Results by title

4 books match the query 'Japanese poetry'

cover of Cage Of Fireflies: Modern Japanese Haiku

Cage Of Fireflies

Modern Japanese Haiku

Lucien Stryk

Ohio University Press, 1993

Haiku at its best is an art in which the poet takes a natural, most ordinary event, and without fuss, ornament or inflated words makes of it a rare moment — sparely rendered, crystallized into a microcosm which reveals transcendent unity. Small wonder haiku has a growing audience throughout the world.

In all arts — music, painting, dance, theatre — change has come with that startling moment of dissatisfaction when the artist upends complacency, shocks the old to its foundations, and emerges with clear vision. He has had the courage to rescue his art from dullness. Two of Japan’s “Great Four” of haiku, Basho (1644-94) and Shiki (1862-1902), were such revolutionaries, albeit two hundred years apart. Before Basho, haiku was but a pleasant occupation for the idle. He set about transforming it with such success that experts to this day agree that his were the first true haiku.

Shiki, who lived into the 20th century, was passionate in his attempt to salvage haiku from its past, sending out shock waves by dismissing virtually all earlier work, including most of Basho’s. He saw it as his mission to make a difference — to let nothing, not even the most revered, stand in the way. He proclaimed, “A poem has no meaning. It is feeling alone.” And he practiced what he preached.

Autumn wind:
gods, Buddha—
lies, lies, lies.

These modern Japanese poets, many of whom are translated here into English for the first time, learned as much from Basho as from Shiki, and from Buson (1715-83) and Issa (1763-1827), the “Great Four.” Yet in a sense they are followers of Shiki, in spite of the harshness of his views and the impossibly high standards he demanded. They were forced to reckon with him, became willing participants in a heated dialogue with him. They had to: his spirit dominated the age. Stryk captures that spirit here, in this Cage of Fireflies.
[more]
cover of Pictures of the Heart: The <em>Hyakunin Isshu</em> in Word and Image

Pictures of the Heart

The <em>Hyakunin Isshu</em> in Word and Image

Joshua S. Mostow

University of Michigan Press, 2015

The Hyakunin Isshu, or One Hundred Poets, One Poem Each collection, is a sequence of one hundred Japanese poems in the tanka form, selected by the famous poet and scholar Fujiwara no Teika (1162-1241) and arranged, in part, to represent the history of Japanese poetry from the seventh century down to Teika's own day. The anthology is, without doubt, the most popular and widely known collection of poetry in Japan - a distinction it has maintained for hundreds of years. In this study, Joshua Mostow challenges the idea of a final or authoritative reading of the Hyakunin Isshu and presents a refreshing, persuasive case for a reception history of this seminal work.
In addition to providing a new translation of this classic text and biographical information on each poet, Mostow examines issues relating to text and image that are central to the Japanese arts from the Heian into the early modern period. By using Edo-period woodblock illustrations as pictorializations of the poems - as "pictures of the heart," or meaning, of the poems - text and image are pieced together in a holistic approach that will stand as a model for further research in the interrelationship between Japanese visual and verbal art. [A/GB]
[more]
cover of They Never Asked: Senryu Poetry from the WWII Portland Assembly Center

They Never Asked

Senryu Poetry from the WWII Portland Assembly Center

Shelley Baker-Gard

Oregon State University Press, 2023

In 1942, after the passage of Executive Order 9066, Japanese families were removed from their homes in Oregon and the Yakima Valley and sent to the Portland International Livestock Exposition Center, where they were housed in converted animal stalls. The Wartime Civil Control Administration kept internees at the Portland Assembly Center until September 1942, when they were transferred to newly built permanent internment camps at Minidoka, Heart Mountain, and Tule Lake.
 
The Japanese American communities in Oregon and southern Washington were relatively small and many of the detainees knew each other; they drew on existing family and community networks to help each other through the long summer, living in inhumane conditions under the constant threat of violence. Several members of Bara Ginsha, a Portland poetry group, decided to continue their work while incarcerated, primarily by writing senryū, a type of Japanese poetry related to haiku.
 
They Never Asked is a collection of work produced by Bara Ginsha members in the WCCA camp, based on a journal kept by Masaki Kinoshita. The senryū collected here were written by a group of twenty-two poets, who produced hundreds of poems. Individually, the poems reflect the thoughts and feelings the authors experienced while being detained in the Center; collectively, they reflect the resilience and resistance of a community denied freedom. Editors Shelley Baker-Gard, Michael Freiling, and Satsuki Takikawa present translations of the poems alongside the originals, supplemented by historical and literary context and a foreword by Duane Watari, Masaki Kinoshita’s grandson.
 
[more]
cover of Zen, Poetry, the Art of Lucien Stryk

Zen, Poetry, the Art of Lucien Stryk

Susan Porterfield

Ohio University Press, 1993

Lucien Stryk has been a presence in American letters for almost fifty years. Those who know his poetry well will find this collection particularly gratifying. Like journeying again to places visited long ago, Stryk’s writing is both familiar and wonderfully fresh.

For those just becoming acquainted with Stryk’s work, Zen, Poetry, the Art of Lucien Stryk makes an excellent introduction. It includes his early essay, “The American Scene Versus the International Scene,” written shortly after his service in the Pacific during World War II, and “Digging In,” his first published poem, as well as some of his best-known pieces on Zen and Zen poetry. Among the latter are “Beginnings, Ends,” “Poetry and Zen,” “I Fear Nothing: A Note on the Zen Poetry of Death,” and his introduction to the great haiku poets, Issa and Basho. Selections of his most recent work include “The Red Rug: An Introduction to Poetry,” and an imagined conversation among all four leading haiku poets called “Meeting at Hagi-no-Tera.”

Porterfield’s informative collection includes essays about Stryk’s work as well as his own prose and poetry. As the volume makes clear, writing poetry is for Lucien Stryk a sacred act. It is both escape and communion, inseparable from life’s daily activities.

[more]