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In the world of growing inter-connectedness and globalization, the idea of Nation state
has lost its proficiency. Its crises have rendered it no more an antagonist to the idea of
Beck reinforces this idea by saying that the interaction between the two “-isms” alters
The identity of a nation is now founded on its international discourse with the outside world.
These interactions are no longer monetary or social but cultural and ideological. This paper will
discuss the idea of necessary cosmopolitanism through the life and works of Derek Walcott.
Derek Walcott is a Caribbean writer born on the island of St. Lucia. The pluralist
society of St. Lucia had exchanged hands among the French and the British for fourteen times
before the British gained total control in 1814. Colonialism commenced the flux of migrants with
the settlement of the new government and the arrival of indentured labors from the east.
Therefore, the Caribbean accommodates diverse cultures (Hindu, Muslim, Chinese, etc.) and
languages (creole, pidgin and patios). This multiculturalism has been an inspiration for Walcott.
Street. I am only one-eighth the writer I might have been had I contained
Walcott celebrates the cosmopolitan co-existence of these cultures and sees beauty in the
harmony of these fragmented souls. He gives the metaphor of a broken vase glued together by
love. His reverential attitude towards the broken vase is in contrast to the classical European
culture for which a symmetrical vase was an emblem of beauty. Hence, begins a cosmopolitan
grandfather was English who had married a local brown woman and settled in St. Lucia. His
maternal grandfather was Dutch who had married an African migrant. In “The Schooner Flight”,
Along with these Walcott is a native English Methodist in a dominantly Catholic St. Lucia and
successfully so) these multicultural elements of the islands. His usage of language is one such
example. In Heaney’s essay on Walcott, “The Murmur of Malvern,” he describes Walcott’s 1979
His historical background has made him a cosmopolitan (‘the citizen of the world’) by default.
poetry is a dialogue between the world of the Caribbean and the world outside. He speaks from
both sides of the political fence without compromising either his Caribbean creole history or his
western education. His poems exemplify the mixing of these two contrasts. They move beyond
the boundaries of St. Lucia and reach the world of Manhattan and Mandelstam. He has not let his
image as Post-colonial Caribbean writer inhibit him from expressing his global experiences as an
.. a man no more
Beck has argued that due to rampant globalization, nation states are losing their identity.
In order to survive the homogenizing globalization, nations must join hands as cosmopolitans as
this will provide a chance to survive without getting assimilated in the dominant global culture.
P. Loiusy has similarly commented on the Caribbean that their tension is between their reality
and strong global waves of its neighbor- U.S.A. Caribbean has always been the intersection of
civilizations. Because of this historical fact, the region’s main contribution internationally in the
twentieth century has been in the realm of culture and creative imagination. Walcott is also part
of this imaginative growth. His poetry gives global voice to the unheard people of the Caribbean
whose heart and soul stand the risk of being homogenized in the world. He puts forth their local
spiritual factors which influence their perspectives of their life and the world. So, Walcott has
rightfully called the poetry of the Antilles a ‘survival’. In fact, Cosmopolitanism is a survival
Walcott uses English as his first language without any regret. More than appropriation of
University and read the canons of western culture closely. His constant movement between
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Boston, London, Warwick, New York and the Caribbean has rendered an understanding of the
world cultures. Currently, he is teaching at the University of Essex. He remains at ease within
these frontiers. Paul Breslin has found through his conversation with Richard Montgomery,
Walcott’s stage designer that he moved at ease among prime ministers of island states,
poetry where the geographical displacement occurs effortlessly. From : “Egypt, Tobago”, love
poem from his The Star-Apple Kingdom (1979), poems named ‘Forest of Europe’ (1979) and
‘The Fortune Traveller’ (1981) which encapsulates the cosmopolitan world with the erosion of
national sovereignty.
In his collection, “Midsummer” he uses the metaphor of summer heat as purifying fire
which dissolves differences of place and history. The intensity of the heat is too much for even
the poet to handle. At the same time the heat in the north is described as “midsummer’s leaves
race to extinction” and “seethe toward autumn’s fire” (XXIII) (CP 483), whereas on the
Caribbean Islands “noon jerks toward its rigid, inert center” (XXVIII) (CP 488). This delicate
representation of similarities and differences validates Walcott’s poetic expertise. The heat is
same yet the experiences are different. It is cosmopolitanism in its purest philosophical sense
which is saying that mankind is same it’s only their socio-cultural differences which separate
them.
This collection is divided into two parts ‘here’ i.e, St. Lucia, Caribbean and the speaker’s home.
And ‘elsewhere’ which mainly stand for the American landscapes. Traveling is Walcott’s
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attempt to overcome the differences between ‘here’ and ‘there’. Traveling is, as Clifford puts it,
To be a Cosmopolitan is to travel and Walcott recognizes that and accepts it as a part of his own
I accept my function
as a colonial upstart at the end of an empire.(CP 405)
In “Midsummer”, he writes about traveling as a way of opening the world for the traveler. He
says
this is the lot of all wanderers, this is their fate,
that the more they wander, the more the world grows wide.(VII)(CP 474)
The hybrid language of Walcott’s poetry mirrors the cosmopolitan culture of St. Lucia.
He uses universal references ranging from Homer to Shakespeare…etc. and phrases from foreign
languages like Latin to enhance the global setting of his poems. Walcott is trying to write a “new
song” of this cosmopolitan world. His attempt is to be universal. In “Origins”, he talks about
how this ‘new song’ will replace the old (CP 15). This ‘new song’ is the mixture of the
multicultural songs of St. Lucia. The Gods that he mentions in this poem are not only the ‘new
Gods’ of western civilization. He also mentions the dying ‘old gods’ whose memory still lingers
in the Antilles.
Colonialism initiated the cultural transaction between the two civilizations but this was
an unequal exchange because the colonizer deemed the natives primitive to maintain their own
social hegemony. To ‘civilize’ them, they introduced western education in the colonies. Walcott
is also their prodigy. This western education of a black man is, in Walcott's words, ‘a
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sensibility...broken and recreated’ for Walcott. It has rendered two colliding voices within the
Sociologically, this polarity of Ideologies helps form an independent and essential vision of the
international and Caribbean for the contemporary readers on all continents. This fracturing of
identities due to colonialism has opened up the pandora’s box of imagination. Walcott has
explained his position on this divide in the essay "The Muse of History” and his attempts to
overcome it by restrictive dualism, not cursing the colonial past but re-defining the present. He
attempts to move out of this cycle by redefining history itself. As he does in his poems like ‘Sea
is History’ and ‘Goats and Monkeys’. Yet his commitment to the art of writing has aligned him
to homer, Lucretius, Ovid…etc. beyond personal love for race or nation. His friend, Brodsky
exclaims “These are not influences—they are the cells of his bloodstream.”(39)
History has tied him to the world through literature. his rejection of the extremist
remain fascinated,
in attitudes of prayer,
Shows the growth of a mature Cosmopolitan writer who wishes to move on and create something
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The inherent complexity in Walcott's identity further strengthen his position as a Cosmopolitan
writer because it allows him to not remain stagnant under any category. When asked about his
I can't afford to worry and I don't worry about the idea of being
do that either," he said. "We must not allow our anger to turn us inward.
Critics like John McLeod have talked about the dangers of restricting writers like Walcott by
categorizing them as’ colonialist’ writers. Because it ties any cultural activity in the once
colonized world to the age of colonialism and reads the activity as a form of ‘writing back’. This
diminishes the reception range of the text and inhibits the readers ability to approach the
different cultural positions and politics in the former colonies. But this debate between
Cosmopolitanism and Post-colonialism raises the question of the extent to which the conception
and dilutes his unique position as just another post-colonial study. Colonialism has played its
part in the Caribbean cultural discourse but art should not be forever tied down to historical
instance. It must remain free to explore and stand beyond man-made boundaries. His literature
is not a literature of revenge and remorse but a literature of the New world whose multi-
dimensionality it so proudly accepts and attempts to define them to the rest of the world.
colonized. It unites the Old World and the New World while simultaneously acknowledging the
gulf between them. In this process Walcott takes a nomadic position. His cosmopolitanism
comes from ‘nowhere’ as he writes in “Origins”. He is a ‘nameless’ coming into the world from
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‘nothing’. He stands at the moment of flux between the cultures of the world, ready to accept
them as they are. Despite his commitment to his homeland , he has become a tourist there too.
That is why his description of islands makes its inhabitants both local and stranger at once.
Walcott’s cosmopolitanism is an individual attempt to balance the old and new, the inside and
the outside of the Caribbean world. He has successfully done so by creating a Cosmopolitan
.
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Works cited
Heaney, Seamus. “The Murmur of Malvern.” Bloom’s Modern Critical Views DEREK
5-6. Print.
Breslin, Paul. Nobody’s Nation. Chicago and London: The University of Chicago Press, 2001.
Print.
Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Harvard:
Brodsky, Joseph. “The Sound of the Tide.” Bloom’s Modern Critical Views DEREK WALCOTT.
2016.
---. Arkansas Testament. London: Farrar, Straus and Giroux, 1988. Print.
---. “The Muse of History: An Essay” The Routledge Reader of Caribbean Literature.
Ed. Alison Donnel and Sarah Lawson Welsh. London: Routledge,1996. Print.