She is the editor of Agenda: Special Issue on Derek Walcott (2002-2003), and co-editor of The Cross-Dressed Caribbean: Writing, Politics, Sexualities (2013) and Surveying the American Tropics: A Literary Geography from New York to Rio (2013).
She is the author of On the Edge: Writing the Border between Haiti and the Dominican Republic (2015 2018), the first literary/cultural history of this border region, Caribbean Perspectives on Modernity: Returning Medusa's Gaze (2009), which rethinks modernity from a Caribbean perspective and The Flight of the Vernacular: Seamus Heaney, Derek Walcott and the Impress of Dante (2001). Maria Cristina Fumagalli is Professor in Literature at the University of Essex, United Kingdom.
Her publications include On the Edge: Writing the Border between Haiti and the Dominican Republic (2015 2018), Caribbean Perspectives on Modernity: Returning Medusa's Gaze (2009) and The Flight of the Vernacular: Seamus Heaney, Derek Walcott and the Impress of Dante (2001).
Maria Cristina Fumagalli is Professor in Literature at the University of Essex. Contextualising and putting in conversation Walcott's published and unpublished writing, drawings and paintings with specific artists from the Caribbean, Europe, South and North America, Derek Walcott's Painters recalibrates and sharpens our understanding of Walcott's articulation of his own politics and poetics, and of the Caribbean's contributions to Atlantic and global culture. Walcott's interventions on the relationship between Caribbean and colonial history have been thoroughly scrutinised, but arguably he was also keen to address and (re)write an art history of which, paraphrasing a line from Omeros, the Caribbean 'too' was/is 'capable'. Contextualising and putting in conversation Walcott's published and unpublished writings (poems, plays, essays, journalism) and his drawings or paintings (privately owned and publicly disseminated) with specific artists from the Caribbean, Europe, South and North America, Derek Walcott's Painters recalibrates and sharpens our understanding of Walcott's articulation of his own politics and poetics and of the Caribbean's contributions to Atlantic and global culture.įrom the Back Cover The first volume devoted to Derek Walcott's lifelong engagement with the visual arts Walcott's lifelong concern with painting and painters deeply inflected his aesthetics and politics. Walcott's interventions on the relationship between Caribbean and colonial history have been thoroughly scrutinised, but, arguably, Walcott was also keen to address and (re)write an art history "of which," paraphrasing a line from Omeros, the Caribbean "too" was/is "capable". Walcott's lifelong concern with painting and painters deeply inflected his aesthetics and politics.
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