Top 161 Quotes & Sayings by Derek Walcott
Explore popular quotes and sayings by a poet Derek Walcott.
Last updated on December 21, 2024.
If you talk about language in the Caribbean, you must relate it to history.
The Caribbean is not an idyll, not to its natives. They draw their working strength from it organically, like trees, like the sea almond or the spice laurel of the heights.
For so long, the world has viewed West Indian culture as semiliterate and backward, which it is not. In my work, I have tried to give that world an exposure so the world can better understand it.
I am grateful, you know. I have to be grateful in the sense that I feel that what I have is a gift.
We make too much of that long groan which underlines the past.
I consider the sound of the sea to be part of my body.
I don't want to write poems about the royal wedding. I would have to be moved by the event.
The sigh of History rises over ruins, not over landscapes, and in the Antilles there are few ruins to sigh over, apart from the ruins of sugar estates and abandoned forts.
How does a poet teach himself or herself? I think chiefly by imitation, chiefly by practising it as a deliberate technical exercise often. Translation, imitation, those were my methods anyway.
My dedication to trying to be a poet started very, very young, and I was very well encouraged by good teachers and by older friends and so on, so I think it is a benediction, and I also think it is a calling, a duty.
There are some things people avoid saying in interviews because they sound pompous or sentimental or too mystical.
There is a force of exultation, a celebration of luck, when a writer finds himself a witness to the early morning of a culture that is defining itself, branch by branch, leaf by leaf, in that self-defining dawn, which is why, especially at the edge of the sea, it is good to make a ritual of the sunrise.
The personal vocabulary, the individual melody whose metre is one's biography, joins in that sound, with any luck, and the body moves like a walking, a waking island.
Minor writers think style is all.
I am not defined as a black writer in the Caribbean, but as soon as I go to America or the U.K., my place becomes black theatre. It's a little ridiculous.
Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole.
Because that is what such a city is, in the New World, a writer's heaven.
The painter I really thought I could learn from was Cezanne - some sort of resemblance to oranges and greens and browns of the dry season in St. Lucia.
I am only one-eighth the writer I might have been had I contained all the fragmented languages of Trinidad.
Look at Allen Ginsberg. In poems like 'Kaddish' and 'Howl,' you can hear a cantor between the lines. It's fully alive, and I think that's what's missing in modern poetry. It's too dry and cerebral.
I'm from the island of St. Lucia in the Caribbean in the Lesser Antilles, the lower part of the archipelago, which is a bilingual island - French, Creole, and English - but my education is in English.
I think, at the heart of the idea of American democracy, there is something tender.
If you know what you are going to write when you're writing a poem, it's going to be average.
A noun is not a name you give something. It is something you watch becoming itself, and you have to have the patience to find out what it is.
My generation produced some terrific writers from all over, and the great thing about it is that they were all mixed in race.
The discontent that lies in the human condition is not satisfied simply by material things.
A fisherman, say, working on a beach doing his job, may be photographed by a tourist because it's photogenic to see him working, and the Caribbean is extremely photogenic, so poverty is photogenic, and a lot of people are photographed in their poverty, and sometimes it's kind of exploited.
Where I come from, we sing poetry.
The greatest writers have been, at heart, parochial, provincial in their rootedness.
There is no one more deserving of a place in Poets' Corner. Ted Hughes introduced a new kind of landscape into English poetry. The most compelling aspect of his work was his intimacy with nature.
I go back to St. Lucia, and the exhilaration I feel is not simply the exhilaration of homecoming and of nostalgia. It is almost an irritation of feeling: 'Well, you never got it right. Now you have another chance. Maybe you can try and look harder.'
I write plays and poetry at the same time, and I'm always refining, but I'm not obsessive about it. It's what I like to do, what I've always wanted to do.
I think young writers ought to be heretical.
This is Port of Spain to me, a city ideal in its commercial and human proportions, where a citizen is a walker and not a pedestrian, and this is how Athens may have been before it became a cultural echo.
I think I would have been a totally different kind of writer if I'd gone to England. I might have developed a cynicism about my origins, a belittling of them, or an excessive nostalgia for them.
Ted Hughes is dead. That's a fact, OK. Then there's something called the poetry of Ted Hughes. The poetry of Ted Hughes is more real, very soon, than the myth that Ted Hughes existed - because that can't be proven.
I'm read in the Caribbean with justice, with fairness. What I expect it to do is to encourage articulacy in the young.
When I went to college - when I read Shakespeare or Dickens or Scott - I just felt that, as a citizen of England, a British citizen, this was as much my heritage as any schoolboy's. That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.
I knew very early what I wanted to do, and I considered myself lucky to know that's what I wanted, even in a place like Saint Lucia where there was no publishing house and no theatre.
Any serious attempt to try to do something worthwhile is ritualistic.
When a child's mind develops and is heading in a certain direction, we murder that mentality, we murder that imagination, by saying, 'Now, that is all well and good, but now sit down and start to study.'
What was moving, I think, was the fact that the statue is a woman and not a heroic, manly figure. So for all her scale and immensity, there's something soft about the Statue of Liberty, something tender about her.
That's another pompous expression that is out of fashion, to say that poetry is a gift. It sounds pompous because you say, 'Who gave you the gift, and what is this gift?' And the gift is where I am; the gift is what I have come out of, the people around me who, I think, are beautiful people.
Visual surprise is natural in the Caribbean; it comes with the landscape, and faced with its beauty, the sigh of History dissolves.
I have never separated the writing of poetry from prayer. I have grown up believing it is a vocation, a religious vocation.
There is a restless identity in the New World. The New World needs an identity without guilt or blame.
My mother hid the struggle from us children. She complained about her salary, and she had a tough time. Although she became a headmistress, she still had to do a lot of sewing. The more I think about her, the more remarkable I realise she was. And she understood straight away when I said that I wanted to write.
My mother, who is nearly ninety now, still talks continually about my father. All my life, I've been aware of her grief about his absence and her strong pride in his conduct.
My delight in things is definitely Caribbean. It has to do with landscape and food. The fact that my language may have a metrical direction is because that's the shape of the language. I didn't make that shape.
A culture, we all know, is made by its cities.
The country that I was coming from, the island I was in, hadn't been written about, really. So I thought that I virtually had it all to myself, including the language that was spoken there, which was a French Creole, and a landscape that is not recorded, really, and the people.
Memory that yearns to join the centre, a limb remembering the body from which it has been severed, like those bamboo thighs of the god.
Miscegenation is not an idea that we would have in the Caribbean. It wouldn't come up because anybody could marry anybody, you know. I'm not saying that there aren't prejudices in the Caribbean, but the idea of the word 'miscegenation' is not something that we think of.
Rhyme is an attempt to reassemble and reaffirm the possibility of paradise. There is a wholeness, a serenity, in sounds coupling to form a memory.
My family background really only consists of my mother. She was a widow. My father died quite young; he must have been thirty-one. Then there was my twin brother and my sister. We had two aunts as well, my father's sisters. But the immediate family consisted of my mother, my brother, my sister, and me.
The English language is nobody's special property. It is the property of the imagination: it is the property of the language itself.
The fate of poetry is to fall in love with the world.
Individual writers have different postures, different stances, even different physical attitudes as they stand or sit over their blank paper, and in a sense, without doing it, they are crossing themselves; I mean, it's like the habit of Catholics going into water: you cross yourself before you go in.
I don't think poetry has a readership anywhere, really, that's that big.
I made a vow that I wouldn't be tempted by what could happen to me if I went to Europe. I thought, 'You could be absorbed in it - it's so seductive, you might lose your own search for identity.' Then, when I did finally go to Europe, I was able to resist it because I had established my own identity.
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