|
#1
|
Poetry Collections
|
|
1948
|
25 Poems
|
|
1949
|
Epitaph for the Young: XII Cantos
|
|
1951
|
Poems
|
|
1962
|
In a Green Night: Poems 1948-60
|
|
1964
|
Selected Poems
|
|
1965
|
The Castaway and Other Poems
|
|
1969
|
The Gulf and Other Poems
|
|
1973
|
Another Life
|
|
1976
|
Sea Grapes
|
|
1979
|
The Star-Apple Kingdom
|
|
1981
|
Selected Poetry
|
|
1981
|
The Fortunate Traveller
|
|
1983
|
The Caribbean Poetry of Derek Walcott and the Art of Romare Bearden
|
|
1984
|
Midsummer
|
|
1986
|
Collected Poems, 1948-1984
|
|
1987
|
Central America
|
|
1987
|
The Arkansas Testament
|
|
1997
|
The Bounty
|
|
2004
|
Another Life: Fully Annotated
|
|
2007
|
Selected Poems
|
|
2010
|
White Egrets
|
|
2014
|
The Poetry of Derek Walcott 1948-2013
|
|
2016
|
Morning, Paramin
|
|
|
|
|
#2
|
Poems
|
|
1948
|
The Fishermen Rowing Homeward
|
|
1948
|
In My Eighteenth Year
|
|
1948
|
Private Journal
|
|
1948
|
Letter to a Painter in England
|
|
1948
|
A City's Death by Fire
|
|
1948
|
As John to Patmos
|
|
1948
|
I with Legs Crossed Along the Daylight Watch
|
|
1949
|
XII Cantos
|
|
1962
|
A Far Cry from Africa
|
|
1962
|
Ruins of a Great House
|
|
1962
|
Tales of the Islands
|
|
1962
|
Return to D'Ennery; Rain
|
|
1962
|
A Letter from Brooklyn
|
|
1962
|
Islands
|
|
1962
|
Pocomania
|
|
1962
|
Parang
|
|
1962
|
Two Poems on the Passing of an Empire
|
|
1962
|
Orient and Immortal Wheat
|
|
1962
|
A Lesson for This Sunday
|
|
1962
|
Bleeker Street, Summer
|
|
1965
|
The Castaway
|
|
1965
|
Tarpon
|
|
1965
|
The Flock
|
|
1965
|
Laventille
|
|
1965
|
The Almond Trees
|
|
1965
|
Verandah
|
|
1965
|
Crusoe's Island
|
|
1965
|
Codicil
|
|
1965
|
A Village Life
|
|
1965
|
Goats and Monkeys
|
|
1965
|
The Prince
|
|
1965
|
God Rest Ye Merry, Gentlemen
|
|
1965
|
Lines in New England
|
|
1965
|
November Sun
|
|
1965
|
Lampfall
|
|
1969
|
Ebb
|
|
1969
|
The Corn Goddess
|
|
1969
|
Moon
|
|
1969
|
Serpent
|
|
1969
|
Cat
|
|
1969
|
Hawk
|
|
1969
|
Junta
|
|
1969
|
Mass Man
|
|
1969
|
Miramar
|
|
1969
|
Exile
|
|
1969
|
The Train
|
|
1969
|
Homage to Edward Thomas
|
|
1969
|
A Change of Skin
|
|
1969
|
The Gulf
|
|
1969
|
Elegy
|
|
1969
|
Washington
|
|
1969
|
Mayaro
|
|
1969
|
Blues
|
|
1969
|
Air
|
|
1969
|
Guyana
|
|
1969
|
The Bush
|
|
1969
|
The White Town
|
|
1969
|
The Falls
|
|
1969
|
A Map of the Continent
|
|
1969
|
A Georgetown Journal
|
|
1969
|
Che
|
|
1969
|
Negatives
|
|
1969
|
Landfall, Grenada
|
|
1969
|
Homecoming: Anse La Raye
|
|
1969
|
D'Aubaignan
|
|
1969
|
The River
|
|
1969
|
To the Hotel Saint Antoine
|
|
1969
|
Goodnight Ladies, Goodnight Sweet Ladies
|
|
1969
|
The Cell
|
|
1969
|
Saturday Morning at the Flying Club
|
|
1969
|
Star
|
|
1969
|
Cold Spring Harbour
|
|
1969
|
In the Kitchen
|
|
1969
|
Love in the Valley
|
|
1969
|
Gib Hall Revisited
|
|
1969
|
Nearing Forty
|
|
1969
|
The Walk
|
|
1969
|
Hic Jacet
|
|
1973
|
The Divided Child
|
|
1973
|
Homage to Gregorias
|
|
1973
|
A Simple Flame
|
|
1973
|
The Estranging Sea
|
|
1976
|
Sea Grapes
|
|
1976
|
The Virgins
|
|
1976
|
Frederiksted Nights
|
|
1976
|
Frederiksted, Dusk
|
|
1976
|
Sunday Lemons
|
|
1976
|
Schloss Era
|
|
1976
|
The Cloud
|
|
1976
|
New World
|
|
1976
|
Adam's Song
|
|
1976
|
Vigil in the Desert
|
|
1976
|
The Brother
|
|
1976
|
Preparing for Exile
|
|
1976
|
Party Night at the Hilton
|
|
1976
|
The Lost Federation
|
|
1976
|
Parades, Parades
|
|
1976
|
The Silent Woman
|
|
1976
|
Dread Song
|
|
1976
|
The Dream
|
|
1976
|
The Walking Fish
|
|
1976
|
Frogs
|
|
1976
|
Turtles
|
|
1976
|
Butterflies
|
|
1976
|
The Villages
|
|
1976
|
Sainte Lucie
|
|
1976
|
Iona: Mabouya Valley (Creole)
|
|
1976
|
Iona: Mabouya Valley (English)
|
|
1976
|
For the Altarpiece of the Roseau Valley Church, Saint Lucia
|
|
1976
|
Over Colorado
|
|
1976
|
Spring Street in '58
|
|
1976
|
Ohio Winter
|
|
1976
|
For Pablo Neruda
|
|
1976
|
Volcano
|
|
1976
|
The Wind in the Dooryard
|
|
1976
|
The Chelsea
|
|
1976
|
The Bridge
|
|
1976
|
Endings
|
|
1976
|
California
|
|
1976
|
The Fist
|
|
1976
|
Love After Love
|
|
1976
|
Midsummer, England
|
|
1976
|
The Bright Field
|
|
1976
|
Dark August
|
|
1976
|
Sea Canes
|
|
1976
|
The Harvest
|
|
1976
|
Midsummer, Tobago
|
|
1976
|
Force
|
|
1976
|
Oddjob, a Bull Terrier
|
|
1976
|
Earth
|
|
1976
|
At Last
|
|
1976
|
Winding Up
|
|
1976
|
The Morning Moon
|
|
1976
|
The Return to the Trees
|
|
1979
|
The Schooner Fight
|
|
1979
|
In the Virgins
|
|
1979
|
Sabbaths, W.I.
|
|
1979
|
The Sea Is History
|
|
1979
|
Egypt, Tobago
|
|
1979
|
The Saddhu of Couva
|
|
1979
|
R.T.S.L.
|
|
1979
|
Forest of Europe
|
|
1979
|
Koenig of the River
|
|
1979
|
The Star-Apple Kingdom
|
|
1981
|
Old New England
|
|
1981
|
Upstate
|
|
1981
|
American Muse
|
|
1981
|
Piano Practice
|
|
1981
|
North and South
|
|
1981
|
A Sea Change
|
|
1981
|
Beachhead
|
|
1981
|
Archipelagoes
|
|
1981
|
The Cove
|
|
1981
|
Sea Cranes
|
|
1981
|
Roman Outposts
|
|
1981
|
From This Far
|
|
1981
|
Europa
|
|
1981
|
Greece
|
|
1981
|
The Man Who Loved Islands
|
|
1981
|
Hurucan
|
|
1981
|
Jean Rhys
|
|
1981
|
Catina Music
|
|
1981
|
The Liberator
|
|
1981
|
The Spoiler's Return
|
|
1981
|
Port of Spain
|
|
1981
|
The Hotel Normandie Pool
|
|
1981
|
Early Pompeian
|
|
1981
|
Easter
|
|
1981
|
Store Bay
|
|
1981
|
Wales
|
|
1981
|
The Fortunate Traveller
|
|
1981
|
The Season of Phantasmal Peace
|
|
1984
|
Companion in Rome, whom Rome Makes as Old as Rome
|
|
1984
|
At the Queen's Park Hotel, with Its White, High-Ceilinged Rooms
|
|
1984
|
Midsummer Stretches Beside Me with Its Cat's Yawn
|
|
1984
|
Our Houses Are One Step from the Gutter: Plastic Curtains
|
|
1984
|
My Double, Tired of Morning, Closes the Door
|
|
1984
|
With the Frenzy of an Old Snake Shedding Its Skin
|
|
1984
|
I Can Sense It Coming from Far, Too, Maman, the Tide
|
|
1984
|
In the Other 'Eighties, a Hundred Midsummers Gone
|
|
1984
|
Gaugin
|
|
1984
|
Watteau
|
|
1984
|
Along, White, Summer Cloud, Like a Cleaned Linen Table
|
|
1984
|
With the Stampeding Hiss and Scurry of Green Lemmings
|
|
1984
|
The Sun Has Fired My Face to Terra-Cotta
|
|
1984
|
Before That Thundercloud Breaks from Its Hawsers
|
|
1984
|
Certain Things Here Are Quietly American---
|
|
1984
|
Something Primal in Our Spine Makes the Child Swing
|
|
1984
|
Gold Dung and Urinous Straw from the Horse Garages
|
|
1984
|
Those Grooves in That Forehead of Sand-Coloured Flesh
|
|
1984
|
Mud. Clods. The Sucking Heel of the Rain-Flinger
|
|
1984
|
The Oak Inns Creak in Their Joints as Light Declines
|
|
1984
|
The Grey English Road Hissed Emptily Under the Tires
|
|
1984
|
The Camps Hold Their Distance---Brown Chestnuts and Grey Smoke
|
|
1984
|
Chicago's Avenues, as White as Poland
|
|
1984
|
Tropic Zone
|
|
1984
|
A Wind-Scraped Headland, a Sludgy, Dishwater Sea
|
|
1984
|
I Once Gave My Daughters, Separately, Two Conch Shells
|
|
1984
|
Since All of Your Work Was Really an Effort to Appease
|
|
1984
|
I Heard Them Marching the Left-Wet Roads of My Head
|
|
1984
|
There Was One Syrian, with His Bicycle, in Our Town
|
|
1984
|
The Midsummer Sea, the Hot Pitch Road, This Grass, These Shacks That Made Me
|
|
1987
|
Here
|
|
1987
|
The Lighthouse
|
|
1987
|
Cul de Sac Valley
|
|
1987
|
Roseau Valley
|
|
1987
|
A Latin Primer
|
|
1987
|
The Villa Restaurant
|
|
1987
|
The Three Musicians
|
|
1987
|
Saint Lucia's First Communion
|
|
1987
|
Gros-Ilet
|
|
1987
|
The Whelk Gatherers
|
|
1987
|
White Magic
|
|
1987
|
A Letter from the Old Guard
|
|
1987
|
Storm Figure
|
|
1987
|
Marina Tsvetaeva
|
|
1987
|
The Light of the World
|
|
1987
|
Oceano Nox
|
|
1987
|
Night Fishing
|
|
1987
|
To Norline
|
|
1987
|
Elsewhere
|
|
1987
|
Eulogy to W.H. Auden
|
|
1987
|
Elsewhere
|
|
1987
|
Steam
|
|
1987
|
Central America
|
|
1987
|
Roman Peace
|
|
1987
|
Salsa
|
|
1987
|
Sunday in the Old Republic
|
|
1987
|
French Colonial: "Vers de Societe"
|
|
1987
|
Mimi, the Near-Suicide
|
|
1987
|
Fame
|
|
1987
|
Tomorrow, Tomorrow
|
|
1987
|
Streams
|
|
1987
|
Winter Lamps
|
|
1987
|
For Adrian
|
|
1987
|
Safe Conduct
|
|
1987
|
Pentecost
|
|
1987
|
The Young Wife
|
|
1987
|
Summer Elegies
|
|
1987
|
A Propertius Quartet
|
|
1987
|
Menelaus
|
|
1987
|
God Rest Ye Merry, Gentlemen, Part II
|
|
1987
|
The Arkansas Testament
|
|
1990
|
Omeros
|
|
1997
|
The Bounty
|
|
1997
|
I Cannot Remember the Name of That Seacoast City
|
|
1997
|
Signs
|
|
1997
|
Then, as If the Earth's Wick Were Being Lowered
|
|
1997
|
Thanksgiving
|
|
1997
|
Miraculous as When a Small Cloud of Cabbage-Whites
|
|
1997
|
Homecoming
|
|
1997
|
To Recede Like a Snail Flattening Its Enquiring Horns
|
|
1997
|
New Creatures Ease from Earth, Nostrils Nibbling Air
|
|
1997
|
The Feel of the Village in the Afternoon Heat, a Torpor
|
|
1997
|
There Is Nothing Except the Sun at the End of the Street
|
|
1997
|
The Phrases of a Patois Rooted in This Clay Hillside
|
|
1997
|
Never Get Used to This; the Feathery, Swaying Casuarinas
|
|
1997
|
Great Bursts of Exaltation Crest the White Breaker
|
|
1997
|
Spain
|
|
1997
|
Down Shortcuts Like Wounds in the Hills, into Estate Kitchens
|
|
1997
|
Not the Horned Head, the Beaked Visor, the Threshing Vans
|
|
1997
|
What Is This Virulence That Eats at the Cloth of the Altar
|
|
1997
|
The Bamboo Stands Ready as an Army with Its Plumed Banners
|
|
1997
|
Six Fictions
|
|
1997
|
I Am Considering a Syntax the Colour of State
|
|
1997
|
I Saw Stones That Shone with Stoniness, I Saw Thorns
|
|
1997
|
Alphaeus Prince. What a Name! He Was One of the Princes
|
|
1997
|
These Lines That I Write Now, That Lack Salt and Motion
|
|
1997
|
The Sublime Always Begins with the Chord "And Then I Saw,"
|
|
1997
|
Praise to the Rain, Eraser of Picnics, Praise the Grey Cloud
|
|
1997
|
Awaking to Gratitude in This Generous Eden
|
|
1997
|
If These Were Islands Made from Mythologies Where
|
|
1997
|
The Sea Should Have Settled Him, But Its Noise Is No Help
|
|
1997
|
Italian Eclogues
|
|
1997
|
She Returns to Her Role as a Seagull: the Wind
|
|
1997
|
A Santa Cruz Quartet
|
|
1997
|
At the End of This Line There Is an Opening Door
|
|
1997
|
Never Plotted, Never Provided with Their Proper Metre
|
|
1997
|
In Late-Afternoon Light the Tops of the Breadfruit Leaves
|
|
1997
|
After the Plague, the City-Wall Caked with Flies, the Smoke's Amnesia
|
|
2000
|
Tiepolo's Hound
|
|
2004
|
The Prodigal
|
|
2010
|
The Chessmen Are as Rigid on Their Chessboard
|
|
2010
|
Your Two Cats Squat, Heraldic Sphinxes, with Such
|
|
2010
|
This Was My Early War, the Bellowing Quarrels
|
|
2010
|
White Egrets
|
|
2010
|
The Acacia Trees
|
|
2010
|
Sicilian Suites
|
|
2010
|
Spanish Series
|
|
2010
|
In Italy
|
|
2010
|
The Lost Empire
|
|
2010
|
The Spectre of Empire
|
|
2010
|
Pastoral
|
|
2010
|
A London Afternoon
|
|
2010
|
In the Village
|
|
2010
|
The Sweet Life Cafe
|
|
2010
|
A Sea-Change
|
|
2010
|
On Capri
|
|
2010
|
Sixty Years After
|
|
2010
|
In Amsterdam
|
|
2010
|
Forty Acres
|
|
2010
|
Epithalamium: the Rainy Season
|
|
2010
|
Barcelona
|
|
2010
|
Elegy
|
|
2010
|
August, the Quarter-Moon Dangles Like a Bugle
|
|
2010
|
It's What Others Do, Not Us, Die, Even the Closet
|
|
2010
|
What? You're Going to Be Superman at Seventy-Seven?
|
|
2010
|
The Sorrel Rump of a Mare in the Bush
|
|
2010
|
All Day I Wish I Was at Case-en-Bas
|
|
2010
|
Be Happy Now at Cap, for the Simplest Joys---
|
|
2010
|
For the Crackle and Hiss of the Word 'August'
|
|
2010
|
So the World Is Waiting for Obama,' My Barber Said
|
|
2010
|
In the Leathery Closeness of the Car Through Canefields
|
|
2010
|
Here's What That Bastard Calls 'the Emptiness'---
|
|
2010
|
This Page Is a Cloud Between Whose Fraying Edges
|
|
2016
|
Dedication to S.H.
|
|
2016
|
Ski Jacket
|
|
2016
|
The Architect's Home in the Ravine
|
|
2016
|
Figure in Mountain Landscape
|
|
2016
|
Pond Life
|
|
2016
|
Window Pane
|
|
2016
|
Hitch-Hiker
|
|
2016
|
100 Years Ago (Carrera)
|
|
2016
|
Moruga
|
|
2016
|
Milky Way
|
|
2016
|
Music of the Future
|
|
2016
|
Pelican Island
|
|
2016
|
Pelican Man
|
|
2016
|
Lapeyrouse Wall
|
|
2016
|
Maracas
|
|
2016
|
In the Heart of Old San Juan
|
|
2016
|
Paramin
|
|
2016
|
Baked
|
|
2016
|
Girl in White with Trees
|
|
2016
|
Man Dressed as Bat
|
|
2016
|
Untitled (Paramin)
|
|
2016
|
Paragon
|
|
2016
|
Metropolitain
|
|
2016
|
Grand Riviere I
|
|
2016
|
Grand Riviere II: The Phantom Steed
|
|
2016
|
Santa Cruz I
|
|
2016
|
Santa Cruz II
|
|
2016
|
Santa Cruz III
|
|
2016
|
The Studio Film Club I
|
|
2016
|
The Studio Film Club II
|
|
2016
|
The Studio Film Club III
|
|
2016
|
Night Studio (Studiofilm & Racquet Club)
|
|
2016
|
House of Pictures
|
|
2016
|
The Oak's Arms Command
|
|
2016
|
|
2016
|
Metropolitain (House of Pictures)
|
|
2016
|
Mal d'Estomac
|
|
2016
|
Abstraction
|
|
2016
|
Lapeyrouse Umbrella
|
|
2016
|
The Tanker
|
|
2016
|
Purple Jesus (Black Rainbow)
|
|
2016
|
Peter, I'm Glad You Asked Me Along
|
|
2016
|
A Haven
|
|
2016
|
House of Pictures (Carrera)
|
|
2016
|
Figures in Red Boat
|
|
2016
|
In the Arena
|
|
2016
|
A Lion Is in the Streets I
|
|
2016
|
A Lion Is in the Streets II
|
|
2016
|
A Lion Is in the Streets III
|
|
2016
|
A Lion Is in the Streets IV
|
|
2016
|
Cave Boat Bird Painting
|
