Derek Walcott, a renowned poet from St. Lucia, offers a unique lens through which to view history. By weaving classical themes with Caribbean narratives, particularly in his opus Omeros, he merges the grandeur of Greek epics with the vivid tapestry of island life. This work navigates multiple timelines and intertwines stories, exploring universal themes like love, suffering, and resilience.

A Caribbean Epic

Omeros operates on several levels, with its narrative voice, the Seven Seas, painting a vivid portrait of fishermen Achille, Hector, and Philoctete. Much like Homer’s Iliad, it depicts a rivalry between Achille and Hector for the affections of Helen, a striking island beauty. Helen’s allure, symbolized by a golden yellow dress gifted by Ma Kilman, becomes a focal point, evoking the elegance and grace of a monarch butterfly. This attire transforms Helen, much like the transformative magic in Homer’s works, notably the witch Circe from the Odyssey.

Mythical Parallels

Walcott draws parallels between his characters and figures from Greek mythology. Philoctete’s unhealed wound echoes that of the Greek hero Philoctetes, a reminder of wounds—both physical and emotional—that persist. The narrative suggests a deeper commentary on human suffering, reminiscent of Amfortas from Arthurian legend and the wound of Christ. Philoctete’s injury, a result of a rusty anchor, symbolizes the collective wounds of humanity, healed only by Ma Kilman’s native medicine.

Cultural Commentary

Omeros delves into the cultural dynamics of St. Lucia, where islanders are juxtaposed against the encroaching presence of American and European tourists. Hector, a fisherman-turned-taxi-driver, embodies the willingness of some locals to serve these "invading armies" of tourists. This cultural invasion is mirrored in the transformation of island life and identity, challenging traditional norms and roles.

Poetic Innovation

Walcott employs a distinctive meter akin to Dante’s terza rima, innovatively merging Caribbean vernacular with Italian verse form. This choice highlights his tribute to epic poets while asserting his unique voice. By intertwining St. Lucian patois with classical structures, Walcott crafts a vernacular Caribbean epic, much like Dante's use of vernacular Italian elevated the native tongue in epic poetry.

Complex Reception

The publication of Omeros presented critics with a complex tapestry of themes and styles. As a Caribbean epic written by a black poet, it naturally invites political interpretations. Despite Walcott’s assertion to New York Times columnist D. J. R. Bruckner that he did not intend to create "a conundrum for scholars," the work’s allusions to epic traditions cannot be overlooked. Critics like Rei Terada focus on Walcott's adept manipulation of classical paradigms, enhancing the realism of his characters by contrasting them with their Greek archetypes.

Controversial Ambitions

Opinions diverge on the scope and ambition of Omeros. While some critics, such as Christopher Bakken and Brad Leithauser, suggest that Walcott's reach may overextend, they nonetheless commend his linguistic prowess. Leithauser highlights the poem’s rich array of rhyme schemes and its linguistic virtuosity, suggesting it serves as "a rhyme casebook" due to Walcott's masterful vocabulary and wit.

A Wider Perspective

St. Lucia-born scholar Pat Ismond defends Walcott's broader vision, arguing that his forays beyond the Caribbean illuminate a larger colonial reality. By engaging with North America's treatment of Native tribesmen, Walcott makes a "revolutionary gesture," repositioning the heart of America away from New England’s Pilgrims to the Dakota plains. Geert Lernout supports this dual vision, noting that Walcott’s work reflects the complex interplay of colonial and indigenous influences.

Literary Parallels and Influences

Walcott’s integration of African and European elements is noted by critics like Sidney Burns, who compares Walcott's ambitions to those of James Joyce in Ulysses . Critics also explore parallels with other Western...