Derek Walcott, acclaimed Caribbean author, writes to make sense of the legacy of profound colonial damage. Born in 1930 on the island of St. Lucia, Walcott has a melancholy relationship with Caribbean history that shapes the way he carefully composes “The Sea is History.” Walcott's application of biblical allusions seeks to revise and restore Caribbean identity. Born on the island, a former British colony in the West Indies, accomplished poet and playwright Derek Walcott developed a burning passion for writing as a young man. His family was descended from a line of West Indian slaves, and the legacy of slavery is a common theme present throughout his work. Both his mother and father were teachers and strongly supported Walcott's love of reading. In the poem “Midsummer” he writes: “Forty years ago, in my island childhood, I felt that the gift of poetry had made me one of the chosen, that every experience lit the fire of the Muse (Poetry Foundation, 1 ).” This early professional recognition thrilled Walcott, and at the age of fourteen he published his first poem in the local newspaper. By 19, Walcott had self-published his first two collections, 25 Poems (1948) and Epitaph for the Young: XII Cantos (1949), which he distributed on street corners himself. Continuing to be a prolific poet, Walcott entered the literary world with the publication of the collection In a Green Night: Poems 1948-1960 (1962), "a book that celebrates the Caribbean and its history, as well as investigating the scars of colonialism and of post-colonialism” (Poesy Foundation, 1). This book is closely parallel to the theme “The sea is history” and is perhaps one of the first publications that inspired a long and illustrious career trying to r...... in middle of paper ...... continue to see Walcott's need to reiterate that there is a lost identity and his goal of restoring the Caribbean character revolutionary” who must paint his words to restore a sense of Caribbean identity. This dedication to the Caribbean's history of struggle is, without a doubt, far from being “rejected” in Walcott's work delicately states that “In the Caribbean, the history is irrelevant. Not because it wasn't created, or because it was sordid; but since it has never mattered, what has mattered is the loss of history, the amnesia of the races, what has become necessary is imagination, imagination as necessity, as invention”. To explain the current conditions of the modern Caribbean he cannot help but recount the tragic phases of its colonial past, as he does in “The Sea Is History.”