shows his wound to the tourists, as well as the cutting of the trees for canoes.
|ll. The cutting
of the trees is treated as a sacrificing of the gods. We observe canoe building, including
the naming of Achille's canoe, as In God We Troust, a mistake with
real truth in it. The Aruaks, the island's original inhabitants are mentioned in
|lll. We see the
happiness of Achille as he prepares to fish in the ocean.
wound is discussed in more detail, and we learn of the names that the fishermen give their
|ll. Seven Seas,
the blind Homer-figure is introduced. Likewise, Omeros as a figure is invoked:
"O open this day with the conch's moan, Omeros/as you did in my boyhood, when
I was a noun/gently exhaled from the palate of the sunrise." Omeros becomes a
figure of colonial history who, "scanned the opening line of our epic horizon."
teaches Walcott to pronounce "Omeros." The name strikes him as
representative of Antilles and of the past.
||l. A duel of
Hector and Achille, on the surface about bailing tin, but really over Helen.
|ll. Ma Kilman's
No Pain Café, where Seven Seas and Philoctete are often helped.
Philoctete believes his wound is the wound of history.
visits his yam garden. There, he treats his crop as if they were colonial
seeing the sea swift, asks God's pardon and decides to endure.
while at a resort, observes Helen's beauty.
||l. We are
introduced to Major Plunkett and wife Maud. The Major reflects on the history of
colonialism, as well as his WWII experience. The Major has a wound as well.
recalls how he was wounded in action. Walcott, as the narrator, explains that all
the characters are expressions of a fictionally "I." Plunkett reflects on
his life with Maud.
distrusts Helen because the later stole a dress from her. The Major decides that Helen
needs a history, one equal to a classical Trojan history.
||l. Helen, who is
pregnant, is looking for work.
|ll. Helen must
decide to confront change, and she thinks of the Beatles' song, Yesterday."
imagines a battle as she walks through the smoke. Walcott reflects on having
confronted her beauty once.
marketplace is a polyglot of past and present. Helen leaves Achille for Hector.
Achille remembers when he had first suspected Helen and Hector.
recalls a happier time and compares it to his present grief.
||I. We learn of
the crusted wine bottle in the museum and the kind of faith that surrounds a belief in
buried treasure. Achille dives for money to please Helen.
|ll. A kind of
descent to the Underworld. Achille questions why he has come down.
tries to end the argument between Achille and Hector.
hurricane season, Achille goes to work on Plunkett's pig farm and struggles with his
thoughts of Helen. Maud misses Ireland.
|Il. Hector fails
to save his canoe from the storm.
hurricane is pictured as the gods having a fête.
||l. The Major is
depressed by the weather, reflecting on Maud's soon passing, etc.
travel in their Land Rover to the mountain named for Ma Kilman. The landscape has
the memory of the colonial atrocities of Bennett and Ward.
prefers St. Lucia to old England, even though Maud has only partially made her peace with
the island climate--in the form of gardens.
decides to frame Helen's actions within the terms of colonial history and sets out to
write a local history.
|ll. Plunkett and
Maud are separated by his research.
reflects on the beauty of the place, esp. her house, but also Achille's canoe.
returns to his boyhood home, which is now a printer's. He meets the ghost of his
dead father, Warwick.
|ll. He travels
with his father's ghost on a tour.
looks on the ghosts of the past and admits to his disbelief in an afterlife.
||l. Warwick takes
Walcott to an old barbershop, whose barber was both an Adventist and a Garveyite.
|ll. Warwick and
Walcott look an ocean liner and reflect on the beauty and strength of black women.
Walcott is charged with giving voice to them.
|Ill. The work and
vocation of the poet. Walcott's invocation/prayer to "O Thou, my Zero."