By Paola Loreto
This primary prolonged research of Derek Walcott's Tiepolo's Hound (2000) defines the booklet because the fruits of the poetry and poetic of the Caribbean author and Nobel Prize winner. during this lengthy poem, Walcott achieves 3 pursuits pursued all through his profession: to strengthen an unique Caribbean aesthetic; to meld the modes of poetry and prose; and to formulate the Bildung of the island-artist when it comes to an 'autobiographical' narrative. The research offers a classy and cultural overview of the poem, in phrases either one of the Western poetic culture to which it refers via its wealthy intertextuality and of its importance as a postcolonial milestone. The statement locates Walcott in a cultured culture working from Emerson during the American Pragmatists to modernist poets; describes his experimental use of sure important narrative thoughts in his semi-autobiographical lengthy poems, that is in comparison to these of one other, overtly famous, bilingual author, Vladimir Nabokov; explores Walcott's revision of the epic mode and of the style of autobiography; delineates his unfolding of a post-Romantic internalization of the poet's Arthurian quest; and discusses his advanced therapy of the multi-layered metaphor of sunshine as significant facts of the adulthood of his sort and poetic, with their wide awake cross-fertilization among the literary cultures of Europe and the Caribbean. An appendix to this examine includes the transcriptions of assorted 'Walcott occasions' that happened in Italy within the summers of 2000 and 2001, together with an inventive writing seminar, a press convention, and readings. This wide fabric opens a window onto Walcott's presents as a instructor, to his stringent but passionate dedication to the artwork of poetry, and to the ways that he and his scholars grapple with the demanding situations of literary translation.
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Additional info for The Crowning of a Poet's Quest: Derek Walcott's Tiepolo's Hound. (Cross Cultures)
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56 The cause and the effect of this feeling of sheer exultation seem to be the same for Walcott and for Emerson, and they are the astonished, ecstatic discovery of a new continent, which is one’s own, as a cause, and the impulse to name it, as an effect. ”59 Walcott and Emerson posit the same potential to re-live, mythologically, Man’s prelapsarian condition in Eden. In the poetic tradition they share, this primeval experience of innocence and of the potential for all realizations has 53 Emerson, “Self-Reliance” (Essays: First Series, 1841), in Emerson, Essays and Lectures, ed.
2: 434. 64 Edward Baugh, “The Poem as Autobiographical Novel: Derek Walcott’s Another Life in Relation to Wordsworth’s Prelude and Joyce’s Portrait,” in Awakened Conscience: Studies in Commonwealth Literature, ed. D. Narasimhaiah (New Delhi: Sterling, 1978): 227. 18 T HE C ROWNING OF A P OET ’ S Q UEST oath: “we swore, / disciples of that astigmatic saint, / that we would never leave the island / until we had put down, in paint, in words, / […] all of its sunken, leaf-choked ravines, / every neglected, self-pitying inlet” (Another Life, CP 194); “I swore: I shall // get their true tints someday” (T 94).
On the other hand, like Emerson, Walcott sets Geography against History: “You want to hear my history? Ask the sea” (Another Life, CP 281). In the prose of “The Muse of History,” he explained that “It is this awe of the numinous, this elemental privilege of naming the new World which annihilates history in our great poets […]. ”65 The secret is to cultivate what Walcott calls “amnesia,” which is a form of forgetting that remembers and forgives: “In time the slave surrendered to amnesia. That amnesia is the true history of the New World” (39).