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From his first book, In a Green Night to the justly celebrated 1979 work, The Star-Apple Kingdom, Walcott's rejection of both a need for revenge and a servile posturing led him to eschew the perhaps more obvious political path of black orality for a more formal, literary diction, but one fine-tuned and honed by his own Caribbean idioms. The result, rather than mimicry, or exorcism, has been to enrich the possibilities of English language and literature. While accused of working with a conservative, Eurocentric aesthetics, the richness of Walcott's texture and his systematic refusal of stylistic boundaries has produced a complex, historically astute poetics, capable of dealing with the denials, contradictions, ideologies and blindnesses of both the Old and New Worlds. In Collected Poems 1948-1984 that vision can be seen for the first time in its full complexity. --David Marriott
"One of the most instructive experiences afforded by this collected edition is the spectacle of a poet moving with gradually deepening confidence to found his own poetic domain, independent of the tradition he inherited yet not altogether orphaned from it . . . This is a triumphant book." --Seamus Heaney, The Boston Globe
"It is difficult to think of a poet in our century who--without ever betraying his native sources--has so organically assimilated the evolution of English literature from the Renaissance to the present, who has absorbed the Classical and Judeo-Christian past, and who has mined the history of Western painting as Walcott has. Throughout his entire body of work he has managed to hold in balance his passionate moral concerns with the ideal of art. By his fifty-fifth year Derek Walcott has made his culture, history, and sociology into a myth for our age and into an epic song that has already taken its place in the history of Western literature." --Peter Balakian, Poetry
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