My paper draws on the New Historicist Theory and Psychoanalytic Theory to critique my work. The idea of new historicism, a literary theory that focuses on the notion that literature should be analyzed and interpreted in the context of both history and criticism is widely accepted. New Historicism recognizes that literature can be influenced not only by its author’s time and circumstances but also by the reaction of critics to it. These principles are evident in Derek Walcott’s poem A Far Cry from Africa. It has a clear historical context. His poem was affected by the times of Walcott. The psychoanalytic critique points out that literary texts can be compared to dreams in that they reveal the author’s unconscious desires and anxieties. You can see the author’s personal traumas and family history, sexual conflicts, fixations, childhood, and other issues in the literary works. These psychological materials will be disguised, encoded or disguised (as in dream) by using principles such as symbolism’ and condensation’. Derek Walcott is a Black poet. This is why his poem A Far Cry from Africa demonstrates psychoanalytic critique. It concerns the oppression of racial or cultural groups during Africa’s colonial occupation. It also addresses the dilemma Walcott faced after he was born in St Lucia, British West Indies. He realized his mixed race heritage as a child. His grandparents were both black and white. In 1962, A Far Cry was published. It tells the story of a specific rebellion in Kenya that took place during British occupation in 1950s. Mau Mau fighters (members of the Kikuyu tribal) fought an 8-year-long fight against colonization pressure. They saw these conquistadors as illegally conquistadors. This is New Historicist Theory, which Walcott has written. The poet is caught between his love of English language and his ancestral blood ties to the African people who have oppressed him in order for him to survive as a writer. He tried to claim that he lives in Santa Lucia, a faraway island from Africa. His cry is long to reach African shores. The future Nobel Prize winner for literature, in 1948, sold the first verses hand-printed on the streets in Castry, St. Lusia’s capital. He was 23 years old when he broke up with his homeland in 1953. There was no education at St. Lusia’s tiny resort. Derek was awarded the highest literary honors, but it was theatre productions that allowed him to be financially independent. The world survived colonization and slavery. It was a world of stolen history which it had to recover. He, almost by himself, managed the impossible. To give to the slave state, unabated humiliated persons, his protohistory. These verses of poetry will instantly conquer: the nobility and power of the spirit, the humiliating mind of metaphorical scope, and the lack of self-pity and humility. The pride of rhyme, Walcott’s rhyme especially, reveals the intelligence, susceptibility, and potential of this poet. Contrary what popular belief says, poetry can be liberated by rhyme. Derek Walcott is undoubtedly the most liberating poet. This is because he has the most original and modern rhymes. All rhymes are used by him: consonant and assonant, visual, anagrammatical. truncated. compound. Nobody wants to leave the place that made him who he is. The universe is only possible in its smallest parts. The vast majority of the greatest poets never ventured beyond thirty miles of their home. It is a conversation with their experiences. It can be a refugee or exile. Sometimes the poet can be very focused and fixed in his private space. It can become so private, it becomes very fixed, focused. D. Walcott is full of patriotic sentiment, but again not of a military-mobilization nature, as is traditionally the case, and rather cultural, if negative, extremely politicized imperial and colonialist connotations are removed from this definition. This was what drew ire from D. Walcott back home. He was accused not only of lacking patriotism but also of lack of nationalism. D. Walcott can hold a balance between’moderate patriotism, a lack of nationalism and ‘global universelism’ (global unialism). D. Walcott, however, is not a man of unambiguous citizenship. He is the son a native of the Caribbean Islands and Englishman. His views are far from any nationalism ideology. Strategy and politics often lead to the formation or mobilization of sentiments for the creation and maintenance of nation-states. D. Walcott has created multi-layered structures that reflect his multiple levels of understanding of his personal history and the ancestral (in broadest terms) roots of his people through reflections on his cultural memory. Walcott’s work had a strong connection to spirituality, methodism, and spirituality from its inception. He said, “I never separated a poem from prayer.” He said, “I never separated a letter of poetry in prayer.” It never goes away. It’s both a blessing and a gift. It’s gratitude, really. It’s gratitude, really. Your identity is not being renewed, but your anonymity. ‘Poets at Imperial Margins’: the metaphysics and space of poetry. Both poets have a common theme: the Empire. All starts in childhood. These media are all sources of inspiration. Walcott, who was born on an island in the West Indies is a believer that the country’s nature is the source of all the people’s memories and origins. For Walcott, the material is what feeds his poetic imagination and gives him spiritual food. Walcott’s imperial theme and language are closely linked. English was not Walcott’s second, learned language. After learning it as a child, he received an English education in colonial England. His works also include the theme of exile. Poetry was a literary tradition that honored dedication. Many West Indies poets have been forced to choose between English and European culture. Walcott’s way of thinking is a synthesis.