community during the 1966 visit of Haile Selassie.

In all these dramas, Walcott struggled to be true to his roots without sacrificing literary virtuosity. He was eager to incorporate native elements, "chants, jokes, folk-songs, and fables," into his dramas;" to write powerfully ... without writing down ... so that the large emotions could be taken in by a fisherman or a guy on the street"; "to get something clean and simple into my plays ... something Caribbean"; and to achieve a balance "between defiance and translation." The central character of Remembrance (1979), a retired schoolteacher of Port of Spain who loses one son to a revolution, another to the "slower death" of art, may reflect his powerful, if conflicting, loyalties.

While Walcott's plays were often commended for their colorful performances, they tended to meet resistance from more stringent critics. Pantomime (1978), which examines the ambiguous relationship between a Tobagan innkeeper and his servant, is one example. Though Walter Goodman found it "fresh and funny ... filled with thoughtful insights," Frank Rich downgraded the play for lacking the "esthetic rigor" of Walcott's poetry.

This poetry is, indeed, extraordinary--complex, powerful, almost Elizabethan in its delight in form, its flamboyant eloquence and lush imagery. From the beginning--his first poem was published in a local newspaper when he was 14--Walcott sought inspiration among great poets of the English language; Shakespeare, Marvell, Auden, Eliot, Lowell. Nevertheless, Caribbean rhythms, themes, and idioms inevitably find their way into the verse--through vivid dialect personae like Shabine, the sailor in The Star-Apple Kingdom (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. Another Life (1973), a sweeping, open-hearted narrative, can be ranked among the best verse autobiographies in the language. The exuberant ten-poem sequence The Star-Apple Kingdom, which consolidated Walcott's stature as a major poet, features multiple narrative voices tracing the arc of the Caribbean archipelago through space and time, with near-epic scope.

In The Fortunate Traveler (1981) the poet chronicled provocative journeys of self-discovery through New England and the American South to Dachau and other places that illuminate his sense of himself as artist and man. The 54 separate poems in Midsummer (1984), a diary in verse, offer a year's worth of meditations on approaching middle age, divided linguistic allegiances and the consolations of art. The Arkansas Testament (1987) contains a stunning love sequence, along with the powerful title work, a further exploration of the poet's role as racial and cultural exile. This poignant, accomplished volume shows the poet working at the height of his powers.

Walcott's other popular poems include "A Far Cry from Africa" (1962), "Codicil" (1965), "Sainte Lucie" (1976), "The Schooner Flight" (1979), and "North and South" (1981). Collected Poems (1948-1984) (1986) provides an excellent selection of his work.

In 1997, Walcott published a collection of poems entitled The Bounty. The opening (title) poem, an elegy to the author's mother elegy to the author's mother, is followed by a series of poems that evoke the island of St. Lucia. A later volume of poems, Tiepolo's Hound (2000), weaves together a biography of the Carribean-born painter Camille Pissarro with Walcott's own life story.

Walcott's epic-length Omeros, which echoed the Iliad and the Odyssey was chosen by The New York Times as one of the best books of 1990. Omeros took up the classic themes of abandonment and wandering, but it also revealed Walcott's love for his native Caribbean. During an interview, Walcott once described the fondness he had for his native homeland surrounded by the sea: "nobody wishes to escape the geography that forms you. In my case it is the sea, it is islands, I cannot stay too long away from the sea."

In 1992 Walcott received the Nobel Prize in literature. His verse play The Odyssey was produced on stage in New York and London in 1993.

Walcott used his talents to create a world of a different kind when he collaborated with musician Paul Simon on the Broadway musical The Capeman (1998). Although the musical bombed on Broadway, it attempted to do what no other musical had done in the past: focus on the real fears of New York's poor. Also in 1998, Walcott returned his attention to his home land with a collection of essays about West Indian culture entitled What the Twilight Says.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.

In 2001, Farrar, Straus brought out The Haitian Trilogy. In the book, three plays, Henri Christophe, Drums and Colours (originally commissioned in 1958), and The Haytian Earth, tell the story of the West Indies as a four-hundred-year cycle of war, conquest, and rebellion.