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That the wound trope is central to Omeros suits preconceptions of postcolonial writing as either “victim’s literature” or “resistance literature.” But Walcott’s use of the figure — for example, attaching it here to the white colonial Plunkett — frustrates the assumptions it elicits.8 The textural motor of Omeros , the simile, is about linking disparate things—about we could say, the suture—just as the conceptual superstructure of the poem is about linking Homeric Greece and modern-day St Lucia

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