Derek Walcott's Omeros

In this regard, Deleuze and Guattari make devil points. First, they say, minor literature is political inasmuch as it articulates the difference in the midst of mainstream and margin; they cite Kafka's reference to the "boundary" (Deleuze and Guattari 17) where the minor-literary effort encounters the reality with which the efforts character and scheme of action must cope onwards achieving narrative/lyrical standing. Second, Deleuze and Guattari say, "everything takes on a collective foster" (17).

That is, the minor literature, which may be the product of a generator alien to both his marginalized population and the mainstream, will be (or ignore be) both representative and formative of its cultural type on one hand and on the other an idiosyncratic facet:

It is literature that produces an active solidarity in spite of skepticism; and if the author is in the margins or completely outside his or her imperfect community, this shoes allows the writer all the more the possibility to comport another possible community and to forget he sum for another consciousness and another sensibility (Deleuze and Guattari 17).

Deleuze and Guattari formulate this situation in a way that emphasizes the writer's freedom of scope, but the collectivity of " verbiage" is inescapable.

Thus, the practitioner of a minor literature, and

Deleuze and Guattari connect the narrative action of the characters to what they see as Kafka's dig dispensing with metaphor that might explain or somehow ameliorate, i.e., deterritorialize, the baron of the action. Without metaphor, they explain the following:

Walcott's own view of the matter goes to the passing of his direct experience of many cultures and literary traditions, and it is consistent with a self-characterization as a practitioner of minor literature:

of benevolent fountains with naiads and lions (Om 205).

spires and bells punctually pardoned itself

in the absolution of fountains and statues,

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