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On June 17, 1961, in South Bend, he was married to the former Glenda L. Munger. Survivors include his wife, Glenda; one daughter, Robin (Robert) Rajski of South Bend; one son, Rex Walcott of Grovertown; one granddaughter, Zoe Rajski; and two sisters, Phyllis Coffman of South Bend and Betty (John) Martz of South Bend.

A graduate of Marlboro High and a long time employee of Raytheon Co., she retired early from her career to devote her time to the loving care of her Mom till 1982, and her Dad till 1992. She lived most of her life in Marlboro, until moving to Florida with her husband [Robert J. Walcott] in 1988.

He is survived by five children, Dana Walcott and wife, Nancy, of Connecticut, Donna Hazeldine and her late husband, [Robert F. Walcott], of Millbury, Darlene Knight and husband, Donald, of New Hampshire, David Walcott and wife, Laurie, of Sterling, and Debra Resendes and husband, Claudio, of Portugal; eight grandchildren and four great-grandchildren; a brother, Clifford \"Bud\" Walcott of Westboro; and nephews, Stephen Walcott of Westboro and Gregory Walcott of Maine.

was called to be with his Savior on Thursday, May 6, 2004, after a lengthy illness. Bob was born in Allendale, Michigan on December 27, 1922, and has resided in Tucson since 1952. He was greeted in heaven by his son-in-law, Donald Addink and his granddaughter, Jodi Addink, who preceded him in death in 2000. He is survived by Norma, his devoted wife of 55 years, and his loving children, Mary Addink of Phoenix, AZ, Janna (John) Van Egmond, Christine (Mark) Hiemstra, Ruth (Steve) Sleight, [Robert Allen Walcott] (Sarah) Walcott Jr. all of Tucson, 12 much loved grandchildren and one great-grandchild as well as two sisters, one brother and several nieces, nephews and cousins. Bob proudly served his country from 1943 - 1946 during WWII in the U.S. Army Signal Corps. He retired from Western Electric in 1983 after working in the telephone industry for 41 years. He was a member of Bethel Christian Reformed Church for 52 years where he joyfully served His Lord in various ministries. He will be greatly missed but held lovingly in our hearts and memories. Visitation will be held Sunday, May 9, 2004, from 600 p.m. - 800 p.m. at EAST LAWN PALMS MORTUARY CHAPEL, 5801 E. Grant Road. A private family graveside service will be held Monday, May 10, 2004, at East Lawn Palms Cemetery. A Home-Going Memorial Service will follow at 1100 a.m. at Bethel Christian Reformed Church, 2550 N. Tucson Blvd., with a reception to follow in the fellowship hall. In lieu of flowers, remembrances may be made in Robert's name to the Cystic Fibrosis Foundation, 2410 W. Ruthrauff, Suite 110B, Tucson, AZ, 85705. We express our heartfelt thanks to all the physicians and caretakers at the TMC Cancer Center, the Gambro East Dialysis Center, and the TMC Hospice Peppi's House for their loving support and care.

Though these texts may seem an unlikely choice for an analysis of poetry and the Victorian visual imagination, I argue that both Victorian poetry and Victorian visual culture are on full display in these twentieth-century school readers, which are constructed of pieces-poetic and visual-of imperial Victoriana. Despite the attempts by the editor, J. O. Cutteridge, to make the West Indian Readers speak to Caribbean children's needs, these textbooks nonetheless contribute to the long tradition of colonial education, in which colonial textbooks instruct their readers in the superiority of Britishness and whiteness.2 This article examines how the combination of poems and images in these books ties poetry to images of whiteness and disrupts the ability of Brown and Black Caribbean children to imagine themselves occupying these illustrated, poetic spaces. Multiple scholars of children's literature and empire have investigated the ways in which the \"Golden Age\" of children's literature aligns closely with the period during which Britain's imperial ideology was at its height, finding that the classics of children's literature are filled with the promotion of the empire.6 These scholars have attended more to the ideological content of that literature than to the way that literature circulated throughout the empire.7 But Valerie Joseph, in her work on the Royal Readers, turns directly to the way those textbooks were read and received in the Caribbean, specifically in Granada. Educators in the Caribbean had long decried the lack of Caribbean content in their schoolbooks, and, in some ways, the West Indian Readers offered a welcome change from texts like the Royal Readers.11 In the \"Prefatory Note\" to Book 5, editor J. O. Cutteridge asserts that the volumes represent the \"West Indian point of view.

This article sheds light on a remarkably widespread trope in the literature of decolonization: the pivotal, political sports scene. It documents a shared experience of Victorian athletic education that persisted in colonial schools well into the twentieth century and explains how writers as varied as R. K. Narayan, Chinua Achebe, Tsitsi Dangarembga, and Derek Walcott turn to sports to understand the broader cultural contest over their work. In dramatic scenes from major decolonial texts, the article argues, local playing fields reveal the true parameters of the world's literary field. Whereas the academy characterizes this field using disciplinary terms such as comparative or world literature, and whereas scholars increasingly emphasize its cosmopolitan or global dimensions, this article builds on the athletic analogies of decolonial texts to propose that the literature of the last century is, instead, competitive and international. Strategizing for this international competition in the short story \"Cricket\" and the poem \"Rites\"—and following a playbook first drawn up by James Joyce's Ulysses and Mulk Raj Anand's Untouchable—Kamau Brathwaite fixates on the figure of the imperial umpire. To win his independence in an international league, Brathwaite takes the power of arbitration for himself, building his own explanatory system around his poetry and becoming a self-ruled referee.

Robert Giroux, one of the great American editors of the second half of the twentieth century, edited works by ten Nobel Prize winners, including Hermann Hesse, T. S. Eliot, Pablo Neruda, Isaac Bashevis Singer, Derek Walcott, William Golding and Seamus Heaney, along with five books that won the Pulitzer Prize1 and ten books that won the National Book Award. Many other writers were proud to be able to call him their editor including E. M. Forster, Flannery O'Connor, Eudora Welty, Walker Percy, and Elizabeth Bishop. Yet, the best-selling book of Giroux's career won none of these awards and was a most unexpected success. In the years before Merton entered Gethsemani, he had worked very hard to get his name into print, sending his poetry to a variety of literary magazines and his novels to a number of publishers.

This thesis investigates the oceanic imaginaries of three contemporary Global South novels—Abdulrazak Gurnah’s By the Sea (2001), Zakes Mda’s The Whale Caller (2005), and Yvonne Adhiambo Owuor’s The Dragonfly Sea (2019). I argue that the three novelists mobilize aqueous discourses to express political concerns regarding empires and modern nations’ control over the ocean commons, a process of territorial expansion, exploitation, and dispossession that lasts from the colonial period to the contemporary age of post- and neocoloniality. Drawing upon different oceanic properties including unboundedness, drift, fluidity, and solvency, the three authors from the South work to unsettle the general portrayal of their living environment in the Global North, that is, the distant, exotic, and empty seascape. In the first chapter, I concentrate on the coastal imaginaries of By the Sea. I assert Gurnah’s novel uses several formal tactics to undermine colonial and state powers’ governance of the littoral space. By considering the ancient Indian Ocean trade and the ocean’s deep time, the novel further relativizes modern empires and humans’ mastery over the seashore. In the second chapter, I turn to ocean-related sound imageries in The Whale Caller, including the whale song and the eponymous character’s kelp horn. I suggest Mda proposes marine soundscapes to counter the dominance of vision in Western cultures. The novel then tries to recuperate cetacean and indigenous human voices eclipsed in an ocularcentric paradigm, but still maintains the ocean’s natural alterity. In the last chapter, I approach Africa-China relations in The Dragonfly Sea using a hydro-critical framework. I contend that Owuor uses aqueous form to tackle the Afro-Sino encounter’s complex temporalities—its past of the ancient silk road, its present in globalization, and its unpredictable, ateleological futures. Additionally, by dissolving English grammar and referring extensively to Global South languages and texts, Owuor’s novel problematizes Anglocentrism and envisions alternative reading communities across the southern waters. Following scholars like Elizabeth Deloughrey, Isabel Hofmeyr, Meg Samuelson, and Charne Lavery, this project integrates and aims to improve upon oceanic and postcolonial studies. On the one hand, I use an oceanic approach to challenge the terrestrial focus of postcolonial theory. On the other hand, a postcolonial standpoint means that I remain sensitive to some general claims in oceanic studies that ignore the particularities of the Global South and naturalize the Eurocentric underpinnings of the blue humanities.

The American plantation system, far from an idiosyncrasy of the southern United States, was a transnational formation that spread across the US South, the Caribbean, and parts of Latin America, forming a cross-border cultural sphere often called “Plantation America.” How have US and Caribbean writers understood the United States’ relationship to this broader landscape through its most alienated region, the South? And how did the South’s ties to the plantation zone impact how writers imagined the United States as an emerging global empire in the twentieth century? “Plantation America: The US South and the Caribbean in the Literary Culture of Empire, 1898-1959,” explores works by white American, African American, and Black Caribbean writers produced during a period of heightened US colonial intervention in the Americas, from the Spanish-American War of 1898, to the Cuban Revolution of 1959. It contributes to recent US-based scholarship on the plantation origins of Western modernity and draws on an older Black and Caribbean critical discourse on the plantation as a prototypically modern institution. Building on this scholarship, this project demonstrates that US expansion southward prompted writers to reckon with the South’s highly ambivalent relationship with Plantation America, and that doing so served as a fault line for deeply held anxieties over the modern United States’ indebtedness to the plantation complex and its creolized cultural legacies. Its chapters thus show how US empire provoked modern writers to respond to the plantation as a driver of racial capitalism and industrialized labor systems, a blueprint for modern empires, a key site for the emergence and repression of cross-culturality, and a root source for traumatic forms of psychic and spiritual alienation associated with modern subjecthood. Through the lens of Caribbean critical theory, including work by Édouard Glissant, Fernando Ortiz, and C. L. R. James, I examine Richard Wright’s postplantation perspective in his little studied Haitian manuscript, transculturation in Ernest Hemingway’s Key West and Cuban works, the modern plantation empire in stories of the Panama Canal Zone by the Caribbean-born writer Eric Walrond, and William Faulkner’s transnational plantation economy in The Sound and the Fury and As I Lay Dying.