By Paul Breslin and Robert Hamner (Guest Editors)
Read or Download Callaloo (28:1, Winter 2005) Special Issue on Derek Walcott PDF
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Extra resources for Callaloo (28:1, Winter 2005) Special Issue on Derek Walcott
Example text
Moule à Chique – mountain on the southern tip of St. Lucia, crested by a lighthouse. Apilo – nickname of Dunstan St. Omer, St. Lucian artist, lifelong friend of Walcott. Chantwèl – female lead singer of St. Lucian folk groups. Soucouyants – vampire-type creature of St. Lucian folklore. Krona – Swedish currency. Konserthuset – the Stockholm Concert Hall in which the Nobel Prize ceremony is held. Shac-shac, violon, bones, mandolin – musical instruments used by St. Lucian folk bands. Kendel Hippolyte, Jane King-Hippolyte, MacDonald Dixon, Fish Alphonse – St.
Lucian creole of the dialogue. From experiences like this, Walcott seems to have learned that in performance, despite the support of “gestures, expres32 CALLALOO sions, and intonations,” one cannot be sure that creole language is accessible even to a West Indian audience. The lesson only became more compelling as he began to reach an international Anglophone audience. When he began to publish his plays in England and America, he seems to have been acutely conscious of the need to make adjustments on account of the absence of those performative supports from the printed text.
James’s famous historical account, Black Jacobins. What is more, his little-known play of the same title was first produced even earlier, in 1936. Walcott’s The Haitian Trilogy conveniently collects all three of his dramatic engagements with the Revolution: Henri Christophe, Drums and Colours and The Haitian Earth. To compare his treatment of the Revolution in the three is to enhance understanding of his evolution as a dramatist, a Caribbean dramatist, both in content or world view and in style, as well as to enhance understanding of the hold of the Haitian Revolution on Caribbean imagination.
