A Quote by Derek Walcott

Art is History's nostalgia, it prefers a thatched roof to a concrete factory, and the huge church above a bleached village. — © Derek Walcott
Art is History's nostalgia, it prefers a thatched roof to a concrete factory, and the huge church above a bleached village.
An English village could never be mistaken for an American one: the outline against the sky differs; a thatched cottage makes a very wavy line on the blue above.
Give the villagers village arithmetic, village geography, village history and the literary knowledge that they must use daily, i.e. reading and writing letters, etc.
I don't think nostalgia is a healthy modality. But nostalgia and a sense of history are not the same thing. Nostalgia is a dysfunction of the historical impulse, or a corruption of the historical impulse.
We lived in a 'kuccha' house made of mud. The thatched roof couldn't stop the water trickles during the rainy season. I, along with my brothers and sisters, used to stand in a corner and wait for the rain to stop.
Art is no longer snobbish or cowardly. It teaches peasants to use tractors, gives lyrics to young soldiers, designs textiles for factory women's dresses, writes burlesque for factory theatres, does a hundred other useful tasks. Art is as usueful as bread.
From the beginning of church history, music, writing, literature, and the greatest works of art all came from the church. To change the culture and make it a force for good, you have to be in it and be a part of it.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
Few of the great tragedies of history were created by the village idiot, and many by the village genius.
The church must never become a government factory, carrying on a nationalized industry of religion with the people as the bolts and nuts; with God reduced to the role of cramped advocate of current national policy. Surely the pages of history are replete and the examples in many a foreign country convincing that this kind of church-state union-whatever the original motives, or however noble the original purposes-winds up with a state that is less than stable and a church that is less than sanctified, and with the poor still hungry.
All other forms of history - economic history, social history, psychological history, above all sociology - seem to me history with the history left out.
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
We saw the children and the women with their babies and then I heard the poouff — the flame had broken through the thatched roof and there was a yellow- brown smoke column going up into the air. It didn't hit me all that much then, but when I think of it now — I slaughtered those people. I murdered them.
I think winning at Wimbledon's huge. This is the biggest tournament in tennis for so many different reasons. You can see the history around the grounds. The Village around you, everyone lives for it.
I suppose I'm a cultural Anglican, and I see evensong in a country church through much the same eyes as I see a village cricket match on the village green. I have a certain love for it.
To a true believer, death is but going to church: from the church below to the church above.
History is the art of making an argument about the past by telling a story accountable to evidence. In the writing of history, a story without an argument fades into antiquarianism; an argument without a story risks pedantry. Writing history requires empathy, inquiry, and debate. It requires forswearing condescension, cant, and nostalgia. The past isn’t quaint. Much of it, in fact, is bleak.
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