A Far Cry From Africa Derek Walcott 1962

A Far Cry From Africaderek Walcott 1962a Wind Is Ruffling The Tawnype

A Far Cry from Africa Derek Walcott, 1962

A wind is ruffling the tawny pelt Of Africa. Kikuyu, quick as flies, Batten upon the bloodstreams of the veldt. Corpses are scattered through a paradise. Only the worm, colonel of carrion, cries: "Waste no compassion on these separate dead!" Statistics justify and scholars seize The salients of colonial policy. What is that to the white child hacked in bed?

To savages, expendable as Jews? Threshed out by beaters, the long rushes break In a white dust of ibises whose cries Have wheeled since civilization's dawn From the parched river or beast-teeming plain. The violence of beast on beast is read As natural law, but upright man Seeks his divinity by inflicting pain. Delirious as these worried beasts, his wars Dance to the tightened carcass of a drum, While he calls courage still that native dread Of the white peace contracted by the dead.

Again brutish necessity wipes its hands Upon the napkin of a dirty cause, again A waste of our compassion, as with Spain, The gorilla wrestles with the superman.

I who am poisoned with the blood of both, Where shall I turn, divided to the vein? I who have cursed The drunken officer of British rule, how choose Between this Africa and the English tongue I love? Betray them both, or give back what they give? How can I face such slaughter and be cool? How can I turn from Africa and live?

Paper For Above instruction

The poem "A Far Cry from Africa" by Derek Walcott is a profound and complex reflection on the violence, colonial history, and personal identity intertwined with Africa's tumultuous past. Through vivid imagery, stark contrasts, and a deeply introspective tone, Walcott explores the moral and emotional dilemmas faced by individuals caught between their heritage and their adopted or imposed identities.

In the initial stanzas, Walcott depicts Africa as a vulnerable beast, with the wind ruffling its tawny fur, symbolizing both natural beauty and the ongoing turmoil. The references to Kikuyu, corpses, and carrion evoke the brutal realities of colonial violence and the destruction wrought upon the land and its people. The imagery of corpses scattered across paradise underscores the tragic loss of innocence and the pervasive sense of death that taints the continent’s landscapes. Walcott's use of animalistic imagery, such as the worm as colonel of carrion, emphasizes the cycle of decay and the neglect of compassion in the face of war and violence.

The poet then shifts to critique colonial policies, highlighting the dehumanization of Africans ("What is that to the white child hacked in bed?") and the dismissive attitudes of colonizers who see the suffering of the colonized as insignificant or expendable (“To savages, expendable as Jews?”). Such statements expose the brutal indifference of imperial powers and the justifications used to perpetuate violence and exploitation. Walcott vividly illustrates the natural law of beastly violence, comparing it with human brutality, and emphasizing how humanity often seeks to justify its cruelty through notions of civilization or divine providence.

The poem's middle section delves into the paradox of human morality and the internal conflict faced by the speaker. Walcott, himself of African descent with a complex cultural heritage, acknowledges the poison of conflicting identities ("I who am poisoned with the blood of both"). The speaker is torn between condemning colonial brutality ("cursed the drunken officer of British rule") and grappling with feelings of love and loyalty to Africa and the English language, a legacy of colonial imposition. This internal division raises questions about authenticity, betrayal, and cultural survival in post-colonial contexts.

Furthermore, Walcott underscores the destructive impact of colonialism and war, describing how "brutish necessity wipes its hands upon the napkin of a dirty cause." The phrase suggests the moral stain left by violence justified as necessity. The image of the gorilla wrestling with the superman encapsulates the ongoing struggle between primal instincts and perceived divine or civilizational superiority. Walcott implies that colonial powers have often masked brutality as progress or enlightenment, thus perpetuating conflict and suffering.

The concluding lines are a poignant expression of the poet's personal crisis—a reflection on identity, guilt, and the possibility of reconciliation. Walcott confesses to being "poisoned with the blood of both," suggesting an inherited legacy of violence from both colonial oppressor and oppressed. He contemplates whether to betray both, to reject his African roots and his linguistic heritage, or to confront the slaughter and stay true to himself. The deep emotional turmoil reflects the universal dilemmas faced by post-colonial individuals caught between conflicting worlds and histories.

Ultimately, Walcott's poem is both a critique and a struggle for understanding. It confronts the scars of colonial violence and questions the nature of innocence and guilt. The poet's personal conflict echoes larger questions about cultural identity, belonging, and moral responsibility in a world marked by historical trauma and ongoing conflict. Through evocative imagery and introspective poetry, Walcott invites the reader to consider the cost of colonial brutality and the complex process of healing and reconciliation that remains unresolved.

References

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