Poets are always making waves. I mean, you know, in an ideal situation, the ideal republic can't tolerate poets because - it isn't that they mutter and criticize; it is that the poet does not accept the situation called the 'perfect' condition of man - in other words, perfect in the materialistic sense.
There are certain functions that a writer has to do. In a time of crisis, it is great to have heroic poems, as it was in the Irish Revolution. It's great to have great songs, because people need something to sing when they are marching. That's OK, but it should be on the side. It's not the ultimate thing.
A long time ago, I thought, as a writer in the Caribbean, 'I don't ever want to have to write 'It was great in Paris.'' Because I don't think, proportionately speaking, that one's experience in a city as opposed to, say, a village in St. Lucia, is superior to the other.
Sometimes what we call tragedy, at least in the theater, are really case histories. They're based on the central figure, and things happen to that person, and they're called tragedy because they're extremely sad. But tragedy always has a glorious thing happen at the end of it. That's what the catharsis is.