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A Nobel Award Winner and a popular West Indian literary writer, Derek Walcott was much known for his superb works on drama and poetry. Often times, his themes transgress the traditional boundaries that had been separating races, places and languages all over the world. Derek Walcott intended on exploring cross-cultural ethnicity, politics, power and places' history. A City’s Death by Fire and A Far Cry from Africa are two samples of many poem collections that he had written. Both of these came from the time when he published his first collection of poems in his book entitled "In a Green Night" (Davis 78). Because of Derek Walcott's masterful exploration on themes and stories about racial, culture, and history, it had given his poems a different feeling and experience.
With a twin brother, Derek Walcott was born and grew up in Castries, Saint Lucia. That was in West Indies and also a sister named Pamela Walcott. Coming from an African and European descent, Derek Walcott always reflects his colonial experience and history in the island through his poetry and literary works. His mother was a teacher who loved the arts and made sure that she recited poetry all over their house. His father was a painter and a poet but had died at early age of mastoiditis. Derek's family belonged to a Methodist community but was deeply influenced by the dominant Catholic traditions and beliefs of the area which was established during colonialism of France (Goldstraw 80).
With the factors and experiences that had influenced Derek's childhood and growing up, Methodism and spirituality played a significant role and was evident from the beginning of Walcott's work. It was mentioned that Derek Walcott never separated prayer from his writings and poetry. He...
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...eading Derek Walcott. Chicago: University of Chicago
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Callahan, Lance. In the Shadow of Divine Perfection. New York: Routledge, 2003.
Davis, Viola Julia. Derek Walcott: A Dramatist. England: Intelek International, 2012.
Gilbert, Helen. Post Colonial Plays: An Anthology. New York: Psychology Press, 2001.
Goldstraw, Irma. Derek Walcott: An Annotated Bibliography of his Works. New York:
Garland, 1984.
Hamner, Robert D. Critical Perspectives on Derek Walcott. Colorado: Lynne Rienner
Publishers, 1993.
Ismond, Patricia. Abandoning Dead Metaphors: The Caribbean Phase of Derek Walcott's
Poetry. Sta. Lucia: The University of the West Indies Press, 2001.
Thieme John. Derek Walcott. New York: Manchester University Press, 1999.
Walcott, D. and William Baer (1996). Conversations with Derek Walcott. Mississippi:
University Press of Mississippi, 1996.
Taylor, Edward. “Meditation 42.” The Heath Anthology of American Literature. Ed. Paul Lautier. New York: Houghton Mifflin Company, 2004
The book of Psalms is one of the most useful books all throughout the Biblical text. It is not just a book of stories or law but personal praises, laments, and the deepest cries of the soul to the one true King: Yahweh. The Psalter is “the most reliable theological, pastoral, and liturgical resource given us in the biblical tradition” (pp. 1). These psalms pave a path for practical faith in the world today. Author, theologian, and teacher, Walter Brueggemann, goes into depth on the psalms of orientation, disorientation, and new orientation to discuss that through the unexpected high and low seasons of life one can turn to the Psalms for authentic conversation with God.
First, the meditator begins by noting that as a youth he held numerous false opinions, and that all the beliefs that he had held subsequently developed into other opinions whose validity are doubtful. In order to develop firm and lasting beliefs that could have a momentous impact, he realizes that he must start anew. In order to accomplish this endeavor, he utilizes Descartes’ philosophical methodology, known hyperbolic do...
The four poems by Langston Hughes, “Negro,” “Harlem,” “The Negro Speaks of Rivers,” and “Theme for English B” are all powerful poems and moving poems! Taken all together they speak to the very founding of relations of whites and blacks all the way down through history. The speaker in the poem the, “Negro” and also, “The Negro Speaks of Rivers,” tells the tale of freedom and enslavement that his people have endured, and it heralds their wisdom and strength. The poems “Harlem” and “Theme for English B” speaks to the continuous unfair treatment that the blacks have received at the hands of white people throughout the years.
Unlike writers such as Edgar Allen Poe, Longfellow’s poems were “overly optimistic and sentimental” (Kinsella 256). He stood out amongst any other writer of his time. While most authors wrote dark, gothic works and stories, Longfellow’s were happy, positive and encouraging due to his wonderful childhood. He was inspired by his hometown, Portland, the sea, poets like Sir Walter Scott and Samuel Rogers, literature and music were all inspirations to him (Arvin 8/9). These parts of his childhood along with the new, exciting ideas of Romanticism are what shaped Longfellow’s style of writing. This is what drew in his audience because his poems were relatable and were written from the heart. Even though Longfellow went through some hard times with the loss of two wives and suffering from vertigo and peritonitis, he never allowed these complications affect his writing or his calmness (Kunitz 5). His control over his mind and body helped create some of the most beloved p...
Derek Walcott forced the literary world to disagree with him when he denied that Omeros was an epic. Some critics suggest that, like his narrator, Walcott is not sure where his work belongs. Others suggest that Walcott denies its obvious genre in order to avoid being categorized. Regardless, Derek Walcott repeatedly says that the purpose of his writing is to wrestle with the duality within himself and that of the Caribbean islands, specifically St. Lucia. Despite occasionally downplaying the significance of any existence, Walcott utilizes a history/ time motif to explore history’s importance in forging an identity and the future (Bloom 135).
In the midst of all of Ralph Waldo Emerson’s essays, “Circles,” is undoubtedly a piece which masterfully incorporates Emerson’s philosophies of etymology with the spiritual. Etymology, down to its core, deals with the origin of certain phrases, words, or examples used to describe an object of meaning. Emerson uses this technique to craft a spiritual essay that pushes the reader to see the universe from a different perspective, and to tear away from the social norms of what is expected of religion to follow his or her own path. To do this, however, Emerson stresses the importance of understanding and reason. To understand is to classify, differentiate, and compare. To reason, on the other hand, exceeds understanding by serving as the intuitive facility to the soul. To do this, one must become a poet as described by Emerson.
For the purpose of this chapter, these words by Stephen Vincent Benet in his foreword to Margaret Walker’s first volume of poetry, For My People (1942) are really important. They give an idea about the richness of the literary heritage from which Walker started to write and to which she later added. This chapter is up to explore those “anonymous voices” in Walker’s poetry, the cultural and literary heritages that influenced her writings. Margaret Walker’s cultural heritage, like her biological inheritance, extends back to her ancestors in Africa and the Caribbean. It is quite genetic, something she got by birth; which is quite there just by being African American. Echoes of ancient myths, lost history, mixed bloods, and complex identities are brought about along with the skin colour and the racial origins.
In the early 20th century, many writers such as T.S. Eliot (Thomas Stearns Eliot) and Langston Hughes wrote what scholars of today consider, modern poetry. Writers in that time period had their own ideas of what modern poetry should be and many of them claimed that they wrote modern work. According to T.S. Eliot’s essay, “From Tradition”, modern poetry must consist of a “tradition[al] matter of much wider significance . . . if [one] want[s] it [he] must obtain it by great labour . . . no poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists’ (550). In another term, tradition only comes within the artist or the art itself; therefore, it should be universally monumental to the past. And, Langston Hughes argues that African-Americans should embrace and appreciate their own artistic virtues; he wishes to break away from the Euro-centric tradition and in hopes of creating a new blueprint for the African-American-Negro.
Plantinga’s (2002) book Engaging God’s World consists of five parts: “Longing and Hope,” “Creation,” “The Fall,” “Redemption,” and “Vocation in the Kingdom of God.” Throughout the work, Plantinga references public speakers and activists, lyricists, philosophers, saints, and authors to help his audience connect to his perspective.
Writer and member of the 1920’s literary movement, Langston Hughes, in his autobiographical essay, Salvation, elucidates the loss of innocence and faith due to the pressure of accepting a concept that he has yet to acknowledge. Hughes’ purpose is to describe his childhood experience of the burden to be saved by Jesus, resulting in his loss of faith. He adopts a solemn, yet disappointing tone to convey his childhood event and argues the unqualified religious pressure.
In Andrew Hudgins’ poem, Praying Drunk, the speaker portrays the act of writing as something important, mysterious, and difficult when sober, and compares it to the act of praying, which, for him, is equally complicated. The entire poem is in the form of a prayer, which provides an insightful look at the motivations for faith, the pursuit of truth, and the struggle to come to terms with both. When these ideas are applied to the act of writing, they reveal the complex struggle that a writer faces in developing confidence in his own ideas, while maintaining a degree of credibility that will encourage an audience to care about what he has written.
The Spiritualist pioneers through the centuries have played an important role in our history, devotedly demonstrating their faith spiritualism, to the multitude. In the past many great men and women shaped yesteryear of spiritualism, dedicating their life, firstly Sir Arthur Conan Doyle an outstanding well-respected Doctor of medicine in the community, writer on Spiritualism additionally for his famous Sherlock Holmes stories. Secondly, Emma Hardinge Britten a strong lady of her time a copious writer, the channelling of the five principles, later changed to seven, equally the founder of the “Two Worlds” Magazine. The final person chosen is Gordon Higginson an outstanding medium with strong evidence of spirit of the last Century, a teacher to impart the knowledge, furthermore continued through studying becoming a Minister and President of the SNU.
Despite Dylan Thomas’ often obscure images, he expresses a clear message of religious devotion in many of his poems. He creates images that reflect God’s connection with the earth and body. In “And death shall have no dominion,'; Thomas portrays the redemption of the soul in death, and the soul’s liberation into harmony with nature and God. Thomas best depicts his beliefs, though abstract and complicated, to the reader with the use of analogies and images of God’s presence in nature. Appreciating the virtue of humility in “Shall gods be said to thump the clouds,'; Thomas associates God with thunder, rainbows, and night only to remind us that He is even more present in a simple stone as He is in other great entities. In “The force that through the green fuse drives the flower,'; Thomas again makes the connection of body and earth, implying that there is only one holy force that has created all motion and life on this planet. This force, because it is so pure and boundless, is present in the shadows and poverty of our world, as depicted in “Light breaks where no sun shines.'; God’s sacred presence in the body and earth is the ultimate theme within these chosen poems.
...ledge the enormity of our task; for when before has a secular culture rebuilt itself on sacred foundations? We need solutions as ingenious as any devised by our industrious hero. Like Robinson, we must never despair; like Robinson, we must find strength in prayer. It helps to bear in mind that it is we who have uprooted God from our homes, schools, books, arts; we have cast ourselves adrift. God, the master mariner, never abandons his children. We do well to remember, too, that Robinson found salvation in a plight more desperate than ours. Then, perhaps, we can relish the truth in Walter de la Mare's heartfelt remark about Defoe's finest creation: "Even to think of his admirable hermit is to be cheerful and to take heart of grace."