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The article sets out to investigate configurations of literary visuality in Derek Walcott’s long poem  Tiepolo’s Hound , illustrating how an engagement with verbal-visual relations might add to our understanding of Walcott’s postcolonial aesthetics. It is argued that the evocation of Eurocentric visual practices constitutes an act of intermedial and transcultural translation, which both acknowledges the influence of imposed models and subjects them to creative processes of exchange.

Postcolonial Ekphrasis and Counter-Visions in Derek Walcott’s Tiepolo’s Hound – Contacts, Contests and Translations