Abstract
The complex demands of history constitute a burden for the conscious Caribbean artist, particularly the playwright, who has to recreate Caribbean history and contemporary existence and expectation on a live stage. This paper is a review of Derek Walcott's mulatto aesthetics as a conscious choice that merges into this socio-historical backdrop. The paper recaps important stages in the development of Caribbean aesthetics and re-locates Walcott's critical and theatrical intervention within the continuum, not necessarily as “a tree that constitutes a forest” but as onewhose central location continually defines a view of the forest. Nevertheless, thepaper also questions Walcott's apparent repudiation of a full black aesthetics andthe implication of this for a comprehensive definition of Caribbean aesthetics.
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