Notes

Introduction

1. The important work of H. G. Henderson and R. H. Blyth was addressed to a more specialized readership. 2. Seamus Heaney in Ohno 2002: 20. 3. Eavan Boland in Ohno 2002: 18. 4. Michael Longley in Ohno 2002: 21. 5. Seamus Heaney in Ohno 2002: 20.

1 Petals on Sandymount Strand: Seamus Heaney

1. Heaney first visited Japan in the summer of 1987. He then returned there in 1990, on the occasion of the IASIL World Conference, and finally in the autumn of 1998. I owe this information to Mitsuko Ohno. 2. From now on, I will refer to Heaney’s 2000 Lafcadio Hearn Lecture as LHL. 3. Since the publication of Heaney’s own abridged version in the anthology Our Shared Japan (2007), co-edited by Irene De Angelis and Joseph Woods, this lecture has reached a wider public than the original audience. Though it does not present special knots to be untied by literary criticism, it still provides a masterly introduction to the subject of this volume. 4. Heaney’s 2000 Lafcadio Hearn Lecture was published in the review Gendaishi-techo. 5. This and the following quotations from the LHL refer to the unpublished integral version, which Heaney entrusted to me for my PhD dissertation. 6. Yone Noguchi, born Yonejiro Noguchi (1875–1947), was an influential writer of poetry, fiction, essays and literary criticism in both English and Japanese. 7. The phrase ‘Japanese effect’ goes back to Oscar Wilde’s The Decay of Lying (1891), where the author made a distinction between a Japan belonging to life and another one, created by art, which can be found without going to Tokyo, but simply strolling down Piccadilly in the right mood. 8. In haiku poetry, ‘blossoms’ are always cherry blossoms (Henderson 1958: 4). 9. Kaneiji temple at Ueno, Senso¯ji temple at Asakusa (Henderson 1958: 4). 10. Ohno 2002: 18. 11. Ohno 2002: 19. 12. Ohno 2002: 21. 13. Ohno 2002: 21. 14. Ohno 2002: 27. 15. Personal interview with Andrew Fitzsimons in July 2004. Henceforth referred to as PI F. 16. Michio Ito helped W. B. Yeats in his Plays for Dancers, inspired by the Japanese No¯ theatre.

159 160 Notes to Chapter 2

17. Ungaretti 1974: 95, English translation mine. ‘La guerra improvvisamente mi rivela il linguaggio. Cioè io dovevo dire in fretta perché il tempo poteva man- care, e nel modo più tragico […] in fretta dire quello che sentivo e quindi se dovevo dirlo in fretta lo dovevo dire con poche parole, e se lo dovevo dire con poche parole lo dovevo dire con parole che avessero un’intensità straordinaria di significato.’ 18. Translation by Andrew Fitzsimons, unpublished. 19. In the proceedings of the international conference on Ungaretti (Suga 1981), Suga explains that Marone and Shimoi translated Japanese tanka by five poets: Akiko Yosano, Suikei Maeta, Tekkan Yosano, Nobutsuna Sasaki and Isamu Yoshii. Tanka are very different from haiku, both formally and at the content level. They are more descriptive, while haiku are more concise and philo- sophical. Suga also says that the translations of tanka in Marone’s collection were extremely free and more prosaic than the original, to which they also added a title. For this reason he dismisses the hypothesis that Ungaretti came across haiku poetry. 20. Miłosz died in 2004, four years after Heaney delivered his lecture. To him Heaney dedicated the poem ‘Out of This World’, in his collection District and Circle (2006: 47–9). 21. On the death of one child, Issa wrote the following haiku:

The world a dewdrop? The world a dewdrop lasting as it disappears.

The first line is taken from a Buddhist sutra comparing the impermanence of life to that of dew. The poem is not a general meditation, but refers to Issa’s suffering on the death of his child. ‘A “Dew-World” though it is,’ Henderson says, ‘it is no world for dewdrops. They will not stay in it, and, much as he tries, he can find no solace in the scripture’ (1958: 124). 22. The poem has been reproduced with a double spacing between the two lines according to the author’s following indications: ‘I always intended [‘For Bernard and Jane McCabe’] to consist of two one-line stanzas, so if it ever appeared as a couplet, without the double spacing between the lines, that was a misprint’ (Letter to the author, 2007). 23. This calls to mind the wind of ‘Had I Not Awoken’, the first poem in Heaney’s collection Human Chain (2010: 3). 24. In his volume District and Circle, Heaney published ‘The Tollund Man in Springtime’ (2006: 55).

2 Snow Was General All Over Japan: Derek Mahon

1. The work was first translated into English in 1966. 2. Basho¯’s travelogue inspired not only ‘The Snow Party’, but also the haiku- like sequence ‘Light Music’ (1977) and ‘Basho¯ in Kinsale’ (2005). From now onwards I shall refer to ‘The Snow Party’ as ‘SP’, while I shall indicate the collection as SP. Notes to Chapter 2 161

3. ‘Leaves’ is also the title of another poem in the same collection, where Mahon speculates on regrets and unfulfilment:

Somewhere there is an afterlife Of dead leaves, A stadium filled with an infinite Rustling and sighing.

Somewhere in the heaven Of lost futures The lives we might have led Have found their own fulfilment. (1999: 60)

4. A similar metaphor is also central to another poem in the same collection, ‘The Last of the Fire Kings’, where the poet-King, inheritor of the Celtic tra- dition, invokes the day when mankind shall be released from ‘the ancient curse’ of ‘the barbarous cycle’ (1975: 9). 5. From ‘Death and the Sun’ (Mahon 1999: 60). 6. In ‘Roman Script’ (1999: 273–7) Mahon reflects on the representation of violence through what he calls the ‘art-historical sublime’. 7. ‘The Last of the Fire Kings’ also echoes MacNeice’s ‘Brother Fire’, which sub- verts St Francis’s Canticle of the Creatures with its apocalyptic images of the London bombing. 8. A reference to Stevens’s ‘Like Decorations in a Nigger Cemetery’, to which Mahon refers in his poem in memoriam ‘The Man Who Built His City in Snow’. 9. This complex genetic dossier consists of 16 MS and TS folios which are undated and unnumbered: Derek Mahon Papers, Manuscript, Archives and Rare Book Library, Emory University, Atlanta, Georgia. 10. The American journalist John Hersey was sent to Hiroshima nine months after the end of the Second World War to investigate the tragic outcome of the bomb. The result was published in a historic issue of The New Yorker, published on 31 August 1946, which escaped censorship. From now onwards I will refer to the Penguin Modern Classics edition of 1972. 11. Chapter I of Hersey’s book is titled ‘The Noiseless Flash’. 12. a dozen Air-raid wardens crouch at their stations, blind

Mahon reworks this passage twice on the same page, where a horrific image gradually takes shape:

a dozen crouching men at an ack-ack gaze up with empty sockets, blind and wet-faced, having cried their eyes out as they died

13. Mahon reworked this verse on the second page, whitening out several words which have thus become illegible. What remains reads as follows:

Everything tinkles and roars cinders 162 Notes to Chapter 2

thunders, A hard rain, on the roof-tiles.

14. This line remains unaltered throughout the changes made to the rest of the poem. 15. Mahon attempts two variants on the same image, in both of which he leaves the initial enjambment but eliminates the window, probably in an attempt to simplify the scene:

The inhabitants stumble in road and field Or sit in a daze.

This intermediate version is then reduced to the following few words:

the inhabitants Of the zapped nuked city stumble in road and field in darkness; blown Wreckage flames on exposed Of the nuked city wander in darkness.

16. The version which most satisfied Mahon was probably the first one, a first explosion of the imagination, as can be seen by the relative absence of cor- rections. 17. Mahon transposes this moment as such:

‘Blown’ ‘Burning’ While flaming wreckage falls on the town, [...] Blazing on hot plates and live wires. [...]

While the second draft of this image is substantially a fair copy of this first ‘rough’ draft, in the reworking of page 5 Mahon hesitates over the verb (emphasis added):

[...] blown Wreckage flames on exposed [...] Blown Wreckage falls on exposed wires and blazes [.]

18. In an effort to improve these lines, Mahon finds an assonance which he then adds to the second draft:

Basho¯’s ghost / patrols the dust

This new-found assonance seems to bear no reference to silence, but the idea lingers in Mahon’s mind. An MS note on the first page shows that he was searching for a rhyme with August, which initially suggested the idea of the ‘turbulent tower of dust’ (Mahon Papers). Notes to Chapter 2 163

19. After the explosion, survivors did not realize what had happened: there were naive rumours about ‘gasoline sprinkled from an aeroplane, maybe, or some combustible gas, or a big cluster of incendiaries, or the work of parachutists’ (Hersey 1972: 71). If it is true that Mahon started working on the unfin- ished ‘Hiroshima’ in the 1970s, the 1973 Irish admission to the European Economic Community (EEC) coincided with the go-ahead to construct a nuclear power station in Ireland, a project which generated great fear and dissent among the population. Since the 1950s, in fact, Northern Ireland’s keenness on keeping up with the British nuclear programme was related to the Unionists’ desire to show their integration with Britain (McDermott 2008: 121). The year 1975 not only marked the thirtieth anniversary of Hiroshima, which called back the shadow of the nuclear holocaust, but it also coincided with the first oil crisis, which questioned the future of natural resources. In the following year Friends of the Earth organized a mass protest against the Windscale nuclear plant, where a leak from a silo had generated panic. These and other issues, similarly related to the dangers of an already war-torn Ireland then going nuclear, may have been among the concerns which prompted Mahon to start writing ‘Hiroshima’. 20. The so-called bon-à-tirer, which he first submitted to the editor of Encounter in 1973 and subsequently included in the 1975 collection published by Oxford University Press. In the absence of any drafts or galley proofs of ‘SP’, the genetic dossier is incomplete. 21. The initial idea about Basho¯’s ghost may also be reminiscent of Banquo’s ghost, who appears at the banquet to Macbeth, epitome of the quintessential ruthlessness of the kings of the Western world. 22. Basho¯’s The Records of a Travel-worn Satchel is one of the travel sketches included in the Penguin edition of The Narrow Road (1966: 71–90). 23. On the occasion of the snow party in Nagoya, Basho¯ wrote the following haiku:

Let’s arise and go view the snow till we come to the place we fall down. (Fitzsimons 2011)

24. Basho¯ quotes the following poem by Asukai Masaaki, written at Narumi:

Today the City seems so much further away at Narumi Bay looking across the vast sea separating me from home. (Fitzsimons 2011)

He himself wrote:

To the capital? About half the sky to go clouds heavy with snow. (Fitzsimons 2011)

After Basho¯’s fellow-poet Sengin died in 1666, he ran away to Kyoto where he spent five years studying Japanese classics and calligraphy. Nobuyuki 164 Notes to Chapter 2

Yuasa finds that there is an air of greater freedom in the poems he wrote in this period (Basho¯ 1966: 21). 25. ‘[T]he so-called white stones of Irago used for the game of go’ (Basho¯ 1966: 75). 26. Solitary hawk such a vision to behold at Cape Irago. (Fitzsimons 2011)

27. In the note about ‘… falling on Hı¯roshı¯ma’, the dots leave the question open to possible further speculation. 28. Painting by Sir John Lavery (1856–1941), Collection Ulster Museum, Belfast. 29. The struggle to become ‘one with nature’ and metareferentiality also charac- terize Mahon’s prose poem ‘The Hermit’, later reprinted in free verse as ‘The Mayo Tao’. 30. ‘On a Photograph of Edvard Munch’s Room in Oslo’ appeared in The Listener on 17 December 1970. 31. In the 1979 revision Mahon added the following inscription: ‘Monkstown, Co. Dublin; March–April 1970 / Lingfield, Surrey; March–April 1975.’ The fact that it was written in at least two different places and across a time-span of five years suggests – or at least does not exclude – that a similar composi- tional process was also at the basis of ‘SP’. 32. The lines about walking ‘for tea and firelighters [as] the mountain paces me in a snow-lit silence’ share some of the crucial semantic elements of ‘SP’ (‘tea into china’; the ‘burning witches and heretics’; the snowfall; the ‘silence’). Similarly, the reference to ‘working for years on a four-line poem about the life of a leaf’ may be an allusion to ‘Rogue Leaf’. 33. Basil Bunting (1900–85) was a British modernist poet whose Quaker edu- cation strongly influenced his pacifist opposition to the First World War. After his release from prison in 1920, traumatized by his time spent in jail, Bunting went to London where he established his first contacts with social activists and bohemia. Nina Hamnett is said to have introduced him to the works of Ezra Pound by lending him a copy of Homage to Sextus Propertius. Bunting then moved to Paris, where in 1923 he became friendly with Ezra Pound, who would later dedicate his Guide to Kulchur (1938) to both Bunting and American poet Louis Zukofsky. During the Second World War he served in the British Military Intelligence in Persia. Back in Newcastle, in 1966 he published his major long poem, Briggflatts, a kind of poetic autobiography. 34. Kyoto at the time was the capital of the Japanese Empire. 35. ‘Kamo-no-Cho¯mei [...] applied for a fat job in the Shinto temple, was turned down, and next day announced his conversion to Buddhism. He wrote criti- cal essays, and poems; collected an anthology of poems composed at the moment of conversion by Buddhist proselytes (one suspects irony); and was for a while secretary to the editors of the Imperial Anthology [...] I cannot take his Buddhism solemnly considering the manner of his own conversion, the nature of his anthology, and his whole urbane, sceptical and ironical temper. If this annoys anybody I cannot help it’ (Basil Bunting). Available at: http://themargins.net/anth/1930–1939/bunting.html [accessed 2 September 2011]. Notes to Chapter 2 165

36. This auto-ironical pastiche may have been triggered by a certain hippy, paci- fist bohemia with which Mahon mixed in the late 1960s to early 1970s. 37. Michael Grant was born in London in 1914 and died in 2004. He was a clas- sicist who taught at Trinity College, Cambridge and Edinburgh University. In the 1960s he was Vice-Chancellor of Queen’s University Belfast. His works include Greece and Rome: The Birth of Western Civilisation (1962); The Fall of the Roman Empire (1976); Jesus: An Historian’s Review of the Gospels (1977). 38. Basho¯ wrote the following two haiku about Ise:

What tree is this can blossom so? I do not know. Fragrance of Ise. (Fitzsimons 2011)

A clam from its shell to Futami departing an autumn farewell. (Fitzsimons 2011)

39. ‘As much of Hiroshima as he could see through the clouded air was giving off a thick, dreadful miasma. Clumps of smoke, near and far, had begun to push up through the general dust. He wondered how such extensive damage could have been dealt out of a silent sky [...] Houses nearby were burning, and when huge drops of water the size of marbles began to fall, he half thought they must be coming from the hoses of firemen fighting the blazes. (They were actually drops of condensed moisture falling from the turbulent tower of dust, heat, and fission fragments, that had already risen miles into the sky above Hiroshima)’ (Hersey 1972: 34). 40. Tanimoto’s vision is astonishingly similar to Pliny’s description of the erup- tion of Mount Vesuvius in AD 79:

In the street, the first thing he saw was a squad of soldiers who had been burrowing into the hillside opposite, making one of the thousands of dugouts in which the Japanese apparently intended to resist invasion, hill by hill, life for life; the soldiers were coming out of the hole, where they should have been safe, and blood was running from their heads, chests, and backs. They were silent and dazed. (Hersey 1972: 19)

41. ‘[H]e heard a voice ask from the underbrush, “Have you anything to drink?” He saw a uniform. Thinking there was just one soldier, he approached the water. When he had penetrated the bushes, he saw there were about twenty men, and they were all in exactly the same nightmarish state: their faces were wholly burned, their eyesockets were hollow, the fluid from their melted eyes had run down their cheeks. (They must have had their faces upturned when the bomb went off; perhaps they were anti-aircraft personnel.) Their mouths were mere swollen, pus-covered wounds, which they could not bear to stretch enough to admit the spout of the teapot’ (Hersey 1972: 74). 42. Personal interview with Derek Mahon, 27 April 2008. 43. Notice that in the 1973 edition of ‘SP’ Mahon used ‘noon’, which he later substituted with ‘dawn’. 166 Notes to Chapter 4

3 Self-contained Images and the Invisible Cities of Tokyo: Ciaran Carson

1. Personal interview with Ciaran Carson in August 2006. Henceforth referred to as PI C. 2. From now on I will refer to The Twelfth of Never as The Twelfth. 3. Carson’s writing shows his awareness that traditional Irish music is handed down orally, and its structure is organized on the principle of ‘repetition with variation’, that is to say on formulae which help musicians to remem- ber and spread their knowledge. This structure characterizes not only folk music but also ancient ‘high’ music, and it was typical of medieval chansons. Traditional music was born before the age of the book and of the score, and variation was essential to keep the tune alive. Carson’s collection of essays Last Night’s Fun (1996) takes the reader through a series of live ‘sessions’ in a pub, and brilliantly shows the fluid nature of the oral tradition. 4. The title ‘Banana Tree’ is an allusion to Basho¯, whose nickname, according to the legend, comes from a banana tree that one of his disciples once gave him as a present. The haiku master used to live all alone in a hut in Edo, the ancient name for Tokyo, and he was greatly pleased by the gift. On nights when he had no visitors, he would sit peacefully and listen to the wind blowing through the banana leaves. The tree became a landmark of his resi- dence, which was soon to be called the Basho¯ (‘banana plant’) Hut, and the name was later applied to its resident, the Master of the Basho¯ Hut or Master Basho¯. 5. From the Latin di-(s) / de-vertere. 6. ‘Green Tea’ (22). 7. ‘Fairground Music’ (21). 8. ‘The Irish Exile Michael Hinds’ (29). 9. ‘Green Tea’ (22). 10. At the time, Calvino was writing for the Italian newspaper Il Corriere della Sera. Some of these earlier articles were later reprinted in The Sand Collection, first published in 1984. 11. ‘The Irish Exile Michael Hinds’ (29). 12. ‘The Tobacco and Salt Museum’ (15). 13. ‘The Rising Sun’ (20). 14. The same image then turns into an advert for Coke, a scene which Carson possibly remembered when he wrote about ‘the signs for Coke, the giant neon roulette wheel’ (‘Fuji Film’, 66).

4 The Gentle Art of Disappearing: Gabriel Rosenstock, Michael Hartnett, Paul Muldoon

1. Further information can be retrieved from the British Haiku Society homepage. Available at: www.haikusoc.ndo.co.uk/ [accessed 2 September 2011]. 2. James Kirkup (1918–2009) was an English poet, translator and travel writer. In 1959 he became professor of English at the Tohoku University in Sendai, Japan. From 1977 until his retirement in 1988 he was professor of English literature at the Kyoto University of Foreign Studies. His years in Japan are Notes to Chapter 4 167

reflected in his adoption of the haiku and the tanka, and in books on Japanese subjects such as Pikadon (1997), an epic on the bombing of Hiroshima and Nagasaki. He was also one of the most distinguished English translators of the Japanese classics. 3. The journal of the British Haiku Society, Blithe Spirit, is published four times a year; its current editor is Graham High. 4. Reginald Horace Blyth (1898–1964) was an English author and a devotee of Japanese culture. He married a Japanese woman in 1937, moving with her to Kanazawa in Japan. At the outbreak of the Second World War he was impris- oned as a British enemy alien. After the war he collaborated with American and Japanese authorities to ease the transition to peace. He worked for the Japanese Imperial household, while his close friend Harold Gould Henderson (1889–1974), the American Japanologist, was on the staff of General Douglas MacArthur, who played a crucial role in the Pacific Theatre. By 1946 Blyth was appointed professor of English at the Gakushuin University, and began playing a pivotal role in the popularization of Zen philosophy and Japanese poetry, particularly haiku. 5. The website of the Haiku Society of America is www.hsa-haiku.org/ [accessed 2 September 2011]. 6. Harold Gould Henderson (1889–1974) was an American academic, art histo- rian and Japanologist. He was a Columbia University professor for 20 years. From 1948 to 1952 he was the President of the Japan Society in New York. During the Second World War he served with R. H. Blyth as a liaison between General MacArthur and Japan’s Imperial household. He participated in the process of drafting the historic statement in which the Emperor renounced his personal divinity. 7. George Swede (born in 1940 in Riga, Latvia) is a Canadian psychologist, poet and children’s writer, and a major figure in English-language haiku. 8. For further information on the HaikuOz, the Australian Haiku Society, see www.haikuoz.org [accessed 2 September 2011]. 9. Anatoly (Anthony) Kudryavitsky was born in 1954 in Moscow of a Polish father and a half-Irish mother. He currently lives in Dublin as an Irish citizen; his work was recently featured in the anthology Landing Places: Immigrant Poets in Ireland (Dedalus Press, 2010). 10. The Irish Haiku Society homepage can be accessed at http://irishhaiku.webs. com [accessed 2 September 2011]. 11. Vera Markova (1907–95) was a Russian poet and academic, who was renowned for her translations from the Japanese classics, which she began at the end of the 1960s. She was a fluent speaker of Japanese and travelled to Japan twice, receiving an honorary medal from Emperor Hirohito for promoting Japanese culture abroad. 12. The World Kigo Database, http://worldkigodatabase.blogspot.com [accessed 2 September 2011] includes saijiki (dictionary of seasonal words) from the following regions and countries: Alaska, Australia, Bhutan, Canada, Ghana, Hawaii, India, Kenya, Romania, the Philippines, Trinidad and Tobago, US, Turkey and Yemen. The Irish saijiki interestingly blends Catholic, Celtic and rural festivities. Among the recurrences associated with spring are Ash Wednesday, Brigid’s Day and St Patrick’s Day. Talk about cutting turf or bog is recommended for summer, while All Saints’ Day, the Harvest Festival and 168 Notes to Chapter 4

Samhain feature among the autumnal recurrences. Finally, winter is charac- terized by ‘hot whiskey’ and the winter solstice or Yule. 13. Mahon and Longley explored these ideas side by side in the 1960s and 1970s. 14. The Haiku Foundation is an American non-profit organization whose aim is to ‘preserve and archive the accomplishments of our first century of haiku in English, and to provide resources for its expansion in our next’. Further infor- mation can be retrieved at the following website: www.thehaikufoundation. org/ [accessed 2 September 2001]. 15. In Haiku: The Gentle Art of Disappearing Rosenstock introduces the concept of thaumazein, the sense of wonder at the root of all philosophy. 16. Daisetsu Teitaro Suzuki (1870–1966) was a Japanese expert of Buddhism and Zen, and one of their major interpreters for Europe and America after the Second World War. He wrote more than 100 books in English and more than 100 in Japanese, the most influential of which include Essays in Zen Buddhism (1927–34). Among his post-war studies is Zen and Japanese Culture (1959). 17. Arthur Waley (1889–1966) was an English orientalist and sinologist. 18. Okakura Kakuzo¯ (1862–1913) was a Japanese scholar who contributed to the development of the arts in Japan. Outside Japan he is mainly remembered for The Book of Tea (1906). 19. Jack Kerouac (1922–69) was an American novelist and poet. 20. Gary Snyder (born 1930) is an American poet associated with the Beat Generation and the San Francisco Renaissance. He is also an essayist and envi- ronmental activist, who has been deeply influenced by Buddhism – especially during the years 1956–69, which he spent between California and Japan, study- ing Chinese and Japanese and receiving instruction in a Zen monastery. 21. Irwing Allen Ginsberg (1926–97) was an American poet who opposed milita- rism, materialism and sexual repression, and in the 1950s became a leading figure of the Beat Generation. 22. Traditional Japanese haiga involved brush artwork coupled with a haiku poem done in brush calligraphy. Like the haiku poem, the focus of haiga is on simplicity of expression. Photo-haiga is a modern form of haiga which involves a haiku attached to a photographic image. 23. For further information on Ron Rosenstock see his personal website www. ronrosenstock.com [accessed 2 June 2011]. 24. See Ion Codrescu’s Haiga Gallery at http://simplyhaiku.com/SHv2n1/ ioncodrescu/index.html [accessed 2 June 2011]. 25. Chuang Tzu was an influential Chinese philosopher who lived in the fourth century BC. 26. Angelus Silesius (1624–77) was a German mystic and poet. 27. Rumi (1207–73) was a Persian poet, jurist, theologian and Sufi mystic. 28. Osho, born Chandra Mohan Jain (1931–90), was an Indian mystic and spir- itual teacher. 29. Rosenstock alludes to David G. Lanoue’s on-line archive of almost 10,000 haiku by Issa, http://haikuguy.com/issa/ [accessed 2 September 2011]. 30. The term rensaku refers to a sequence of haiku or tanka in which the indi- vidual stanzas do not function independently. 31. James W. Hackett’s quotation is taken from the website of the Irish Haiku Society. Notes to Chapter 5 169

32. These qualities are listed among the ‘Haiku Guidelines’ of the Irish Haiku Society. 33. The rensaku linked form is particularly congenial to Rosenstock, who com- posed ‘Kerala Rensaku’ in southern India; ‘Rensaku in Bangaram’ in the Lakshadweep Islands; ‘Empty Moors’ in the West Highlands of Scotland; ‘November Rensaku’ in North Wales; ‘Rensaku in Morocco’ and ‘Rensaku in Egypt’ in Africa. These were all written between 2006 and 2010, and they are part of the manuscript ‘Glimpse of a God’, which is still unpublished. 34. Susumu Takiguchi is Chairman of the World Haiku Club. 35. Rosenstock follows Basho¯’s own advice, ‘Don’t follow good dead poets but search for what they searched for’ (Anatoly Kudryavitsky in ‘Vera Markova’s “Ten Haiku Lessons”’: see notes 9–11 above). 36. Hartnett died on 13 October 1999, a month before Inchicore Haiku was republished. 37. Flowers create for Hartnett patches of colour in the greyness of the city. Hartnett mentions dandelions exploding ‘into supernovae’ (2001: 148) and daffodils (148, 16); daisies and tulips (159), light-blue forget-me-nots (162) and thistledown (163). 38. Raymond Queneau (1903–76) was a French poet and novelist and the co-founder of Ouvroir de littérature potentielle (Oulipo). 39. Muldoon’s compositional technique is a subject that other scholars will no doubt explore in the future. 40. As will be mentioned later in this chapter, Muldoon’s ‘Ninety Instant Messages to Tom Moore’ include the image of ‘zebra mussels’ sending a cablegram (LXXXIV, 73). 41. Cambridge International Dictionary of English. 42. Other bizarre protagonists of the colourful local fauna include a ‘purple tube sponge’ (IX, 55), a ‘Bermuda longtail’ (XIII, 56), a ‘nurse shark’ (XIV, 56), a ‘hagfish’ (XVI, 56), a ‘cahow’ (XIX, 57) and a ‘rainbow flounder’ ‘propounder / of bottom-up management’ (LXX, 70).

5 Tu n’as Rien Vu à Hiroshima: Thomas Kinsella, Eoghan Ó Tuairisc/Eugene Watters, Anthony Glavin

1. Dante, Paradiso, I, 70–2. English translation by Dorothy Sayers. 2. For an analysis of the ‘Poems of Quest’ in Downstream see Abbate Badin 1996, in particular 18–19 and 62–4. 3. In Collected Poems the third and fourth stanzas of ‘The Ordeal’ have been deleted:

I hesitated in pity and beheld Body and spirit together, open-eyed, Drink up their sour ordeal, heaped with curses.

The body rocked, enduring this bitterness — A figure fathoming its own misery —

Straightened, and resumed its accurate pursuit. (Kinsella 1996: 41) 170 Notes to Chapter 5

4. An anthropophagus (from Greek anthropophagos, ‘people-eater’) was a member of a mythical race of cannibals described first by Herodotus in his Histories as androphagi (‘man-eaters’), and later referred to by other authors, including Shakespeare. 5. In the 1996 Collected Poems Kinsella changed ‘winter silence’ to ‘autumn silence’, maybe to match the ‘golden light’ in which Old Harry shivers. 6. In an unpublished note in the margins Kinsella imagined Truman meditating the opening of a vein. 7. Eugene Watters/Eoghan Ó Tuairisc was born in Ballinasloe, Co. Galway, on 3 April 1919. 8. The Week-end was not included in the Faber Book of Irish Verse, but in the Penguin Book of Irish Verse, edited by Brendan Kennelly. Poetry Ireland Review dedicated to the long poem a special issue in Spring 1985, which was edited by Conleth Ellis and Rita E. Kelly. A copy of the book was buried with the author, who considered it his one, great achievement. 9. Among the cross-references in this section are various biblical sources, in particular the Book of Job (chapters 24, 28, 39) and the ‘Song of Songs’ (4: 8–11). There are also echoes of the Irish literary tradition, in particular the love poetry of Old and Middle Irish known as Dánta Grádha, which flourished in the seventeenth century. Among the modernists, Ó Tuarisc recalls T. S. Eliot’s Unreal City of The Waste Land, which in turn was inspired by Dante. 10. ‘The morning rouses/awakens our eternal unease’. This and the following English translations were made with the help of Prof. Melita Cataldi. 11. It appears again in line 297 (section IV, Dies Irae), in which ‘an mhaidin’ (‘the morning’) is substituted by the assonant term ‘an mhaighdean’ (‘the virgin’). 12. ‘My sleeping city / Naked by the pent-up ford’. 13. The name Dublin goes back to the ninth to tenth centuries – ‘Dubh Linn’ means ‘black marsh’, the waters being blackened by the turf. At other points the city is called ‘little sister’ (‘shiúirín’) or ‘little rose’ (‘róisín’) – the first is a reference to the ‘Song of Songs’, while the second is a reference to the popular song ‘Róisín Dubh’ (‘Dark Rosaleen’), which James Clarence Mangan famously translated into English. 14. ‘(Blind) frenzy / that tears through her virgin fence (that bursts through)’. 15. ‘Lord Jesus, have mercy on us!’ 16. According to Mícheál Mac Craith, the prayer in Japanese was a quotation from John Hersey’s Hiroshima. 17. ‘Have mercy on us who are without mercy.’ 18. In through a university archway swimming against them, bright young faces who burst into the light, sacks slung on shoulders as they discuss space, the newest theory, white-horned, red-haired herd with their bags in bond to mathematics. Siú.

19. The Táin survives in two main written versions in twelfth-century manu- scripts, the first a compilation largely written in Old Irish, the second a more Notes to Chapter 5 171

consistent work in Middle Irish. It is mainly written in prose with parts of poetry and tells of Medhbh, queen of Connacht, who to compete with her husband Ailill – owner of the fertile bull Finnbheannach – invades Ulster to get hold of the equally strong bull of Cooley. The real hero of the epic is 17-year-old Cú Chulainn, who fights the enemies undaunted until he dies. 20. Nor the mute howling grief of history in the heart of the rose hanging on the wall. Siú.

21. We are the dead who died in Dublin untimely on the day of the blasphemous sun we blasted Hiroshima.

22. ‘We are no longer the Irish children of Ír and Éibhir.’ 23. According to the legend, before Deirdre was born the druid Cathbad had prophesized that she would grow up to be very beautiful, but that much blood would be shed because of her, and Ulster’s three greatest warriors would be forced into exile for her sake. King Conchobar, aroused by the description of Deirdre’s future beauty, decided to keep her for himself. He took her away from her family and she was brought up in seclusion. When Deirdre grew up, she fell in love with the handsome young warrior Naoise, and eloped with him and his two brothers to Scotland. Conchobar, furious, tracked them down and killed them. Subsequently Deirdre was forced to marry him. After a year, angered by Deirdre’s continuing coldness, Conchobar repudiated her and destined her to the man she hated the most, Éogan Mac Durthacht, who had killed Naoise. As she was carried to Mac Durthacht’s residence with bound hands, she threw herself from the chariot and was smashed against a rock. In some versions of the story, she died of grief. 24. In Greek mythology the Styx was the boundary between earth and the underworld, also called Hades. 25. Lines 122–3, 179, 197, 364. 26. The term dán occurs several times in the poem and can be found in lines 135, 267, 387, 426, 434. 27. Though the poem is now in print (and) the flowers of her kimono are stamped vividly on the smooth skin of the untouched bloom of youth.

28. The invocation ‘Is a Chríost uaignigh na híoróna’ (Barone 2004: 48) is repeated as a refrain. 29. Rosangela Barone notes that ‘piléir’ also means ‘pillars’ (2004: 105). 30. Götterdämmerung or ‘Twilight of the Gods’ is the last in Wagner’s cycle of four operas titled Der Ring des Nibelungen. In Norse mythology this expres- sion indicates a prophesied war of the gods that brings about the end of the world, whereas in common language it refers to a disastrous conclusion of events. 172 Notes to Chapter 6

31. And the linguist who puts the tidings of the two creeds into words for us.

32. Very likely that in Purgatory we shall be ringing out the laughter lost to the eyes in the gloomy air, in the dark days. In atonement for my twenty-two rudderless years I strive to steer the poem.

33. Blessed is her name on neglected headstones, streams babble their names over stones.

34. ‘Beside me in the cinema I see her black hair shining.’ 35. ‘And we wait, we wait in this tomb of a cinema’ (or ‘this tomb-dark cinema’). 36. Mícheál Mac Craith says à propos of this: ‘The term transfiguration can be easily and ironically transferred to those killed or maimed by the bomb. In fact the poet refers to “féile an fhigiúir” in the body of the poem, the feast of the figure, the figure of science gone crazy. If one reads St Matthew’s account of the Transfiguration of Jesus, the vocabulary of the episode encapsulates many of the same words used by those who survived the bomb, transforma- tion, sun, light, cloud, terror’ (1995: 2). 37. The Week-end of Dermot and Grace also closes without a full stop, with the following broken sentence: ‘Brethren pray that my sacrifice’ (Ó Tuairisc 1985: 71). 38. Debriefing ‘It’s all on film – ion-flash, shock-waves, brain-cloud.’ ‘Visible for a hundred miles, seething, umbilical,

Sizzling like a burned-out sun into the sea.’ ‘A burst mandala, the end of the world – beautiful.’ (Glavin 1989: 45)

6 Between East and West: Andrew Fitzsimons, Sinéad Morrissey, Joseph Woods

1. Andrew Fitzsimons is Associate Professor of English Literature at the Gakushuin University Tokyo. 2. Yoshida Kenko¯: 1283–1350. Tsurezuregusa was published between 1330 and 1333. 3. About 300 years earlier, around 1010, the court lady Sei Sho¯nagon (965/67– after 1010) had written Makura no soshi or The Pillow Book, a collection of anecdotes and observations which is often compared to Tsurezuregusa. 4. Some critics are very sceptical about this theory of scraps of paper. They find it hard to believe that Kenko¯’s disciples could have gathered their master’s thoughts in a unified whole. Notes to Chapter 6 173

5. As Keene says in his Introduction to Essays in Idleness (Kenko¯ 1967: XV), Kenko¯ tended to support opposing regimes simply to follow the political mainstream. 6. Baldassare Castiglione: 1478–1529. Il Cortegiano (The Courtier) was published in 1528. 7. Reference to Virgil’s Aeneid: ‘Sunt lacrimae rerum et mentem mortalia tangunt’ (I: 462). Literally: ‘There are tears for things, and mortal things touch the heart.’ 8. Eugenio Montale (1896–1981) was awarded the Nobel Prize for Literature in 1975. 9. Montale’s Ossi di seppia was published in 1925. 10. Chuzenji has been a religious site for 1500 years. It was founded by a monk called Shodo Sho Min, who is considered the St Kevin of Japan. 11. It is more famously an August festival in Kansai and increasingly in Kanto. 12. Katsushika Hokusai, Old Tiger in the Snow, 1849. 13. So far, critical analysis of Between Here and There consists of: Poloczek’s ‘Ironies of Language and Signs of Existence in Contemporary Irish Women’s Poetry’ (2005), which adopts feminist theory to compare Morrissey with Eavan Boland and Paula Meehan; Kennedy-Andrews’s Writing Home (2008: 256–70), which relates Morrissey’s work to Deleuze and Guattari’s ‘nomad- ism’, Barthes’s Empire of Signs and Bhabha’s cultural theory; and Suhr-Sytsma’s ‘Haiku Aesthetics and Grassroots Internationalization: Japan in Irish Poetry’ (2011), which speculates on the reflections of Morrissey’s experience as part of the JET Programme. 14. The opening poem, which is italicized like an epigraph, constitutes a bridge between the first and the second sections of Between Here and There. Looking back with relief on the end of the writer’s block, Morrissey says: ‘My voice slipped overboard and made it ashore / the day I fished on the Sea of Japan / within sight of a nuclear reactor’ (2002: 9). The poet’s voice will return ‘burdened with presents from being away’ (9), like a Japanese traveller who brings home omiyage for those who stayed at home. 15. Personal interview with Sinéad Morrissey in January 2005. Henceforth referred to as PI M. 16. In the same collection we find ‘Nagasawa in Training’ (2002: 47). This poem, written for the monk’s death, shows the strict discipline of his life. 17. Compare such symbolism with Sheela-Na-Gigs. For further reference, see Freitag 2004. 18. Tokugawa period: 1603–1868. 19. According to Zeami, the actor who aims at achieving the highest artistic level should turn his mind into a universal ‘recipient’. Only through this exercise can the actor’s ‘vase’ – his mind – be filled with creative energy (Galliano 2004: 22). 20. The poem ‘Ice’, which is part of the sequence ‘Sicilian Sketches’ (Woods 2001: 50), alludes to the frozen frontier of Japan, and is basically concerned with drowning. 21. Catholic missions were introduced by the Portuguese, particularly by the Jesuits such as St Francis Xavier. The Shogunate and imperial government at first supported the Catholic missionaries, hoping that they would reduce the power of Buddhist monks and help establish trade links with Spain and 174 Notes to Chapter 6

Portugal. However, the Shogunate was also distrustful of colonialism, noticing that the Spanish had gained power in the Philippines by converting the local people. Therefore the government started to consider Catholicism as a threat and began persecuting Christians. Christianity was banned and the Japanese who refused to abandon their faith were killed. The Church remained with- out clergy, and theological teaching disintegrated until the new arrival of Western (French) missionaries in the nineteenth century. Bibliography

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absence The Records of a Travel-worn Satchel, in Heaney’s work, 28–30, 82 30, 51–2 and ma concept, 151 and Rosenstock, 89 Aestheticism and Japanese art, 6, 11 and Wordsworth, 17 afterlives and Mahon’s ‘Hiroshima’ Baudelaire, Charles, 6, 65 draft, 60–2 Beat poets, ix, 83, 85 Aisling tradition, 122, 127 Beckett, Samuel, 55, 102, 130 Albright, D., 41 Beiderbecke, Leon Bix, 109 alcoholism and Hartnett’s work, 91, Benjamin, Walter, 73 95–6 bilingual writers, 87, 120 Aldington, Richard, xi Blade Runner (film), 77 anthropomorphism in Muldoon’s Blanchot, Maurice, 29–30 work, 104–10, 111 blank space in haiku, 10, 18, 68, Aosdána (literary fund), 92 160n Arnold, Matthew, 19–20, 28 Blithe Spirit (journal), 81, 83–4 Arthur, Chris, 84 Blyth, R.H., ix, 81, 112 atom bomb see Hiroshima and Haiku, 85 Nagasaki Boland, Eavan, 18, 39 Austen, Jane: Northanger Abbey, 3 Bolden, Charles ‘Buddy’, 109 autobiography and Hartnett’s haiku, Book of Kells, The, 124, 128 90–100 Bownas, Geoffrey see Penguin Book of Japanese Verse Ballard, J.G.: Crash, 110 Boxer Rebellion (1900), 9 Ban Ki-moon, 137 Bradbury, M., 20 Barone, Rosangela, 122, 125, 128 British Haiku Society, 81 Barthes, Roland, 73–4, 75 Broom, Sarah, 71 Basho¯, Matsuo, 18, 22, 82, 83, 144 Breugel, Pieter (the Elder), 135–6 and banana tree, 166n Buddhism, 5 Blyth on purity of meaning in, Fitzsimons’s experiences in Japan, 112 138–9, 145 and Carson’s work, 66, 68, 69–71 and Morrissey’s work, 146–8 haiku on frog, 68, 103, 110 and Woods’s experiences and work, haiku on Ise, 165n 156, 157 ‘Hut of the Phantom Dwelling’ and see also Zen Buddhism Heaney, 32–3 Bunting, Basil, xi, 56–7 influence on Northern Irish poets, Burleigh, David, 83 68 Buson, Yosa, ix, 22, 83 The Narrow Road to the Deep North, ix, 1, 10, 66 Calvino, Italo, 71–2 and Mahon’s ‘A Hermit’, 56 ‘lightness’ in work, 65, 72 and Mahon’s ‘The Snow Party’, Six Memos for the Next Millennium, 39–44, 51–2, 82 72, 80 and Muldoon’s work, 68 Tokyo and Invisible Cities, 74

184 Index 185

Calza, Gian Carlo, 141 Cold War, 9–10 Carson, Ciaran, 10, 18, 38, 65–80, Coleridge, Samuel Taylor, 16, 78 133, 158 Collinge, Declan, 83, 99 The Alexandrine Plan, 65 Conrad, Joseph: Lord Jim, 4 Belfast Confetti, 65, 67–8, 73, 82 Corcoran, Neil, 25, 28, 33, 34, 71 and Calvino, 65, 71–2, 74, 80 Corman, Cid, ix Tokyo in life and imagination, 11, Craig, Edward Gordon, 8 65, 68, 73–9, 80 cross-cultural encounters The Twelfth of Never, 65–6, 67, Fitzsimons on cultural differences, 68–72, 82 142–3 ‘Banana Tree’, 69–70 internationalization of Irish ‘February Fourteenth’, 74–5 literature, 11, 138, 157–8 ‘Finding the Ox’, 79 Morrissey’s ‘tolerance of transitions’, ‘Fuji Film’, 78–9 151 ‘The Irish Exile Michael Hinds’, and ‘otherness’, 10 74, 76 and translation, 14–15, 20–1, 141 ‘The Rising Sun’, 77–8, 114 see also Japanese language and Tokyo, 73–9 cryptic and Muldoon’s work, 104, Carvalho Homem, R., 53 108, 111 Castiglione, Baldassare, 139 Cuban Missile Crisis (1962), 9–10 Catholicism culture difference see cross-cultural Eucharist in Carson’s work, 71 encounters and Hartnett’s work, 94, 95 cyphers and Muldoon’s work, 104, Latin Mass in Ó Tuairisc’s work, 108, 111 121–8 missionaries in Japan, 2 Daibutsu (Great Buddha statue), 146, Twenty-Six Martyrs of Japan, 147 156–7 Daisetsu, Suzuki, 85 Celtic Tiger and Fitzsimons’s work, Dante: Divina Commedia, 33, 115, 142 116, 126 chained verse, 32 Deane, Seamus, 39 Chinese character system, 7, 150–1 Deirdre, 124–5 Chinese poetry and Pound’s theories, Devlin, Barney, 35, 36 7, 22 Diana, La (journal), 21 chinmoku (silence) in Japanese culture, Dick, Philip K., 77 142–3 ‘disappearing’, 85–6 Christianity Diskin, Michael, 5 in Japan, 2, 156–7 dolls and Tokyo in Carson’s work, 75, see also Catholicism 76–7 Chuang Tzu, 86 Dublin Churchill, Winston, 118 in Fitzsimons’s work, 145 Chuzenji, Lake, 144, 145 in Hartnett’s work, 90, 91, 93, 94–5, cigarettes and Tokyo in Carson’s 98 work, 75–6 in Ó Tuairisc’s work, 121, 122, 124, cityscapes theme, 10, 74 125–8 Clutterbuck, Catriona, 54–5 Duncan, Isadora, 8 code and Muldoon’s work, 104, 108, Duras, Marguerite, 114, 132, 137 111 Durcan, Paul, 10, 11 Codrescu, Ion, 85 ‘dynamic pause’, 84 186 Index

Eco, Umberto, 100–1 Gillespie, John, 148 Eliot, T. S., 20, 22, 23, 121 Ginsberg, Allen, 85 The Waste Land, 34, 123, 126, 128 Glavin, Anthony, 114, 137 Emanuel, James, 83 ‘Living in Hiroshima’, 115, 129–36 encoding and Muldoon’s work, 104, The Wrong Side of the Alps, 129 108, 111 Goncourt brothers, 6 ‘enlightenment’ and haiku, 17–18, 20, Granier, Mark, 129 23, 85 Grant, Michael, 58–9 Enright, D. J., xi Great Expectations (film), 15 eroticism guilt and atom bomb in Glavin’s Heaney’s ‘Tankas for Toraiwa’, 36–7 work, 134 Morrissey on, 149 Guinness, Selina, 138 Ewick, David, 5, 111 Hackett, James William, 81, 82, Fackler, Martin, 136, 137 84, 87 Farr, Florence, 8 haiga, 85 Farrell, J. G.: ‘Empire Trilogy’, 62–3, 64 haiku fathers appeal and resonance, 10, 11 and Hartnett’s work, 94, 95 and art of disappearing, 83–113 and Heaney’s work, 24, 25–8, 30–2 Hartnett’s work, 86–100 feminism and Morrissey’s work, Muldoon’s work, 100–11 149–50 Rosenstock’s work, 83–90 Fenollosa, Ernest, ix, xi, 7, 15, 85 associations and journals, 81 festivals and Morrissey’s work, 148–9 and Carson’s work, 65, 66, 67–71 Fforde, Jasper, 75 definition, 81 First World War and ‘enlightenment’, 17–18, 20, 23 Anglo-Japanese Alliance, 9 Heaney’s haiku and tanka poetry, and Ungaretti’s poetry, 21 14, 24–35 Fitzsimons, Andrew, 20, 118, 138–45 and Imagist poetry and legacy, 16, Essays in Idleness, 139–45, 158 19–24, 38, 83 living in Japan, 138, 144, 145, influence on English free verse, 7 157–8 layout and ‘visual’ conception, 10, Francis Xavier, St, 2 18, 68, 160n free form of Japanese poetry, 6–7, 81 spareness and suggestion, 17–18, free verse, 5, 7 66, 67 Frost, Robert, 107 Haiku Canada, 82 ‘After Apple Picking’, 102 Haiku Foundation, 83 ‘Desert Places’, 43 Haiku Society of America, 81–2 ‘Stopping by Woods on a Snowy HaikuOz, 82 Evening’, 43 Hakutani, Yoshinobu, 16, 17, 18, 20, Fujiwara no, Ietaka, 139 83 ha-Levi, Judah, 158 Galliano, Luciana, 151–2 Hartmann, Charles O., 5 geisha dolls in Carson’s work, 75, Hartnett, Michael: Inchicore Haiku, 82, 76–7 83, 90–100, 112 genetic criticism and Mahon’s work, Haughton, Hugh, 39, 41, 43, 44, 56 52, 62, 64 Heaney, Margaret Kathleen (née Ghost in the Shell, The (film), 76–7 McCann), 24, 28–9, 30 Gilbert and Sullivan: The Mikado, 3 Heaney, Patrick, 24, 25–8, 30, 31 Index 187

Heaney, Seamus, 14–38 Herrigel, Eugen: Zen in the Art of absence and ‘luminous emptiness’ Archery, 79 in The Haw Lantern, 28–30, 82 Hersey, John The Cure at Troy, 34 Hiroshima report District and Circle and ‘Japanese’ and Glavin’s work, 130 experiments, 14, 35–7, 82 and Kinsella’s work, 118, 119 erotic wit of ‘Tankas for Toraiwa’, and Mahon’s work, 44–51, 52, 36–7 59–60, 61–2, 63 ‘Fiddleheads’, 35, 36–7 and Ó Tuairisc’s work, 125, ‘Midnight Anvil’, 35–6, 38 170n ‘Poet to Blacksmith’, 36 Hewitt, John, 67 ‘Follower’, 31 Higginson, William J., 83, 100 ‘The Forge’, 38 Hill, Tobias, xi haiku and tanka, 14, 24–37 Hiroshima and Nagasaki, 9 The Haw Lantern and Carson’s work, 78 ‘Clearances’, 28–9 and Glavin’s work, 129–36 ‘The Disappearing Island’, 28, and Kinsella’s work, 115–20 29–30 and Mahon’s work ‘For Bernard and Jane McCabe’, ‘Hiroshima’, 44–51, 52, 53, 62 24, 25–30 The Snow Party, 60–2 North, 39, 55 and Ó Tuairisc’s work, 120–8 ‘Petals on a Bough’ (Lafcadio Hearn problems of representation, 10, Lecture), 14–24, 66, 103 114–15, 136 and legacy of Imagism, 15–16, US and invitation to annual 19–24, 38 ceremony, 136–7 river-father figure connection, 26–8 and Woods’s work, 156–7 Seeing Things Hiroshima mon amour (film), 114, 121, ‘1.1.87’, 24, 27, 28, 30–1 132, 137 ‘An August Night’, 31–2 Hiroshima Peace Memorial Museum, ‘The Crossing’, 33 131, 137 ‘The Golden Bough’, 25, 27, 33 Hokusai, Katsushika: Old Tiger in the ‘Lightenings viii’, 35 Snow, 145 ‘Man and Boy’, 26–7 Hulme, T. E., 6, 19 ‘Seeing Things’, 27–8 humour and Muldoon’s work, 102, ‘Squarings’, 32–3 104–7, 110–11 The Spirit Level ‘The Strand’ and intimations of IASIL-Japan, 11, 65, 158 eternity, 24, 33–5 Ietaka, Fujiwara no, 139 ‘Tollund’, 34 Imagist poetry, 6–8, 83 visits to Japan, 11, 14, 24–5, 30, legacy of, 15–16, 19–24, 38 158 Impressionism and Japonisme vogue, Hearn, Lafcadio, 4–5, 15 3, 5, 6 Japan: An Attempt at Interpretation, 5 instant messaging (IM) and Japanese Lyrics, 5 Muldoon’s haiku, 110–11 Henderson, Harold G., 81 internationalization of Irish literature, Introduction to Haiku, 10, 17–18, 66, 11, 138, 157–8 67, 68, 112, 160n intertextuality Hermes and Heaney’s ‘hermetic’ Fitzsimons and Kenko¯’s work, writing, 25 139–45 188 Index intertextuality – continued Kern, Robert, 20 Mahon’s ‘The Snow Party’, 41–2 Kerouac, Jack, 83, 85 and unfinished ‘Hiroshima’, Kinsella, Thomas, 115–20, 136, 137 47–51, 52, 55 Downstream Muldoon’s self-referentiality, 102–4, ‘Check’, 115 110 ‘A Country Walk’, 115 and Ó Tuairisc’s work, 123–4 ‘Downstream’, 115 Ír, 124 ‘Old Harry’, 114–15, 115–20, Irish Haiku Society (IHS), 82 135 Irish literature see Old Irish poetry ‘Tyrant Dying’, 115 Irish mythology, 124–5 Kirkup, James, xi, 81 Irish traditional music, 66, 69 Kitasono, Katsue, 20 Irish Writers’ Centre, Dublin, 82 Kleinsorge, Father (Hiroshima irony in Muldoon’s work, 104–6 survivor), 45, 61–2, 63 Issa, Kobayashi, ix, 19, 22–4, 85, 86 Kodama, Sanehide, x, 20 Ito, Michio, 8, 20 koto music, 78 Kudryavitsky, Anatoly (Anthony), 82 Japan Kusano, Shimpei, ix historical background and cultural perceptions, 1–6, 7, 9–11, 156 lacrimae rerum see mono no aware responses to past events, 136–7 language see Japanese language see also cross-cultural encounters Lanoue, David G., 86 ‘Japanese effect’, 159n Lean, David, 15 Japanese language Leopardi, Giacomo, 21 Hearn’s failure to master, 5 liminality and Morrissey’s work, 150–1 and doors in Muldoon, 102 and Woods’s ‘linguistic exile’, 152, and windows in Carson and 157 Mahon, 52–4, 68 see also translation linked verse (renga), 32, 38 Japonisme vogue, 3–6, 16 Livorni, Ernesto, 21 Jarniewicz, Jerzy, 39 Lodge, Charles, 90–1 Jesuits in Japan, 2, 156 Longenbach, James, 7, 16, 20, JET Programme, 11, 146, 157 110–11 John, Brian, 115, 116 Longley, Edna, 44, 101 Jo¯so¯, Naito, 67 Longley, Michael, 10, 11, 18, 44, 55, Joyce, James, 71, 84, 121 146 ‘The Dead’, 41, 42, 62, 68 Loose, Gerry: Basho¯ and Persimmon Finnegans Wake, 124, 128 Haiku, 83 A Portrait of the Artist, 123 Loti, Pierre: Madame Chrysanthème, Ulysses, 20, 33, 60 3–4

Kamo no, Cho¯mei, 56, 57 ma (in-betweenness), 151 Kanji system, 150, 152 Mac Craith, Míchéal, 118, 120, 124, Kanterman, Leroy, 81 170n Kavanagh, Patrick, 127 MacNeice, Louis: ‘Snow’, 42, 68 Kearney, Colbert, 120 Madame Butterfly as cultural motif, Keene, Donald, ix, 139, 142 3–4 Kenko¯, Yoshida: Tsurezuregusa and Maeterlinck, Maurice, 8 Fitzsimons’s Essays in Idleness, Mahon, Derek, 13, 35, 39–64, 157 139–45, 158 ‘Cavafy’, 57–8 Index 189

and Farrell’s ‘Empire Trilogy’, 62–3, Meiji period (1868–1911), 3, 5 64 Melville, Herman: Moby-Dick, 103–4 ‘Hiroshima’ (unfinished poem), memory and Tokyo in Carson’s work, 44–51, 62 75 and afterlives theme in SP, 60–2 Meyer, Kuno, 22, 66 and Grant’s Cities of Vesuvius, Mile, 124 58–9, 131 Miłosz, Czesław: ‘Reading the Japanese and Hersey’s report, 44–51, 52, Poet Issa (1762–1826)’, 22–4 59–60, 61–2 Miner, Earl, ix–x, 5, 6, 42–3 and ‘The Snow Party’, 47–51, 52, modern cityscape theme, 10, 74 55 Monk, Thelonius, 109 ‘The Last of the Fire Kings’, 161n mono no aware (lacrimae rerum/ ‘Light Music’, 68, 82 ‘tears for things’), 19–20, 24, liminality and windows, 52–4 38, 141 Lives Montague, John, 114, 115, 136 ‘Beyond Howth Head’, 56–7 Montale, Eugenio ‘A Hermit’, 56 Mottetti, 141 ‘On a Photograph of Edvard Ossi di Seppia, 77, 141 Munch’s Room in Oslo’ (‘The Moore, Thomas, 110 Studio’), 54–5 Morris, William, 6 ‘The Snow Party’ (‘SP’), 39–44, Morrissey, Sinéad, 158 55–6, 57, 63, 68, 114 Between Here and There, 146–52 and Basho¯’s travels, 51–2, 82 ‘Autumn Festival’, 149 similarities with ‘Hiroshima’, ‘Between Here and There’, 146–8 47–51, 52, 55 ‘Night Drive in Four Metaphors’, and ‘The Studio’, 54 150 The Snow Party (SP), 39, 55–6 ‘Spring Festival’, 148 ‘Afterlives’, 53–4 ‘Summer Festival’, 148 afterlives theme and ‘Hiroshima’ ‘To Encourage the Study of Kanji’, draft, 60–2 150 ‘A Disused Shed in Co. Wexford’, ‘To Imagine an Alphabet’, 150–1 62–3 ‘Winter Festival’, 149 ‘Leaves’, 60, 161n living in Japan, 11, 138, 144, 150–1, ‘Matthew V. 29–30’, 62 157 ‘Thammuz’, 60–1 Muldoon, Paul, 35, 100–11 ‘The Window’, 53 Hopewell Haiku, 82, 83, 100–7, see also ‘The Snow Party’ (‘SP’) 112–13 above Horse Latitudes, 82 ‘Tithonus’, 64 ‘Narrow Road to the Deep North’, Mallarmé, Stéphane, 8, 65 68 manga and Tokyo in Carson’s work, ‘News Headlines from the Homer 75, 76–7 Noble Farm’, 100, 107–10 Maraini, Fosco, 20 ‘Ninety Messages to Tom Moore’, Markova, Vera, 82 100, 110–11 Marone, Gherardo, 21 Tokyo visits, 11, 100, 158 Marvell, Andrew, 102 Murphy, Richard, 115 Masaaki, Asukai, 51 Murray, Les, 146 McCabe, James, 124, 126, 128 music McFarlane, J., 20 Irish traditional music, 66, 69 McGuckian, Medbh, 10, 11 koto music, 78 190 Index

Nagasaki see Hiroshima and Nagasaki Orient in popular imaginary, 1–2 Nagasawa (Buddhist monk), 147–8, see also Japonisme vogue 150 origami and Glavin’s work, 129 Nakamura, Mrs (Hiroshima survivor), Ormsby, Frank: The Hip Flask, 82 45 O’Searcaigh, Cathal, 18 narwhal tusks in Muldoon’s work, Oshii, Mamoru, 76 103–4 Osho (Chandra Mohan Jain), 86 nature ‘otherness’, 10, 18 anthropomorphization in Our Shared Japan (anthology), 10, 14, Muldoon’s work, 104–10, 111 82, 138 Fitzsimons on living in Japan, Ovid: Metamorphoses, 72 143–4 and Hartnett’s work, 96–100, 112 paper-crane ceremony and Glavin’s Heaney on Wordsworth’s Prelude, work, 129 16–17 Paul, St, 27–8 and Kinsella’s work, 116–17 Penguin Book of Japanese Verse, 1, 10, Nazi atrocities and Glavin’s work, 134 66, 152 ‘New Poetry’, 6–7 Penguin Book of Zen Poetry, ix Ní Dhomhnaill, Nuala, 11 Perry, Matthew, 3, 156 Ní Houlihan, Caitlín, 122 photo-haiga, 85 No¯ theatre, 7, 151 Pliny, 58, 165n see also Yeats: mediation of No¯ Plomer, William Charles Franklyn, xi theatre Poets’ Club, London, 6, 7 Noguchi, Yone, 5, 16, 20, 83 Polo, Marco, 74 nuclear power and Mahon’s Il Milione, 1 ‘Hiroshima’, 163n Pound, Ezra, ix, xi, 5, 20–1, 22 and Bunting, 56 Ó Súilleabháin, Seán, 126 Cantos, 7, 20 Ó Tuairisc, Eoghan (Eugene Watters), Cathay, 20 114, 115, 120–8, 136, 137 The Chinese Written Character as a bilingual nature of work, 120 Medium for Poetry, 7, 20 Lux Aeterna ‘In a Station of the Metro’, 7, 19, ‘Aifreann na Marbh’ (‘The Mass 20, 26 of the Dead’), 120, 121–8 and Poets’ Club, 7 publication, 120 ‘super-position/one-image’ The Week-End of Dermot and Grace, theory, 7 120, 121 and Ungaretti, 20–1 Obama, Barack, 136 and Yeats, 7–8, 15–16 objects and Tokyo in Carson’s work, Proto-Imagists, 6–8 75–8 Proust, Marcel, 75 O’Brien, Eugene, 29, 30 Puccini, Giacomo: Madame Butterfly, O’Connell, Daniel, 125–6 3–4 O’Grady, Thomas, 65 punishment and atom bomb Ohno, Mitsuko, 14, 15, 18, 22, 66, in Glavin’s work, 134 152 Kinsella’s ‘wicked cities of the Okakura Kakuzo¯, 85 plain’, 117–18 Old Irish poetry, 123 and haiku, 22, 102–3 Qian, Zhaoming, 20 Oppenheimer, J. Robert, 135 Queneau, Raymond, 100–1, 113 Index 191 religion see Buddhism; Christianity self-referentiality and Muldoon’s renga (linked verse), 32, 38 work, 102–4, 110 rensaku, 87 sexuality Resnais, Alain, 114, 121, 132 in Morrissey’s work, 147–9 rhyme in Muldoon’s work, 101–2 celebration in festivals, 147–8 Ricci, Matteo, 2 see also eroticism Righelato, Pat, 43 Shamrock (journal), 82 Rimbaud, Arthur, 65 Shiki, Masaoka, 66, 83, 154–5 ritualism and Morrissey’s work, 146, Shimoi, Harikuchi, 21 148 Shintoism, 144, 146, 148 Rivard, David, 32–3 Shiraishi, Kazuko, ix Robinson, Peter, xi Shirow, Masamune, 76 Romanticism and Eastern influence, ‘shock of the new’, 7, 15, 16 16–17 short poem form, 10 Roos, John V., 136 see also haiku Rosenstock, Gabriel, 18, 83–90, 112 signs and Tokyo in Carson’s work, Cold Moon: Erotic Haiku, 82, 84 74–5 ‘Farrera’, 87, 88–90 silence in Japanese culture, 142–3 Haiku: The Gentle Art of Silesius, Angelus, 86 Disappearing, 84, 85–6 Simpson, Louis: Searching for the Ox, 79 Haiku Enlightenment, 84–6 Snyder, Gary, ix, 66, 85 ‘A Handful of Haiku in Irish and space on page in haiku, 10, 18, 68, English’, 87–8 160n Rosenstock, Ron, 85 ‘Sternstünde’ (‘starry hour’), 84–5 Rossetti, Dante Gabriel, 6 Stevens, Wallace: ‘The Snow Man’, Rumi, 86 42–3 Ruskin, John, 6 Suga, A., 160n suggestion of haiku, 17–18, 66, 67 sabi concept, 18 Suhr-Sytsma, N., 146, 157 Sakaki, Nanao, ix ‘super-position/one-image’ poems, Sanchez, Sonia, 83 7, 26 Santayana, George, 42 Svevo, Italo: La Coscienza di Zeno, 75 Santo¯ka, Taneda, 86 Swede, George, 82 Sasaki, Dr Terufumi, 44–5 Swift, Jonathan: Gulliver’s Travels, 2 Scott, Ridley, 77 Symbolism, 6, 8 scraps of paper and Kenko¯’s work, symphonic poetry, 121 139 Synge, J. M., 125 scrimshaw in Muldoon’s work, 103–4 Táin Bó Cuailnge (The Cattle Raid of Seamus Heaney Centre, Queen’s Cooley), 123 University, Belfast, 82 Takahashi, Shinkichi, ix seasonal words, 19, 26, 82 Takiguchi, Susumu, 81, 82, 89 Second World War tangram (children’s game), 150 and Japan, 9, 136–7 Tanimoto, Mr (Hiroshima survivor), Nazi atrocities and Glavin’s work, 61, 118 134 tanka, 38, 160n see also Hiroshima and Nagasaki see also Heaney, Seamus: haiku and Sei Sho¯nagon: The Pillow Book, 172n tanka Seidensticker, Edward, ix–x ‘tears for things’ see mono no aware 192 Index technological change and Fitzsimons’s Virgil’s Aeneid, 173n work, 143 and Heaney’s work, 25, 27–8, 31, 33 Thwaite, Anthony, xi voyages of discovery and Orient, 1–2 see also Penguin Book of Japanese Verse wabi concept, 18 Tiffany, Daniel, 42 Walcott, Derek, xi time passing and Fitzsimons’s work, Waley, Arthur, ix, 5, 7, 66, 85 139–41, 144–5 Watters, Eugene see Ó Tuairisc, Tochigi, Nobuaki, 83 Eoghan Tóibín, Tomás, 126 Whistler, James, 6 Tokugawa period and ukiyo, 148–9 White, Kenneth, xi Tokyo Wilbur, Richard: ‘First Snow in and Carson’s work, 73–80 Alsace’, 43–4 and Fitzsimons’s work, 138–9 Wilde, Oscar, 3, 11, 159n on ugliness of, 144 and Japonisme, 5–6 Toraiwa, Masazumi, 36–7, 38 ‘Le Panneau’, 5 tradition and ‘shock of the new’, 15, Wills, Clair, 83, 101 16 windows and liminality, 52–4, 68 traditional Irish music, 66, 69 woodblock prints (ukiyo-e), 3, 5, 13, translation 43, 149 and cross-cultural exchange, 14–15, Woods, Joseph 20–1, 141 living in Japan, 11, 138, 144, 152–8 and haiku, 21–2 Sailing to Hokkaido, 152–7, 158 Translation Ireland (anthology), 82–3 ‘First Shelter’, 153–4 Troubles ‘New Year’s Day, Nagasaki’, 156–7 Carson’s Belfast Confetti, 67, 68 ‘Not Forgetting the Word for and Hartnett’s work, 93 Winter’, 155 and Heaney’s work, 34–5, 39 ‘Persimmon’, 154–5 and Mahon’s work, 39, 55–6 ‘Sailing to Hokkaido’, 153 Truman, Harry S., 115, 116, 117, 118, ‘Triptych’, 157 135 ‘Where the Word for Beautiful is Twenty-Six Martyrs of Japan, 156–7 Clean’, 155–6 Wordsworth, William: The Prelude, ukiyo (‘floating world’) 16–17 and celebration of sexuality, 147–8 World Haiku Club, 81 ukiyo-e (woodblock prints), 3, 5, 13, World Haiku Festival, 81 43, 149 World Kigo Database, 82 Ulster Cycle, 123, 125 Wright, Richard, 83 Ungaretti, Giuseppe: The Joy of Shipwrecks, 21 Xiaoyi, Xhou, 5–6 United States and Hiroshima, 136–7 ut pictura poesis motto, 6 Yeats, Jack, 55 Yeats, W. B., ix, x, xi, 7–9, 20, 125 Valignano, Alessandro, 2 ‘Lapis Lazuli’ and Mahon’s ‘Snow Van Gogh, Vincent, 3 Party’, 41–2 Van Zandt, Townes, 109 mediation of No¯ theatre, 8–9, 51, 83 Vendler, Helen, 24, 110 At the Hawk’s Well, 8, 26, 60, 71 Vesuvius and Hiroshima, 58–9, 131, Calvary, 8–9 165n The Death of Cuchulain, 8 Index 193

The Dreaming of the Bones, 8 Zeami, Motokiyo, 151 The Only Jealousy of Emer, 8 Zen Buddhism Plays for Dancers, 8 and Carson’s work, 79 Purgatory, 8 ma concept, 151 and Pound, 7–8, 15–16 and Rosenstock’s work, 83 Yuasa, Nobuyuki, 163–4n zuihitzu (‘follow the brush’), 134, 139