Notes
Chapter 1 1. The translations of this verse and other Japanese poems quoted in this book, unless otherwise noted, are by Hakutani. 2. Donald Keene notes, “The humor in Chikuba Kyǀgin Shnj has been characterized as ‘tepid.’ The same might be said of the haikai poetry composed by Arakida Moritake (1473–1549), a Sinto priest from the Great Shrine at Ise who turned from serious to comic renga late in life, and has been customarily styled (together with Sǀkan) as a founder of haikai no renga” (Keene 13–14). 3. A certain group of poets, including Ito Shintoku (1634–98) and Ikeni- shi Gonsui (1650–1722) of the Teitoku school, and Uejima Onitsura (1661–1738), Konishi Raizan (1654–1716), and Shiinomoto Saimaro (1656–1738), of the Danrin school, each contributed to refining Basho’s style (Keene 56–57). 4. A detailed historical account of haikai poetry is given in Keene 337–57. 5. The original of “A Morning Glory” is quoted from Fujio Akimoto, Haiku Nyumon 23. 6. The original of “Were My Wife Alive” is quoted from Akimoto (200). 7. The original of “The Harvest Moon” is quoted from “Meigetsu | ya | tatami-no | ue | ni | matsu-no-kage” (Henderson 58). 8. Waley further shows with Zeami’s works that the aesthetic principle of yugen originated from Zen Buddhism. “It is obvious,” Whaley writes, “that Seami [Zeami] was deeply imbued with the teachings of Zen, in which cult Yoshimitsu may have been his master” (Nǀ Plays of Japan 21–22). 9. See Max Loehr, The Great Paintings of China 216. 10. The originals of both haiku are quoted from Henderson 160. 11. The original is quoted from Henderson 164. 12. The original is quoted from Akimoto 222. 13. The original is quoted from Blyth, History 2: 322.
Chapter 2 1. The translation of this haiku is by Noguchi, in Selected English Writings of Yone Noguchi 2: 73–74. Translations of other haiku quoted in this chapter are by R. H. Blyth unless otherwise noted. 160 Notes
2. The original is quoted from Henderson 49. The translation of this haiku, “How Cool It Is!” is by Hakutani. 3. Quoted and translated by Keene 93. 4. Haruo Shirane notes, “Bashǀ worked to assimilate the Chinese and Japa- nese poetic traditions into haikai and to appropriate the authority and aura of the ancients—whose importance grew in the late seventeenth century, as exemplified by the ancient studies of Confucian texts by Itǀ Jinsai (1627–1705) and the ancient studies of the Man’yǀshnj by Keichnj (1640–1701). As we have seen, Bashǀ incorporated orthodox Neo-Con- fucian thought into haikai poetics, hoping to raise the status of haikai, give it a spiritual and cosmological backbone, and make it part of the larger poetic and cultural tradition” (289). 5. This analects is remindful of John Keats’s line “Beauty is truth, truth beauty” in “Ode on a Grecian Urn” (1819). Emily Dickinson personi- fies beauty and truth in her poem “I Died for Beauty—but Was Scarce.” Dickinson sees Beauty and Truth united in life and death:
He questioned softly, “Why I failed”? “For Beauty”, I replied— “And I—for Truth—Themself are One— We Brethren, are”, He said— And so, as Kinsmen, met a Night— We talked between the Rooms— Until the Moss had reached our lips— And covered up—our names— (Complete Poems 216)
6. As his first book, A Week on the Concord and Merrimack Rivers (1849), indicates, Thoreau was fascinated with Buddhism. “It is necessary not to be Christian,” Thoreau argued, “to appreciate the beauty and significance of the life of Christ. I know that some will have hard thoughts of me, when they hear their Christ named beside my Buddha, yet I am sure that I am willing they should love their Christ more than my Buddha” (A Week 67). 7. Walt Whitman, who was also influenced by Buddhism, wrote in “Song of Myself”:
I am the poet of the Body and I am the poet of the Soul, The pleasures of heaven are with me and the pains of hell are with me, ...... I am the poet of the woman the same as the man. (Complete Poetry 39) Notes 161
8. As noted earlier, wabi underlies the uniquely human perception of beauty derived from poverty. Referring to Basho’s aesthetic principle, R. H. Blyth observes, “Without contact with the things, with cold and hunger, real poetry is impossible. Further, Bashǀ was a missionary spirit and knew that all over Japan were people capable of treading the Way of Haiku. But beyond this, just as with Christ, Bashǀ’s heart was turned towards poverty and simplicity; it was his fate, his lot, his destiny as a poet” (Haiku 296). 9. According to R H. Blyth, Zen “means that state of mind in which we are not separated from other things, are indeed identical with them, and yet retain our own individuality and personal peculiarities‚ . . . it means a body of experience and practice begun by Daruma (who came to China 520 A. D.) as the practical application to living of Mahayana doctrines, and continued to the present day in Zen temples and Zen books of instruction” (Haiku 5). 10. While R. H. Blyth observed that an image in haiku does not function as a metaphor, Haruo Shirane argues that “haikai, like all poetry, is highly metaphorical: the essential difference, as we shall see, is that the meta- phorical function is implicit rather than stated and often encoded in a polysemous phrase or word” (Shirane 46). 11. As pointed out in the introduction, Yeats was a symbolist poet, whereas Pound took pride in being an Imagist poet. Yeats considered himself a symbolist poet since he was fascinated by the noh play, which displays on the stage a painted old pine tree, for example, as a symbol of eternity rather than a scene of landscape, an image of nature. Pound, on the other hand, advocated creation of images rather than symbols in composing poetry.
Chapter 3 1. Much of Yone Noguchi’s biographical information is found in the auto- biographical essays written in English and in Japanese. The most useful is a collection of such essays titled The Story of Yone Noguchi Told by Himself (London: Chatto & Windus, 1914). 2. That Poe’s poems made a great impact on the aspiring poet from Japan is indicated by the close similarity in a certain part of “Lines,” one of Noguchi’s early poems in English, and Poe’s “Eulalie.” See “Lines,” in Pilgrimage 2: 79; and “Eulalie,” Poe, Complete Works of Poe 1: 12l–22. When Noguchi’s poems, including “Lines,” appeared in The Lark, The Chap Book, and The Philistine, in 1896, he was accused of plagiarism by some critics while he was defended by his friends. Noguchi later refuted it in Story of Yone Noguchi 18. About this controversy, see Don B. Gra- ham, “Yone Noguchi’s ‘Poe Mania.’” 3. The American Diary of a Japanese Girl was published by Frank Leslie Publishing House, New York, in 1901 and also by Frederick A. Stokes Company, New York, in 1902. Both editions are illustrated in color and black and white by Genjiro Yeto. This book was later expanded into a 162 Notes
full novel under the same title. Cf. The American Diary of a Japanese Girl (Tokyo: Fuzanbo and London: Elkin Mathews, 1902). This novel has recently been republished: Yone Noguchi, The Diary of a Japanese Girl, ed. Edward Marx and Laura E. Franey, with original illustrations by Genjiro Yeto (Philadelphia: Temple University Press, 2007). 4. The most comprehensive, though often inaccurate, bibliography of Yone Noguchi’s writings in Japanese and in English is included in Usaburo Toyama, ed., Essays on Yone Noguchi, vol. 1. 5. See Noguchi, Collected English Letters, ed. Ikuko Atsumi, 210–11. 6. Yone Noguchi had earlier met Yeats in London, where From the East- ern Sea was published in 1903. In a letter of February 24, 1903, to his wife, Leonie Gilmour, he wrote, “I made many a nice young, lovely, kind friend among literary geniuses (attention!). W. B. Yeats or Laurence Binyon, Moore and Bridges. They are so good; they invite me almost everyday. They are jolly companions. Their hairs are not long, I tell you” (Collected English Letters 106). 7. See Isamu Noguchi, A Sculptor’s World 31. 8. See Yone Noguchi, “The Invisible Night,” Seen and Unseen 21. The poem first appeared in The Lark. The poem is quoted from Selected Eng- lish Writings 1: 65. 9. See “At the Yuigahama Shore by Kamakura,” Pilgrimage 1: 34. The poem is reprinted in Noguchi’s travelogue Kamakura 38–39. 10. See Story of Noguchi 223–24. Noguchi discusses elsewhere what is to him the true meaning of realism: “While I admit the art of some artist which has the detail of beauty, I must tell him that reality, even when true, is not the whole thing; he should learn the art of escaping from it. That art is, in my opinion, the greatest of all arts; without it, art will never bring us the eternal and the mysterious” (Spirit of Japanese Art 103). 11. Quoted, in Noguchi’s translation, in Spirit of Japanese Poetry 38. 12. Quoted in Spirit of Japanese Poetry 37. This particular poem, however, cannot be found in any of Noguchi’s poetry collections. 13. Quoted, in Noguchi’s translation, in Noguchi, Through the Torii 132. 14. See “By the Engakuji Temple: Moon Night,” Pilgrimage 1: 5. The Engakuji Temple, located in Kamakura, an ancient capital of Japan, was founded in the thirteenth century by Tokimune Hojo, hero of the feudal government who was a great believer in Zen Buddhism. 15. See Charles Warren Stoddard, “Introduction,” Voice of the Valley 10–11.
Chapter 4 1. Earl Miner, in Japanese Tradition, closely examines Yeats’s relationship to the noh play and also discusses Yeats’s association with Ezra Pound with respect to East-West literary relations. But Miner does not con- sider Yone Noguchi in this context. Makoto Ueda’s Zeami, Basho, Yeats, Pound does not mention Noguchi. Nor does Liam Miller’s Noble Drama Notes 163
of Yeats, which includes well-annotated analyses of Yeats’s noh plays in comparison with the Japanese model, mention Noguchi. 2. Among the East-West comparative critics, Roy E. Teele is the one who demonstrates Fenollosa’s failure to understand the Japanese language, particularly the essential rhythm of the noh text Fenollosa translated. See Teele’s “Japanese Translations.” 3. For a discussion of Noguchi’s English poetry and literary criticism, see Hakutani, “Noguchi’s Poetry.” 4. The Egoist was one of the prestigious literary magazines published in London in the 1910s. When Noguchi contributed two of his articles to the magazine, its assistant editor was T. S. Eliot. 5. This lecture was published as “Chapter II: The Japanese Hokku Poetry” in Noguchi’s Spirit of Japanese Poetry 33–53. 6. This lecture was published as “Japanese Poetry” in Transactions 12: 86–109. 7. See Hiroshige. This book was followed by other books on Japanese paint- ing: Korin, Utamaro, Hokusai, Harunobu, and Ukiyoye Primitives. 8. A unifying image or action appears frequently in Yeats’s noh plays as it does in Japanese noh plays. The well choked up with leaves in At the Hawk’s Well is represented by a piece of cloth that remains throughout the performance just as the bed-ridden lady Aoi no Ue, the heroine of the noh play Aoi no Ue, is symbolized by a sleeve laid on the stage during the performance. In Yeats’s The Dreaming of the Bones, the young girl’s spirit speaks impersonally of herself as the old man and the old woman in the noh play Nishikigi, in Pound’s version, speak in unison. The climactic dance of the Rainbow Skirt and Feather Jacket performed in Noguchi’s noh play “The Everlasting Sorrow” is also a unified image since it sym- bolizes the flight of two birds with one wing. 9. See Noguchi’s “Everlasting Sorrow,” in which the Sovereign Ming Huang longs for the earthly return of his mistress Yang Kue-fei, who has long departed for Heaven. A Taoist priest is commanded by the Sover- eign to find the lady Bang’s lost soul. Upon finding her, the priest asks her to give a token as proof of his meeting with her. Though she offers her hairpin to take back with him, he declines it as too common and asks her to present something special that Ming Huang would remember as belonging to her alone. “In deep,” Yang Kuei-fei responds, “I now hap- pen to recall to my mind how on the seventh day of the seventh moon, in the Hall of Immortality, at midnight when no one was anear.” Then the chorus sings, “the Sovereign whispered in my ears, after pledging the two stars in the sky:
In heaven we will ever fly like one-winged birds; On earth grow joined like a tree with branches twining tight.” 164 Notes
At the climax of the play, Yang Kuei-fei performs for the priest a dance of the Rainbow Skirt and Feather Jacket to convey Ming Huang “the dancer’s heart.” Noguchi adds a note: “Each bird must fly with a mate, since it has only one wing” (142). 10. One of the players who made an indispensable contribution to Yeats’s understanding of noh performance was a Japanese dancer, Michio Itoh. He came from a distinguished family of theater artists. Two of his broth- ers, Kensaku Itoh and Koreya Senda, who also distinguished themselves in the theater in Japan as late as after World War II, are both famous for their work as stage designers and as dancers. The papier-mâché mask Itoh wore for the performance of At the Hawk’s Well in 1926 was made by Isamu Noguchi, the son of Yone Noguchi and his American wife, Leonie Gilmour (Isamu Noguchi, Sculptor’s World 123). The performance of the play demanded in its music, movement, and visual effect, firsthand knowl- edge of the noh theater. It was Pound who introduced Itoh to Yeats, who thought Itoh’s “minute intensity of movement in the dance of the hawk so well suited our small room and private art” (Plays of Yeats 417). 11. In the play a fisherman finds on a pine tree a feather robe that belongs to a fair angel. She begs him to return the robe and offers to dance for him in return. He insists on keeping the robe with him until she completes her dance. She assures him that angels never break promises, saying that falsehood exists only among mortals. The fisherman, deeply ashamed, hands back the robe to her. The angel, completing her performance, vanishes into the air. 12. For Pound’s and Fenollosa’s version, see Pound and Fenollosa, Classic Noh Theatre 98–104. 13. In the play, the Mountain Elf during the night circles round the moun- tain, a symbol of life. At the climax a famous dancer, another elf who has lost her way in the Hill of Shadow on her way to the Holy Buddhist Temple appears and inquires the right road of the Mountain Elf “with large star-like eyes and fearful snow-white hair.” The Mountain Elf then shows the dancer how to encircle the mountain (Spirit of Japanese Poetry 66–67).
Chapter 5 1. See Miner, “Pound, Haiku and the Image” 570–84; and Japanese Tradi- tion. There is some ambiguity in Miner’s chronology since, in his article, the date of Pound’s joining the Poets’ Club is said to be “just before the first World War,” which means perhaps between 1913 and 1914 (“Pound” 572). There is also another ambiguity with respect to the time and circumstance of Pound’s learning about “the usefulness of Japanese poetry from Flint.” Flint’s interest in Japanese poetry is indicated in his own account of the matter, published in The Egoist for May 1, 1915: “I had been advocating in the course of a series of articles on recent books Notes 165
of verse a poetry in vers libre, akin in spirit to the Japanese” (Japanese Tradition 100). 2. For Noguchi’s life and work, see Hakutani, ed. Selected English Writ- ings of Yone Noguchi: An East-West Literary Assimilation, vol. 1: Poetry (1990) and vol. 2: Prose (1992). For a study of Noguchi’s life, including an interview with his son, American sculptor Isamu Noguchi, see Haku- tani, “Father and Son: A Conversation with Isamu Noguchi.” For a dis- cussion of Noguchi’s English poetry and literary criticism, see Hakutani, “Yone Noguchi’s Poetry: From Whitman to Zen.” 3. The impact of hokku on Pound was apparently greater and more benefi- cial than that on his fellow Imagists. Regarding the form of superposition as ideal for expressing instantaneous perception, Pound wrote in a foot- note, “Mr. Flint and Mr. Rodker have made longer poems depending on a similar presentation of matter. So also have Richard Aldington, in his In Via Sestina, and ‘H. D.’ in her Oread, which latter poems express much stronger emotions than that in my lines here given” (“Vorticism” 467). Pound’s argument here suggests that hokku and Pound’s hokku- like poems can express instantaneous and spontaneous perception better than can the longer poems and the poems with stronger emotions. 4. See Noguchi, “What Is a Hokku Poem?” Rhythm 11 (January 1913): 354–59. The essay was reprinted in Noguchi’s Through the Torii 126–39. The page numbers cited hereafter refer to the Rhythm version. 5. In a letter of November 24, 1913, to Pound, Mary Fenollosa wrote, “I am beginning with [sic] right now, to send you material.” On the fol- lowing day she wrote again, “Please don’t get discouraged at the ragged way this manuscript is coming to you. As I said yesterday, it will all get there in time,—which is the most important thing.” See Kodama, ed. Ezra Pound and Japan: Letters and Essays 6. 6. One of Pound’s critics who acknowledge this fact, Roy E. Teele, demon- strates Fenollosa’s failure to understand the Japanese language, particu- larly the essential rhythm of the noh text Fenollosa translated. See Teele, “The Japanese Translations” 61–66. 7. Earl Miner, who states that Pound knew nothing about Japanese poetry before 1913 or 1914, believes that Pound later learned about hokku in the writings of the French translators (“Pound” 572–73). 8. See Noguchi, “The Everlasting Sorrow: A Japanese Noh Play” 141–43 and “The Japanese Noh Play” 99. 9. Noguchi first met Yeats in 1903 as indicated in a letter Noguchi wrote to Leonie Gilmour, his first wife: “I made many a nice young, lovely, kind friend among literary genius (attention!) W. B. Yeats or Laurence Binyon, Moore and Bridges. They are so good; they invite me almost every day” (Noguchi, Collected English Letters 106). In 1921 Yeats, who was in Oxford, England, sent a long letter to Noguchi, who was in Japan, and wrote, in part, in reference to art and poetry, “The old French poets were simple as the modern are not, & I find in Francois Villon the same 166 Notes
thoughts, with more intellectual power, that I find in the Gaelic poet [Raftery]. I would be simple myself but I do not know how. I am always turning over pages like those you have sent me, hoping that in my old age I may discover how. . . . A form of beauty scarcely lasts a generation with us, but it lasts with you for centuries. You no more want to change it than a pious man wants to change the Lord’s Prayer, or the Crucifix on the wall [blurred] at least not unless we have infected you with our egotism” (Collected English Letters 220–21). 10. See William Pratt, The Imagist Poem 14–15; J. B. Harmer, Victory in Limbo: Imagism 1908–1917 17; Humphrey Carpenter, A Serious Char- acter: The Life of Ezra Pound 115. 11. It is speculative, of course, but quite possible that Aldington, fascinated by Japanese visual arts, might have read the three articles about the subject Noguchi published in this period: “Utamaro,” Rhythm 11, no. 10 (Novem- ber 1912): 257–60; “Koyetsu,” Rhythm 11, no. 11 (December 1912): 302– 5; “The Last Master [Yoshitoshi] of the Ukiyoye School,” The Transactions of the Japan Society of London 12 (April 1914): 144–56. Moreover, The Spirit of Japanese Art (1915) includes chapters on major Japanese painters such as Koyetsu, Kenzan, Kyosai, and Busho Hara, besides Utamaro and Hiroshige. If Aldington had read these essays, he would very well have been acquainted with Noguchi’s writings about Japanese poetics. 12. Aldington’s poem reads,
The apparition of these poems in a crowd: White faces in a black dead faint.
See Aldington, “Penultimate Poetry,” Egoist (15 January 1915). This poem sounds more like senryu, a humorous haiku, than the hokku Pound was advocating. Senryu originated from Karai Senryu, an eighteenth- century Japanese haiku poet. 13. See Davie, Ezra Pound 42 and Carpenter 247. 14. See Toyama, ed., Essays on Yone Noguchi (mostly in Japanese) 1: 327. 15. See Jones, Life and Opinions of Hulme 122. Neither Noel Stock in Poet in Exile: Ezra Pound nor Humphrey Carpenter in Serious Character mentions Pound’s activities at the Quest Society, let alone Pound’s pos- sible interactions with Noguchi. 16. See T. S. Eliot’s introduction to Literary Essays of Ezra Pound 23. 17. About this time Noguchi also wrote an essay titled “A Japanese Note on Yeats,” included in his book of essays, Through the Torii 110–17. 18. Noguchi’s “Tell Me the Street to Heaven” was first published in his essay “What Is a Hokku Poem?” Rhythm 11 (January 1913): 358, as indicated earlier, and reprinted in Through the Torii (1914 and 1922). The other hokku, “Is It, Oh, List” was also included in the same issue and reprinted in Through the Torii with a change in the third line: “So runs Thames, so runs my Life” (136). Notes 167
19. The original in Japanese reads “Hiya-hiya to / Kabe wo fumaete / Hiru- ne kana.” See Henderson 49. The English translation of this haiku is by Hakutani. 20. Alan Durant tries to show that Pound’s metro poem linguistically contains a number of metaphors and associations, and that it is not as imagistic as critics say. While Durant’s interpretation is valid as far as the various ele- ments in the poem appear to the reader as metaphors and associations, Pound’s intention does differ from the reader’s interpretation. The same thing may occur in the interpretation of a Japanese hokku, but tradition- ally the language of the hokku, as Noguchi demonstrates throughout The Spirit of Japanese Poetry, shuns metaphor and symbolism. See Alan Durant, “Pound, Modernism and Literary Criticism: A Reply to Donald Davie.” 21. This passage is quoted from “Again on Hokku,” included in Through the Torii l40–46. A verbatim account is given in the introduction to his Japanese Hokkus 22–23. For Noguchi’s London experiences, see “My First London Experience (1903)” and “Again in London (1913–14)” in Story of Yone Noguchi 119–65. 22. The union of different experiences is reminiscent of T. S. Eliot’s statement about an amalgamation. In reference to John Donne’s poetry, Eliot writes, “When a poet’s mind is perfectly equipped for its work, it is constantly amalgamating disparate experience; the ordinary man’s experience is cha- otic, irregular, fragmentary. The latter falls in love, or reads Spinoza, and these two experiences have nothing to do with each other, or with the noise of the typewriter or the smell of cooking; in the mind of the poet these experiences are always forming new wholes” (Selected Essays 247). 23. In The Spirit of Japanese Poetry, Noguchi wrote, “As the so-called literary expression is a secondary matter in the realm of poetry, there is no strict boundary between the domains generally called subjective and objective; while some Hokku poems appear to be objective, those poems are again by turns quite subjective through the great virtue of the writers having the fullest identification with the matter written on. You might call such collation poetical trespassing; but it is the very point whence the Japanese poetry gains unusual freedom; that freedom makes us join at once with the soul of Nature” (43–44). 24. To the Japanese, such expressions as “the light of passion” and “the cica- da’s song” immediately evoke images of hot summer. These phrases in Japanese are attributed to or closely associated with summer; cicada is a kigo for summer. 25. For Whitman’s influence on Noguchi, see Chapter 3.
Chapter 6 1. In A Week on the Concord and Merrimack Rivers (1849), Thoreau wrote, “We can tolerate all philosophies, Atomists, Pneumatologists, Athe- ists, Theoists,— Plato, Aristotle, Leucippus, Democritus, Pythagoras, 168 Notes
Zoroaster and Confucius. It is the attitude of these men, more than any communication which they make, that attracts us” (152). In the conclu- sion of Variorum Civil Disobedience, Thoreau evoked Confucius: “The progress from an absolute to a limited monarchy, from a limited monar- chy to a democracy, is a progress toward a true respect for the individual. Even the Chinese philosopher was wise enough to regard the individual as the basis of the empire” (Variorum Civil Disobedience 55). 2. John Tytell observes, “Kerouac . . . attacked the concept of revision sacred to most writers as a kind of secondary moral censorship imposed by the unconscious” (Naked Angels 17). 3. In The Dharma Bums, Kerouac saw human existence as a strange beetle when he climbed Mount Hozomeen: “Standing on my head before bed- time on that rock roof of the moonlight I could indeed see that the earth was truly upsidedown and man a weird vain beetle full of strange ideas walking around upsidedown and boasting, and I could realize that man remembered why this dream of planets and plants and Plantagenets was built out of the primordial essence” (187). 4. As noted earlier, Pound quoted Moritake’s haiku just before discussing the often-quoted poem “In a Station of the Metro”: “The apparition of these faces in the crowd: / Petals, on a wet, black bough” (“Vorticism” 48). 5. Like Thoreau, Kerouac grew up a Christian and was well versed in the Bible but became fascinated with Buddhism. “It is necessary not to be Christian,” he argued, “to appreciate the beauty and significance of the life of Christ. I know that some will have hard thoughts of me, when they hear their Christ named beside my Buddha, yet I am sure that I am will- ing they should love their Christ more than my Buddha” (A Week 67). 6. Evoking his mother in his meditation has an affinity with Whitman’s allu- sion to the old mother in “Out of the Cradle Endlessly Rocking”:
The aria sinking, All else continuing, the stars shining, The winds blowing, the notes of the bird continuous echoing, With angry moans the fierce old mother incessantly moaning, (Complete Poetry 183)
7. In The Dharma Bums, as Kerouac hitchhiked home to see his mother in North Carolina, he thought of her and Gary Snyder. Kerouac wrote about Snyder, “Why is he so mad about white tiled sinks and ‘kitchen machinery’ he calls it?” Referring to his mother’s doing the dishes in the white sink, Kerouac remarked, “People have good hearts whether or not they live like Dharma Bums. Compassion is the heart of Bud- dhism” (105). At the end of his journey to Mount Hozomeen, Kerouac witnessed “the world was upsidedown hanging in an ocean of endless Notes 169
space and here were all these people sitting in theaters watching movies. . . . Pacing in the yard at dusk, singing ‘Wee Small Hours,’ when I came to the lines ‘when the whole wide world is fast asleep’ my eyes filled with tears, ‘Okay world,’ I said, ‘I’ll love ya.’ In bed at night, warm and happy in my bag on the good hemp bunk, I’d see my table and my clothes in the moonlight . . . and on this I’d go to sleep like a lamb” (187–88). 8. Walden teaches the virtue of drinking pure water, for drinking tea, cof- fee, wine, or smoking tobacco or opium would harm not only one’s physical health but one’s mental health: “I believe that water is the only drink for a wise man; wine is not so noble a liquor; and think of dashing the hopes of a morning with a cup of warm coffee, or of an evening with a dish of tea! Ah, how low I fall when I am tempted by them!” (217). 9. Melville writes, “Is it that by its indefiniteness it shadows forth the heart- less voids and immensities of the universe, and thus stabs us from behind with the thought of annihilation, when beholding the white depths of the milky way? Or is it, that as in essence whiteness is not so much a color as the visible absence of color, and at the same time the concrete of all colors; is it for these reasons that there is such a dumb blankness, full of meaning, in a wide landscape of snows—a colorless, all-color of atheism from which we shrink?” (169). 10. “After Apple-Picking” ends with the lines that intimate having a night- mare, or what Frost calls “just some human sleep” (Frost’s Poems 229). 11. See the last stanza in Poem 449 “I Died for Beauty” and 712 “Because I Could Not Stop for Death” (Complete Poems 216, 350). 12. See the last stanza of “The Road Not Taken” (Frost’s Poems 223). 13. See the lines in “The Weary Blues”: “Ain’t got nobody in all this world, / Ain’t got nobody but ma self”(Hughes, Selected Poems 33). 14. See the first two and last two lines in “We Real Cool”: “We real cool. We / Left school. We” and “Jazz June. We / Die soon” (Brooks, Selected Poems 73).
Chapter 7 1. According to Toru Kiuchi, this South African poet, identified as Sinclair Beiles in Michel Fabre’s Richard Wright: Books and Writers 14, was “one of the Beat poets and . . . his and their interest in Zen led Wright to the knowledge of haiku.” Kiuchi further notes that “because the Beat Hotel was in the Latin Quarter and Wright lived very close to the hotel, he must have haunted the hotel bar. I assume that Wright took an interest in Zen, which some of the Beat poets brought up as one of the important topics, and that Wright then must have known haiku through his conver- sations with Beiles” (Kiuchi’s letter to Hakutani). 2. This manuscript consists of a title page and eighty-two pages, page 1 containing the first seven haiku and each of the other pages containing ten, altogether 817 haiku. The manuscript, dated 1960, is in the Wright 170 Notes
collection in the Beinecke Rare Book and Manuscript Library, Yale Univer- sity, New Haven, Connecticut. The manuscript was published as Haiku: This Other World, eds., Yoshinobu Hakutani and Robert L. Tener (New York: Arcade, 1998; New York: Random House, 2000). References to Wright’s haiku, including numbers, are to this edition. 3. See the cover of the Random House edition of Haiku: This Other World. 4. See Julia Wright, introduction to Haiku: This Other World xi. 5. See R. H. Blyth, Haiku: Eastern Culture (Tokyo: Hokuseido, 1981). This is a paperback edition of vol. 1 of R. H. Blyth, Haiku, 4 vols. (Tokyo: Hokuseido, 1949). Page references to this book are to the 1981 paperback edition. 6. “After the Sermon” can be read as a senryu, a subgenre of haiku that expresses humor. Wright might have likened “the preacher’s voice” to “the caws of crows,” which sound least mellifluous. 7. The original of the haiku is in Henderson 40. 8. The original of the haiku is in Henderson 18. The translation is from Blyth, History 2: xxix. 9. The word sabi, a noun, derives from the verb sabiru, to rust, implying that what is described is aged. Sabi is traditionally associated with loneliness. Aesthetically, however, this mode of sensibility intimates of grace rather than splendor; it suggests quiet beauty as opposed to robust beauty. Many of Wright’s haiku thrive on the use of the word lonely. For further discus- sion of sabi and of other aesthetic principles, see Chapter 1 of this book and Hakutani, Richard Wright and Racial Discourse 275–82. 10. The original of Kikaku’s haiku is in Henderson 58. 11. The original of Buson’s haiku is in Henderson 104. 12. The original of Buson’s haiku is in Henderson 102.
Chapter 8 1. The original in Japanese reads “Yama-dori-no | o | wo | fumu | haru no | iri-hi | kana” (Henderson 102). 2. The original of this haiku by Basho is in Henderson 40. 3. See Haiku: This Other World. The 817 haiku are numbered consecu- tively, as noted earlier: “In the Silent Forest” is 316 and “A Thin Water- fall” 569. 4. The word sabi in Japanese, a noun, derives from the verb sabiru, to rust, implying that what is described is aged, as discussed in Chapter 1. Bud- dha’s portrait hung in Zen temples, the old man with a thin body, is nearer to his soul as the old tree with its skin and leaves fallen is nearer to the very origin and essence of nature. For a further discussion of Bud- dha’s portrait, see Loehr 216. 5. As discussed earlier, while Freud defines death as the opposite of life, meaning that death reduces all animate things to the inanimate. Lacan Notes 171
defines death as “human experience, human interchanges, intersubjectiv- ity,” suggesting that death is part of life (Seminar 2: 80). To Lacan, the death instinct is not “an admission of impotence, it isn’t a coming to a halt before an irreducible, an ineffable last thing, it is a concept” (Semi- nar 2: 70). 6. This stanza, filled with rather superficial racial and cultural labels, is remi- niscent of the least inspiring stanza in Whitman’s “Song of Myself”:
Magnifying and applying come I, Outbidding at the start the old cautious hucksters, Taking myself the exact dimensions of Jehovah, Lithographing Kronos, Zeus his son, and Hercules his grandson, Buying drafts of Osiris, Isis, Belus, Brahma, Buddha, In my portfolio placing Manito loose, Allah on a leaf, the crucifix engraved, With Odin and the hedeous-faced Mexitli and every idol and image, (Whitman, Complete Poetry 58)
Chapter 9 1. See “Author’s Preface” in Jazz from the Haiku King iv. 2. See Chapter 1 of this book, as well as Donald Keene’s detailed historical account of haikai poetry, from which haiku evolved (337–55). 3. Ellison’s essay originally appeared in Antioch Review 5 (June 1945): 198–211. 4. As noted in Chapter 1, the first collection of renga, Chikuba Kyogin Shu (Chikuba Singers’ Collection, 1499) includes over two hundred tsukeku (adding verses) linked with the first verses of another poet. As the title of the collection suggests, the salient characteristic of renga was a display of ingenuity and coarse humor. 5. Craig Werner has provided an incisive account of the jazz impulse: “Jazz, observed Louis Armstrong, is music that’s never played the same way twice. The world changes, the music changes. Jazz imagines the transi- tions, distills the deepest meanings of the moment we’re in, how it devel- oped from the ones that came before, how it opens up into the multiple possibilities of the ones to come” (Change 132). 6. In “A Sight in Camp in the Daybreak Gray and Dim” (Complete Poetry 219), an elegy for the dead soldiers, Whitman celebrates their death and alludes to their natural and divine heritage. 7. Thomas Jefferson’s Notes on the State of Virginia (1785) has a passage revealing his basic attitude toward nature and humanity: “Those who 172 Notes
labour in the earth are the chosen people of God, if ever he had a chosen people, whose breasts he has made his peculiar deposit for substantial and genuine virtue” (164–65). 8. For the origin and development of this verse form, see Keene 109–15. 9. Senryu, as noted earlier, is a humorous haiku. Senryu as a poetic genre thrives on moralizing nuances and a philosophical tone that expresses the incongruity of things rather than their oneness. Because senryu tend to appeal more to one’s sense of the logical than to intuition, this jazz haiku can be read as a senryu. 10. The original of “Autumn Is Deepening” is quoted from Imoto 231. 11. Emanuel’s humorous imagination, in which he is dreaming of digging the earth deeper to reach the other side of the world, is reminiscent of Mark Twain’s. In Adventures of Huckleberry Finn, Tom Sawyer talks about his outrageous far-fetched imagination, in which Jim, imprisoned in the dungeon of the Castle Deep and given a couple of case-knives, would be able to dig himself out through the earth for thirty-seven years and come out in China. Despite Huck’s rebuke of Tom for entertain- ing such an idea, Twain’s conjuring up visions of Jim’s freedom from slavery to a slaveless society is akin to Emanuel’s wish for jazz to cross cultural borders in disseminating the African American suffering and joy. See Adventures of Huckleberry Finn 191–92. Works Cited
Akimoto, Fujio. Haiku Nyumon. Tokyo: Kodansha, 1971. Aldington, Richard. “Penultimate Poetry.” Egoist 15 January 1915. Blyth, R. H. Haiku: Eastern Culture. Tokyo: Hokuseido, 1981. ———. A History of Haiku. 2 vols. Tokyo: Hokuseido, 1963, 1964. Brooks, Gwendolyn. Selected Poems. 1963. New York: Harper Perennial, 1999. Carpenter, Humphrey. A Serious Character: The Life of Ezra Pound. Boston: Houghton Mifflin, 1988. Cather, Willa. “Two Poets: Yone Noguchi and Bliss Carman.” The World and the Parish: Willa Cather’s Articles and Reviews, 1893–1902. 2 vols. Lincoln, NB: University of Nebraska Press, 1970. Danquah, J. B. The Akan Doctrine of God: A Fragment of Gold Coast Ethics and Religion. London: Frank Cass, 1944. Davie, Donald. Ezra Pound. New York: Viking, 1975. Dickinson, Emily. The Complete Poems of Emily Dickinson. Ed. Thomas H. John son. Boston: Little, Brown, 1960. Durant, Alan. “Pound, Modernism and Literary Criticism: A Reply to Donald Davie.” Critical Quarterly 28 (Spring–Summer 1986): 154–66. Eliot, T. S. The Complete Poems and Plays 1909–1950. New York: Harcourt, Brace & World, 1952. ———. Selected Essays, 1917–1932. New York: Harcourt, 1932. Ellison, Ralph. “Richard Wright’s Blues.” Antioch Review 5 (June 1945): 198–211. ———. Shadow and Act. New York: Random House, 1964. Emanuel, James A. Jazz from the Haiku King. Detroit: Broadside, 1999. Emerson, Ralph Waldo. Selections from Ralph Waldo Emerson. Ed. Stephen E. Whicher. Boston: Houghton Mifflin, 1960. Fabre, Michel. “The Poetry of Richard Wright.” Critical Essays of Richard Wright. Ed. Yoshinobu Hakutani. Boston: G. K. Hall, 1975. 252–72. ———. Richard Wright: Books and Writers. Jackson: University Press of Mis- sissippi, 1990. ———. The Unfinished Quest of Richard Wright. New York: Morrow, 1973. Fenollosa, Ernest. The Chinese Written Character as a Medium for Poetry. Ed. Ezra Pound. New York: Arrow, 1936. 174 Works Cited
Frost, Robert. Robert Frost’s Poems. Ed. Louis Untermeyer. New York: Pocket Books, 1971. Gifford, Barry, and Lawrence Lee. Jack’s Book: An Oral Biography of Jack Kerouac. New York: St. Martin’s, 1978. Goodwin, K. L. The Influence of Ezra Pound. London: Oxford University Press, 1966. Graham, Don B. “Yone Noguchi’s ‘Poe Mania.’” Markham Review 4 (1974): 58–60. Hakutani, Yoshinobu. “Ezra Pound, Yone Noguchi, and Imagism.” Modern Philology 90 (August 1992): 46–69. ———. “Father and Son: A Conversation with Isamu Noguchi.” Journal of Modern Literature 42 (Summer 1990): 13–33. ———. Richard Wright and Racial Discourse. Columbia: University of Mis- souri Press, 1996. ———. “Richard Wright’s Haiku, Zen, and the African ‘Primal Outlook upon Life.’” Modern Philology 104 (May 2007): 510–28. ———. “Yone Noguchi’s Poetry: From Whitman to Zen.” Comparative Lit- erature Studies 22 (1985): 67–79. Harmer, J. B. Victory in Limbo: Imagism 1908–1917. New York: St. Martin’s, 1975. Henderson, Harold G. An Introduction to Haiku: An Anthology of Poems and Poets from Basho to Shiki. New York: Doubleday/Anchor, 1958. Hughes, Langston. Selected Poems of Langston Hughes. New York: Knopf, 1959. Imoto, Noichi. Basho: Sono Jinsei to Geijutsu [Basho: His Life and Art]. Tokyo: Kodansha, 1968. Jefferson, Thomas. Notes on the State of Virginia. Ed. William Peden. Chapel Hill: University of North Carolina Press, 1955. Jones, A. R. The Life and Opinions of Thomas Ernest Hulme. Boston: Beacon, 1960. Jones, Gayl. Liberating Voices: Oral Tradition in African-American Litera- ture. Cambridge: Harvard University Press, 1991. Keene, Donald. World within Walls: Japanese Literature of the Pre-Modern Era, 1600–1868. New York: Grove, 1976. Kenner, Hugh. The Poetry of Ezra Pound. Millwood, NY: Kraus, 1947. Kerouac, Jack. Book of Haikus. Ed. Regina Weinreich. New York: Penguin Books, 2003. ———. The Dharma Bums. New York: Viking, 1958. ———. “Essentials of Spontaneous Prose.” Evergreen Review 2 (Summer 1958): 72–73. ———. On the Road. New York: Viking, 1958. Kiuchi, Toru. Letter to Yoshinobu Hakutani on Sinclair Beiles. 7 August 2005. Kodama, Sanehide., ed. Ezra Pound and Japan: Letters and Essays. Redding Ridge, CT: Black Swan Books, 1987. Works Cited 175
Kurebayashi, Kodo. Introduction to Dogen Zen [in Japanese]. Tokyo: Daihorinkaku, 1983. Lacan, Jacques. The Four Fundamental of Concepts of Psychoanalysis. Ed. Jacques-Alain Miller. Trans. Alan Sheridan. New York: Norton, 1881. ———. The Seminar of Jacques Lacan, bk. 2, The Ego in Freud’s Theory and in the Techniques of Psychoanalysis, 1954–1955. Ed. Jacques-Alain Miller. Trans. Sylvana Tomaselli. New York: Norton, 1988. Loehr, Max. The Great Paintings of China. New York: Harper & Row, 1980. Lynch, Tom. “Intersecting Influences in American Haiku.” Modernity in East-West Literary Criticism: New Readings. Ed. Yoshinobu Hakutani. Madison, NJ: Fairleigh Dickinson University Press; London: Associated University Presses, 2001. 114–36. Melville, Herman. Moby-Dick. Ed. Harrison Hayford and Hershel Parker. New York: Norton, 1967. Miller, Liam. The Noble Drama of W. B. Yeats. Dublin: Dolmen, 1977. Miner, Earl. The Japanese Tradition in British and American Literature. Princeton, NJ: Princeton University Press, 1958. ———. “Pound, Haiku and the Image.” Hudson Review 9 (Winter 1957): 570–84. Morrison, Toni. Jazz. New York: Plume, 1993. Munsterberg, Hugo. The Arts of Japan: An Illustrated History. Rutland, VT; Tokyo: Tuttle, 1957. Noguchi, Isamu. A Sculptor’s World. New York: Harper & Row, 1968. Noguchi, Yone. The American Diary of a Japanese Girl. New York: Frank Leslie Publishing House, 1901. ———. Collected English Letters. Ed. Ikuko Atsumi. Tokyo: Yone Noguchi Society, 1975. ———. The Diary of a Japanese Girl. Ed. Edward Marx and Laura E. Franey, with original illustrations by Genjiro Yeto. Philadelphia: Temple University Press, 2007. ———. “The Everlasting Sorrow: A Japanese Noh Play.” Egoist 4 (1917): 141–43. ———. From the Eastern Sea. London: Elkin Mathews, 1903. ———. Hiroshige. London: Elkin Mathews, 1921. ———. Japan and America. Tokyo: Keio University Press, 1921. ———. “The Japanese Noh Play.” Egoist 5 (1918): 99. ———. “Japanese Poetry.” The Transactions of the Japan Society of London 12 (1914): 86–109. ———. Kamakura. Kamakura: Valley, 1910. ———. Korin. London: Elkin Mathews, 1922. ———. “Koyetsu.” Rhythm 11.11 (December 1912): 302–5. ———. “The Last Master [Yoshitoshi] of the Ukiyoye School.” The Transac- tions of the Japan Society of London 12 (April 1914): 144–56. ———. The Pilgrimage. 2 vols. Tokyo: Kyobunkan, 1909. 176 Works Cited
———. Seen and Unseen or, Monologues of a Homeless Snail. San Francisco: Burgess & Garnett, 1897. ———. Selected English Writings of Yone Noguchi: An East-West Literary Assimilation. Ed. Yoshinobu Hakutani. 2 vols. Rutherford, NJ: Fairleigh Dickinson University Press; London: Associated University Presses, 1990, 1992. ———. The Spirit of Japanese Art. New York: Dutton, 1915. ———. The Spirit of Japanese Poetry. London: John Murray, 1914. ———. The Story of Yone Noguchi Told by Himself. Chatto & Windus, 1914. ———. The Summer Cloud: Prose Poems. Tokyo: Shunyodo, 1906. ———. Through the Torii. Boston: Four Seas, 1922. ———. Utamaro. London: Elkin Mathews, 1923. ———. The Voice of the Valley. San Francisco: Doxey, 1897. ———. “What Is a Hokku Poem?” Rhythm 11.10 (January 1913): 354–59. Poe, Edgar Allan. The Complete Works of Edgar Allan Poe. Ed. James Albert Harrison. New York: Crowell, 1902. ———. Selected Writings of Edgar Allan Poe. Ed. Edward H. Davidson. Bos- ton: Houghton Mifflin, 1956. Pound, Ezra. “As for Imagisme.” New Age 14 (1915): 349. ———. Gaudier-Brzeska: A Memoir. 1916. New York: New Directions, 1970. ———. Literary Essays of Ezra Pound. Ed. and introd. T. S. Eliot. New York: New Directions, 1954. ———. Personae. New York: New Directions, 1926. ———. Selected Poems of Ezra Pound. New York: New Directions, 1957. ———. The Spirit of Romance. New York: New Directions, 1968. ———. “Vorticism.” Fortnightly Review ns 573 (1914): 461–71. Pound, Ezra, and Ernest Fenollosa. The Classic Noh Theatre of Japan. New York: New Directions, 1959. Pratt, William. The Imagist Poem. New York: Dutton, 1963. Sanchez, Sonia. Like the Singing Coming off the Drums. Boston: Beacon, 1998. Sharp, E. A. William Sharp: A Memoir. London: Heinemann, 1910. Shirane, Haruo. Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashǀ. Stanford, CA: Stanford University Press, 1998. Stepto, Robert. From Behind the Veil: A Study of Afro-American Narrative. Urbana: University of Illinois Press, 1979. Stock, Noel. Poet in Exile: Ezra Pound. Manchester: Manchester University Press, 1964. Stoddard, Charles Warren. “Introduction.” Yone Noguchi. The Voice of the Valley. San Francisco: Doxey, 1897. 10–11. Teele, Roy E. “The Japanese Translations.” Texas Quarterly 10 (1967): 61–66. Works Cited 177
Thoreau, Henry David. The Variorum Civil Disobedience. Ed. Walter Hard- ing. New York: Twayne, 1967. ———. Walden. Ed. J. Lyndon Shanley. Princeton, NJ: Princeton University Press, 1971. ———. A Week on the Concord and Merrimack Rivers. Ed. Carl F. Hovde et al. Princeton, NJ: Princeton University Press, 1980. Tonkinson, Carol, ed. Big Sky Mind: Buddhism and the Beat Generation. New York: Riverhead, 1995. Toyama, Usaburo, ed. Essays on Yone Noguchi. 3 vols. Tokyo: Zokei Bijutsu Kyokai, 1963. Twain, Mark. Adventures of Huckleberry Finn. Ed. Sculley Bradley et al. New York: Norton, 1977. Tytell, John. Naked Angels: The Lives & Literature of the Beat Generation. New York: McGraw-Hill, 1977. Ueda, Makoto. Zeami, Basho, Yeats, Pound: A Study in Japanese and English Poetics. The Hague: Mouton, 1965. Waley, Arthur. The Nǀ Plays of Japan. New York: Grove, 1920. Walker, Margaret. Richard Wright: Daemonic Genius. New York: Warner Books, 1988. Webb, Constance. Richard Wright: A Biography. New York: Putnam, 1968. Werner, Craig. A Change Is Gonna Come: Music, Race & the Soul of America. New York: Plume, 1999 ———. Playing the Changes: From Afro-Modernism to the Jazz Impulse. Urbana: University of Illinois Press, 1994. Whitman, Walt. Complete Poetry and Selected Prose. Ed. James E. Miller, Jr. Boston: Houghton Mifflin, 1959. ———. Leaves of Grass. Ed. Sculley Bradley et al. New York: New York Uni- versity Press, 1980. Wright, Julia. Introduction. Haiku: This Other World. By Richard Wright. Ed. Yoshinobu Hakutani and Robert L. Tener. New York: Arcade, 1998. Rpt. New York: Random House, 2000. vii–xii. Wright, Richard. Black Power: A Record of Reactions in a Land of Pathos. New York: Harper, 1954. ———. “Blueprint for Negro Writing.” Richard Wright Reader. Ed. Ellen Wright and Michel Fabre. New York: Harper, 1978. 36–49. ———. Conversations with Richard Wright. Ed. Keneth Kinnamon and Michel Fabre. Jackson: University Press of Mississippi, 1993. ———. Haiku: This Other World. Ed. Yoshinobu Hakutani and Robert L. Tener. New York: Arcade, 1998. Rpt. New York: Random House, 2000. ———. Native Son. 1940. New York: Harper & Row, 1966. ———. Pagan Spain. New York: Harper and Brothers, 1957. ———. “This Other World: Projections in the Haiku Manner.” Ms. New Haven: Beinecke Rare Book and Manuscript Library, Yale University, 1960. 178 Works Cited
———. 12 Million Black Voices: A Folk History of the Negro in the United States. New York: Viking, 1941. Yeats, W. B. Autobiography. New York: Macmillan, 1938. ———. “Introduction to Certain Noble Plays of Japan by Pound & Fenol- losa.” The Classic Noh Theatre of Japan. New York: New Directions, 1959. 151–63. ———. The Poems of W. B. Yeats. Ed. Richard J. Finneran. New York: Mac- millan, 1983. ———. Reveries over Childhood and Youth. Dublin: Cuala, 1916. ———. The Variorum Edition of the Plays of W. B. Yeats. Ed. Russell K. Alspach. New York: Macmillan, 1966. Youmans, Rich. “For My Wife on Our First Anniversary.” Brussels Sprout 11.3 (1994): 15. Subject Index
Adventures of Huckleberry Finn Beiles, Sinclair, 169n1 (Twain), 172n11 Beloved (Morrison), 155 “Affirmations” (Pound), 85 Binyon, Laurence, 162n6, 166n9 “Again in London” (Noguchi, Y.), Black Boy (Wright, R.), 111–13 167n21 Black Power (Wright, R.), 111, “Again on Hokku” (Noguchi, Y.), 113–15, 126, 132, 136, 147 167n21 “Blueprint for Negro Writing” Akimoto, Fujio: Haiku Nyumon, (Wright, R.), 112–13, 145 159n5 Blues Fell This Morning (Oliver), Aldington, Richard, 69, 75, 82, 87, 141 166nn11, 12; In Via Sestina, Blyth, R. H., 2–4, 19–20, 23–26, 165n3 49, 92–94, 96, 99, 109, 114– American Diary of a Japanese Girl, 16, 159n1, 161n10, 170n5; The (Noguchi, Y.), 161n3 Haiku: Eastern Culture, 4, Analects, The (Confucius), 9–20, 19–32, 49, 93–94, 96, 99, 106, 22–24, 93 115–16, 161nn8–9, 170n5; A Arakida Moritake, 3, 76, 77, 83, 97, History of Haiku, 114, 159n13, 118, 159n2, 168n4 170n8 Aristotle, 71, 135, 167n1 Book of Haikus (Kerouac), 92–97, Armstrong, Louis, 144, 152, 171n5 103, 105, 108 Arnold, Matthew, 82 Aro. See Usuda Aro Brancusi, Constantin, 87 “As for Imagisme” (Pound), 70 Bridges, Robert, 54, 76, 162n6, Ashikaga Yoshimitsu, 159n8 165n9 At the Hawk’s Well (Yeats), 3, “Bright and Morning Star” (Wright, 56, 59–60, 63, 142, 163n8, R.), 142 164n10 Brooks, Gwentolyn, 108, 112, Autobiography (Yeats), 62 136–37, 169n14 Buddha Leaving the Mountains Baraka, Amiri, 134 (Lian K’ai), 12 Basho. See Matsuo Basho Burgess, Gelett, 38, 70 Basho: Sono Jinsei to Geijutsu (Basho: Burroughs, William, 91 His Life and Art) (Imoto), 34, Busho. See Hara Busho 172n10 Buson. See Yosa Buson 180 Subject Index
Calvary (noh play), 59, 65 Coltrane, John, 144, 155 Cantos (Pound), 63, 86 “Criticism of Basho” (Masaoka Carlyle, Thomas, 37 Shiki), 13 Carman, Bliss, 38, 70 Cullen, Countee, 147–48 Carpenter, Humphrey: A Serious Character: The Life of Ezra Danquah, J. B.: The Akan Doctrine Pound, 166n15 of God: A Fragment of Gold Caruso, Eurico, 146 Coast Ethics and Religion, 113 Cather, Willa, 38, 70; The World and Davis, Miles, 144 the Parish: Willa Cather’s Articles Democritus, 167n1 and Reviews, 1893–1902, 38 “The Deserted Village” Cathay (Pound), 86 (Goldsmith), 37 Certain Noble Plays of Japan (Yeats), 53 Dharma Bums, The (Kerouac), 3, Change Is Gonna Come: Music, 89–92, 99–100, 105–7, 168n7 Race & the Soul of America, A Diary of a Japanese Girl, The (Werner), 171n5 (Noguchi, Y.; Marx and Franey, Chikuba Singers’ Collection, 8, eds.), 162n3 159n2, 171n4 Dickinson, Emily, 30, 107, 109, “The Chinese Written Character 127, 130, 138, 149, 156, as a Medium for Poetry” 160n5; The Complete Poems of (Fenollosa), 73 Emily Dickinson, 30, 149, 156, Chiyo. See Kaga no Chiyo 160n5 Classic Noh Theatre of Japan, The Doctrine of the Mean, The, 22 (Pound and Fenollosa), 53, Dogen, 58, 146; Shobogenzo, 58 56–57, 61, 63, 66, 164n12 Doho, 28 Coleman, Ornett, 144 Donne, John, 167n22 Collected English Letters (Noguchi, Y.), 41, 54, 74, 162nn5–6, Doolittle, Hilda. See H. D. 165n9 “Down by the Riverside” (Wright, Complete Poems and Plays 1909– R.), 142 1950, The (Eliot), 34 Dreaming of the Bones, The (Yeats), Complete Poems of Emily Dickinson, 58, 66, 163n8 The (Dickinson), 30, 149, 156, Durant, Alan, 167n20 160 Complete Poetry and Selected Prose Eliot, T. S., 34, 81, 163n4, 167; (Whitman), 42–43, 50, 96, The Complete Poems and Plays 128–29, 147, 160n7, 168n6, 1909–1950, 34; Selected Essays, 171ch8n6, 171ch9n6 1917–1932, 81, 167n22; Complete Works of Edgar Allan Poe, T. S. Eliot, ed., Literary Essays The (Poe), 161n2 of Ezra Pound, 167n16 Confucius, 19, 22–24, 75, 93, Ellington, Duke, 150 168n1; The Analects, 19–20, Ellison, Ralph, 140, 142–43, 145, 22–24, 93 171n3; “Richard Wright’s Conversations with Richard Wright, Blues,” 140; Shadow and Act, (Wright, R.), 140, 144 142–43 Subject Index 181
Emanuel, James A., 4–5, 139–58, Franey, Laura E.: The Diary of a 172n11; Jazz from the Haiku Japanese Girl, ed., 162n3 King, 5, 139, 158, 171n1 Freud, Sigmund, 170n5 Emerson, Ralph Waldo, 7, 91, From Behind the Veil (Stepto), 145 94–95, 109, 130, 138; From the Eastern Sea (Noguchi, Y.), Selections from Ralph Waldo 39, 87, 162n6 Emerson, 94–95 Frost, Robert, 106; Robert Frost’s Essays on Yone Noguchi (Toyama, Poems, 169 nn10, 12 ed.), 162n4, 166n14 Fujiwara no Sadaiye, 8; Hyakunin “The Everlasting Sorrow: A Isshu (One Hundred Poems by Japanese Noh Play” (Noguchi, One Hundred Poets), comp., 8 Y.), 54, 62, 66, 74, 163nn8–9, 165n8 Garnett, Porter, 38 Ezra Pound and Japan: Letters and Gaudier-Brzeska: A Memoir Essays (Kodama, ed.), 165n5 (Pound), 86 Gaudier-Brzeska, Henri, 87 Fabre, Michel, 111–12, 142, Gifford, Barry, 93 169n1; “The Poetry of Richard Gillespie, Dizzy, 146–47 Wright,” 112; Richard Wright: Gilmour, Leonie, 162n6, 164n10, Books and Writers, 169n1; The 165n9 Unfinished Quest of Richard Ginsberg, Allen, 3–4, 89–91, 93, Wright, 111, 142 109, 138 “Father and Son: A Conversation Goldsmith, Oliver: “The Deserted with Isamu Noguchi” Village,” 37 (Hakutani), 165n2 Gonsui. See Ikenishi Gonsui Fenollosa, Ernest, 39, 53, 55, 57–59, 63, 67, 73, 85, 163n2, Goodwin, K. L., 74 164n12, 165n6; “The Chinese Graham, Don B.: “Yone Noguchi’s Written Character as a Medium ‘Poe Mania,’” 161n3 for Poetry,” 73; The Classic Noh Gray, Thomas, 37 Theatre of Japan, 53, 56–57, Great Paintaings of China, The 61, 63, 66, 164n12 (Loehr), 159 Fenollosa, Mary, 73, 165n5 Ferlinghetti, Lawrence, 93 H. D. (Hilda Doolittle), 87, 165n3; “A Few Don’ts” (Pound), 75, 83 Oread, 165n3 Fitzgerald, Ella, 129–30 Haas, Robert, 4 Flaubert, Gustave, 72 Hagiwara Sakutaro, 3, 39 Flint, F. S., 69, 73, 75, 82, 87, “Hagoromo” (Noguchi, Y.), 63–65 164n1, 165n3 Hagoromo (noh play), 63 “For My Wife on Our First Haiku: Eastern Culture (Blyth), 4, Anniversary” (Youmans), 19–32, 49, 93–94, 96, 99, 106, 149–50 115–16, 161nn8–9, 170n5 Four Fundamental Concepts of Haiku Nyumon (Akimoto), 159n5 Psychoanalysis, The (Lacan), Haiku: This Other World (Wright, J., 123 Introduction), 170n4 182 Subject Index
Haiku: This Other World (Wright, Hughes, Langston, 29–30, 135–37, R.), 4, 103, 112, 116, 118–19, 141; Selected Poems of Langston 122, 127, 132, 156, 170n3 Hughes, 29, 136, 141, 169n13; Hakurakuten, 19 The Weary Blues, 141 Hakutani, Yoshinobu, 159n1, Hulme, T. E., 39, 69, 73, 75–76, 87 160n2, 163n3, 165n2, 167n19, Hyakunin Isshu (One Hundred 169n1, 170n2; “Father and Poems by One Hundred Poets), Son: A Conversation with (Fujiwara no Sadaiye), 8 Isamu Noguchi,” 165n2; Richard Wright and Racial Ikenishi Gonsui, 159n3 Discourse, 170n2; Selected Imagist Poem, The (Pratt), 166n10 English Writings of Yone Imoto, Noichi, 34; Basho: Sono Noguchi: An East-West Literary Jinsei to Geijutsu (Basho: His Assimilation, ed., 165n2; Life and Art), 34, 172n10 “Yone Noguchi’s Poetry: From Inbe Rotsu, 15–16 Whitman to Zen,” 163n3, In Via Sestina (Aldington), 165n3 165n2 Introduction to Haiku: An Anthology Hakyo. See Ishida Hakyo of Poems and Poets from Basho to Hamlet, 39, 57 Shiki (Henderson), 167n19 Hara Busho, 166 Irving, Washington: Sketch Book, Hardy, Thomas, 39, 70 37–38 Harmer, J. B., 75; Victory in Limbo: Ishida Hakyo, 14–15 Imagism 1908–1917, 166n10 Issa. See Kobayashi Issa Harunobu. See Suzuki Harunobu Itǀ Jinsai, 160n4 Harunobu (Noguchi, Y.), 163n7 Ito Shintoku, 159n3 Hattori Ransetsu, 13, 24, 139 Itoh, Kensaku, 164n10 Hearn, Lafcadio, 66 Henderson, Harold G., 19, 159nn7, Itoh, Michio, 164n10 10–12, 160n2, 167n19, 170nn1, 2, 7, 8, 10–12; An Jackson, Mihalia, 142 Introduction to Haiku: An Japan and America (Noguchi, Y.), Anthology of Poems and Poets 39, 46 from Basho to Shiki, 167n19 “The Japanese Hokku Poetry” Hiroshige. See Utagawa Hiroshige (Noguchi, Y.), 54, 76, 163n5 Hiroshige (Noguchi, Y.), 40, 54, Japanese Hokkus (Noguchi, Y.), 2, 163n7 78, 167n21 History of Haiku, A (Blyth) 14, “The Japanese Noh Play” (Noguchi, 159, 170n8 Y.), 54, 61, 74, 165n8 Hojo Tokimune, 162n14 “A Japanese Note on Yeats” Hokusai. See Katsushika Hokusai (Noguchi, Y.), 67, 166n17 Hokusai (Noguchi, Y.), 163n7 “Japanese Poetry” (Noguchi, Y.), Hokushi. See Tachibana Hokushi 54, 76, 163n6 Holiday, Billie, 157 Japanese Tradition in British and Honami Koyetsu, 166n11 American Literature, The Hsuan Tsung, 90 (Miner), 162n1, 164n1 Subject Index 183
“The Japanese Translations” (Teele), Konishi Raizan, 159n3 163n2, 165n6 Korin. See Ogata Korin Jazz (Morrison), 144–45 Kotaro. See Takamura Kotaro Jazz from the Haiku King Koyetsu. See Honami Koyetsu (Emanuel), 5, 139, 158, 171n1 “Koyetsu” (Noguchi, Y.), 166n11 Jefferson, Thomas: Notes on the Kurebayashi, Kodo, 58 State of Virginia, 148, 171n7 Kusatao. See Nakamura Kusatao Jinsai. See Itǀ Jinsai Kusunoki Masashige, 20 Johnson, Charles: The Middle Kusunoki Masatsura, 20 Passage, 155 Kyorai. See Mukai Kyorai Jones, A. R.: The Life and Opinions Kyosai, 166n11 of Thomas Ernest Hulme, 166n15 Lacan, Jacques, 123–25, 132, Jones, Gayl: Literary Voices: Oral 170n5; The Four Fundamental Tradition in African-American Concepts of Psychoanalysis, 123; Literature, 144 The Seminar of Jacques Lacan, 123–25, 170n5 Kaga no Chiyo, 9–10 Lao Tze, 80 Kamakura, (Noguchi, Y.), 162n9 “The Last Master [Yoshitoshi] of Karai Senryu, 166n12 the Ukiyoye School” (Noguchi, Katsushika Hokusai, 2, 75, 87 Y.), 166n11 Keats, John, 72, 160n5 Leaves of Grass (Whitman), 58 Keene, Donald, 27, 102, 159n4, Lee, Lawrence, 93 171n2, 172n8 Leucippus, 167n1 Keichnj, 160 Lewis, Wyndham, 76 Kenner, Hugh: The Poetry of Ezra Lian K’ai: Buddha Leaving the Pound, 69 Mountains, 12 Kenzan. See Ogata Kenzan Kerouac, Jack, 3–4, 89–109, Life and Opinions of Thomas Ernest 116, 138–39, 168n5; Book of Hulme, The (Jones, A. R.), Haikus, 92–97, 103, 105, 108; 166n15 The Dharma Bums, 3, 89–92, Like the Singing Coming off the 99–100, 105–7, 168n7; On the Drums (Sanchez) 5, 127–28, Road, 3, 89, 92 131–32, 135, 137–38 Kikaku. See Takarai Kikaku Lincoln, Abraham, 136, 146 Kitagawa Utamaro, 2, 75, 87, Literary Essays of Ezra Pound (Eliot, 166n11 ed.), 81, 83, 167n16 Kiuchi, Toru, 169n1 Literary Voices: Oral Tradition in Kobayashi Issa, 1, 7, 13–14, 81–82, African-American Literature 92–93, 102, 111, 114, 118, (Jones, Gayl), 144 139 Loehr, Max, 170n4; The Great Kodama, Sanehide, 74, 165n5; Ezra Paintaings of China, 159n9 Pound and Japan: Letters and “Long Black Song” (Wright, R.), Essays, ed., 165n5 142 Kojisei, 21–22; Saikontan, 21 Lynch, Tom, 93 184 Subject Index
Macauley, Thomas, 37 “The Morning-Glory: A Dramatic Macleod, Fiona, 59 Fragment” (Noguchi, Y.), 54, “The Man Who Lived 62 Underground” (Wright, R.), Morrison, Toni, 144–45, 155; 128 Beloved, 155; Jazz, 144–45 Manuscript in My Knapsack Mountain Elf (noh play), 65 (Matsuo Basho), 18–19 Mukai Kyorai, 13 Man’yǀshnj, 160n4 Murray, John, 76 Markham, Edwin, 38 Martin, Roberta, 142 Nadel, Alan, 141 Marx, Edward: The Diary of a Nakae Toju, 21 Japanese Girl, ed., 162n3 Nakamura Kusatao, 15 Masaoka Shiki, 13–14, 16, 104; Naked Angels (Tytell), 168n2 “Criticism of Basho,” 13 Narrow Road to the Interior Masashige. See Kusunoki Masashige (Matsuo Basho), 19 Masatsura. See Kusunoki Masatsura Native Son (Wright, R.), 111, 141 Matsuo Basho, 1–2, 7–9, 12–36, New Word, The (Upward), 75 Nishikigi (noh play), 58, 66, 163n8 47, 81–83, 92–95, 102, 107, Noble Drama of W. B. Yeats, The 111, 114, 116, 118–20, 122, (Miller, L.), 162n1 131, 139–40, 149, 152, Nǀ Plays of Japan, The (Waley), 59, 154–55, 159n3,160 n4, 161n8, 159n8 162n1, 170n2; Manuscript in “No: The Japanese Play of Silence,” My Knapsack, 18–19; Narrow (Noguchi, Y.), 54 Road to the Interior, 19; A Noguchi, Isamu, 39, 41, 162n7, Travel Account of My Exposure 164n10, 165n2; A Sculptor’s in the Fields, 27, 102 World, 162n7, 164n10 Maupassant, Guy de, 72 Noguchi, Yone, 2, 17, 37–51, Melville, Herman, 103, 169n9; 53–57, 59–67, 69–70, 72–80, Moby-Dick, 103 82–88, 142–43, 159n1, Meredith, George, 39, 70 161nn1–3, 162nn1, 4–6, 8–14, Middle Passage, The (Johnson), 155 163nn3–9, 164nn10–11, 13, Miller, Joaquin, 38, 41, 43–45, 47, 165nn2, 4, 8–9, 166n11, 15, 70 17–18, 167nn20–25; “Again Miller, Liam: The Noble Drama of in London,” 167n21; “Again W. B. Yeats, 162n1 on Hokku,” 167n21; The Miner, Earl, 69–70, 75, 162n1, American Diary of a Japanese 164n1; The Japanese Tradition Girl, 161n3; Collected English in British and American Letters, 41, 54, 74, 162nn5–6, Literature, 162n1, 164n1; 165n9; The Diary of a Japanese “Pound, Haiku and the Girl, 162n3; “The Everlasting Image,” 75, 164n1 Sorrow: A Japanese Noh Play,” Moby-Dick (Melville), 103 54, 62, 66, 74, 163nn8–9, Moore, George, 162n6, 165n9 165n8; From the Eastern Sea, Moritake. See Arakida Moritake 39, 87, 162n6; “Hagoromo,” Subject Index 185
63–65; Harunobu, 163n7; Notes on the State of Virginia Hiroshige, 40, 54, 163n7; (Jefferson), 148, 171n7 Hokusai, 163n7; Japan and America, 39, 46; “The Ogata Kenzan, 166n11 Japanese Hokku Poetry,” 54, Ogata Korin, 2 76, 163n5; Japanese Hokkus, Oliver, Paul: Blues Fell This 2, 78, 167n21; “The Japanese Morning, 141 Noh Play,” 54, 61, 74, 165n8; One Hundred Poems by One “A Japanese Note on Yeats,” Hundred Poets (Hyakunin 67, 166n17; “Japanese Poetry,” Isshu), 8 54, 76, 163n6; Kamakura, Onitsura. See Uejima Ohnitsura 162n9; “Koyetsu,” 166n11; Only Jealousy of Emer, The (noh “The Last Master [Yoshitoshi] play), 59 of the Ukiyoye School,” On the Road (Kerouac) 3, 89, 92 166n11; “The Morning-Glory: Oread (H. D.), 165n3 A Dramatic Fragment,” 54, Otoami, 55 62; “No: The Japanese Play of Pagan Spain (Wright, R.), 136 Silence,” 54; The Pilgrimage, Picasso, Pablo, 87 2, 39, 73, 84, 86–87, 161n2, Pilgrimage, The (Noguchi, Y.), 2, 162nn9, 14; Seen and Unseen; 39, 73, 84, 86–87, 161n2, or, Monologues of a Homeless 162nn9, 14 Snail, 38, 41, 50, 162n8; Pillow Sketches (Sei Shonagon), 78 Selected English Writings of Plato, 167n1 Yone Noguchi, 17, 42–51, Playing the Changes: From Afro- 143, 159n1, 162n8, 165n2; Modernism to the Jazz Impulse The Spirit of Japanese Art, (Werner), 141–44 2, 40, 54, 70, 74, 162n10, Poe, Edgar Allan, 38, 66, 138, 166n11; The Spirit of Japanese 161n2; The Complete Works Poetry, 2, 39, 47, 53–57, of Edgar Allan Poe, 161n2; 60, 62, 65, 70, 74, 76–78, Selected Writings of Edgar 80, 82–83, 85, 87–88, 143, Allan Poe, 66 162n11–12, 163n5, 164n, Poems of W. B. Yeats, The (Yeats), 58, 13, 167nn20, 23; The Story of 61, 63 Yone Noguchi Told by Himself, Poet in Exile: Ezra Pound (Stock), 48, 76, 161nn1–2, 167n21; 166n15 Summer Cloud, 64; Through the Poetry of Ezra Pound, The (Kenner), Torii, 67, 74, 76, 82, 162n13, 69 165n4, 166nn17–18, 167n21; “The Poetry of Richard Wright” Ukiyoye Primitives, 163n7; (Fabre), 112 Utamaro, 163n7, 166n11; Pound, Ezra, 2–5, 7, 10, 12, 13, The Voice of the Valley, 38, 50, 15–16, 35–36, 39–40, 53, 162n15; “What Is a Hokku 57–59, 63, 67, 69–88, 97, Poem?” 72, 74–75, 77–78, 85, 118–19, 124–25, 130, 134–35, 165n4, 166n18 138, 161n11, 162n1, 164nn1 186 Subject Index
Pound, Ezra (continued), 165nn3, Rossetti, William, 70, 76, 84 166nn10, 167n20, 168n4; Rotsu. See Inbe Rotsu “Affirmations,” 85; “As for Imagisme,” 70; Cantos, 63, 86; Sablonière, Margrit de, 111 Cathay, 86; The Classic Noh Sadaiye. See Fujiwara no Sadaiye Theatre of Japan, 53, 56–57, Saigyo, 18 61, 63, 66, 164n12; “A Few Saikontan (Kojisei), 21 Don’ts,” 75, 83; Gaudier- Saimaro. See Shiinomoto Saimaro Brzeska: A Memoir, 86; Literary Sakutaro. See Hagiwara Sakutaro Essays of Ezra Pound, 81, 83, Sanchez, Sonia, 4–5, 127–39; Like 166n16; Selected Poems of the Singing Coming off the Ezra Pound, 125; The Spirit of Drums, 5, 127–28, 131–32, Romance, 83; “Vorticism,” 3, 135, 137–38 35–36, 57, 59, 69–72, 75–77, Seen and Unseen; or, Monologues of a 84–85, 87, 97, 118, 124–25, Homeless Snail, (Noguchi, Y.), 134, 165n3, 168n4 38, 41, 50, 162n8 “Pound, Haiku and the Image” Sei Shonagon: Pillow Sketches, 78 (Miner), 75, 164n1 Selected English Writings of Yone Pratt, William: The Imagist Poem, Noguchi (Noguchi, Y.; 166n10 Hakutani, ed.), 17, 42–51, Pythagoras, 167n1 143, 159n1, 162n8, 165n2 Selected Essays, 1917–1932 (Eliot), Raftery, 54, 166n9 81, 167n22 Raizan. See Konishi Raizan Selected Poems (Brooks), 137, Ransetsu. See Hattori Ransetsu 169n14 Renolds, Paul, 112 Selected Poems of Ezra Pound Reveries over Childhood and Youth (Pound), 125 (Yeats), 53 Selected Poems of Langston Hughes Richard Wright: A Biography (Hughes), 29, 136, 141, (Webb), 112 169n13 Richard Wright and Racial Selected Writings of Edgar Allan Poe Discourse (Hakutani), 170n2 (Poe), 66 Richard Wright: Books and Writers Selections from Ralph Waldo Emerson (Fabre) 169n1 (Emerson), 94–95 Richard Wright: Daemonic Genius Seminar of Jacques Lacan, The (Walker), 119 (Lacan), 123–25, 170n5 “Richard Wright’s Blues” (Ellison), Sen no Rikyu, 15, 18 140 Senda, Koreya, 164n10 Rikyu. See Sen no Rikyu Senryu. See Karai Senryu Rinzai, 30 Serious Character: The Life of Ezra Robert Frost’s Poems (Frost), 169 Pound, A (Carpenter), 166n15 nn10, 12 Sesshu, 18 Robinson, Bill, 150 Shadow and Act (Ellison), 142–43 Rodker, 165n3 Sharp, E. A., 59 Rollins, Sonny, 157 Shiinomoto Saimaro, 159n3 Subject Index 187
Shiki. See Masaoka Shiki Takamura Kotaro, 3, 39 Shimazaki Toson, 3, 39 Takarai Kikaku, 10, 48, 85, 118, Shintoku. See Ito Shintoku 120–21, 123, 139, 170n10 Shirane, Haruo, 160n4, 161n10; Takasago (noh play), 11, 60 Traces of Dreams: Landscape, Tale of Genji, The, 59 Cultural Memory, and the Targ, William, 112 Poetry of Basho, 28, 32–34, Teele, Roy E.: “The Japanese 160n4, 161n10 Translations,” 163n2, 165n6 Shobogenzo (Dogen), 58 Tener, Robert L., 170n2 Smiles, Samuel, 37 Tenot, Frank, 144 Snyder, Gary, 3–4, 89–91, 93, 102, This Other World: Projections in the 105, 109, 138, 168n7 Haiku Manner (Wright, R.), Sǀgi, 18 112 Sokan. See Yamazaki Sokan Thoreau, Henry David, 25, 91, Spencer, Herbert, 37 99, 101, 109, 160n6, 167n1, Spinoza, Baruch, 167 168n5; A Week on the Concord Spirit of Japanese Art, The and Merrimack Rivers, 91, (Noguchi, Y.), 2, 40, 54, 70, 160n6, 167n1; The Variorum 74, 162n10, 166n11 Civil Disobedience, 91, 168; Spirit of Japanese Poetry, The Walden, 91, 169n8 (Noguchi, Y.), 2, 39, 47, Through the Torii, (Noguchi, Y.), 53–57, 60, 62, 65, 70, 74, 67, 74, 76, 82, 162n13, 76–78, 80, 82–83, 85, 87–88, 165n4, 166nn17–18, 167n21 143, 162n11–12, 163n5, 164n, Toju. See Nakae Toju 13, 167nn20, 23 Tokimune. See Hojo Tokimune Spirit of Romance, The (Pound), 83 Tonkinson, Carol, 92 Stepto, Robert: From Behind the Toson. See Shimazaki Toson Veil: A Study of Afro-American Toyama, Usaburo: Essays on Yone Narrative, 145 Noguchi, ed., 162n4, 166n14 Stevens, Wallace, 138 Traces of Dreams (Shirane), 28, Stock, Noel: Poet in Exile: Ezra 32–34, 160n4, 161n10 Pound, 166 n15 Travel Account of My Exposure in Stoddard, Charles Warren, 38, the Fields, A (Matsuo Basho), 162n15; “Introduction to 27, 102 The Voice of the Valley by Yone Twain, Mark: Adventures of Noguchi,” 162n15 Huckleberry Finn, 172n11 Story of Yone Noguchi Told by 12 Million Black Voices (Wright, R.), Himself, The (Noguchi, Y.), 48, 141 76, 161nn1–2, 167n21 Tytell, John: Naked Angels: The Suma Genji (noh play), 57 Lives & Literature of the Beat Summer Cloud, (Noguchi, Y.), 64 Generation, 168n2 Suzuki Harunobu, 2 Ueda, Makoto: Zeami, Basho, Yeats, Tachibana Hokushi, 83 Pound: A Study in Japanese and Tagore, Rabindranath, 39 English Poetics, 162n1 188 Subject Index
Uejima Onitsura, 159 West, Cornel, 137–38 Ukiyoye Primitives, (Noguchi, Y.), Week on the Concord and Merrimack 163n7 Rivers, A (Thoreau), 91, Unfinished Quest of Richard Wright, 160n6, 167n1 The (Fabre), 111, 142 “What Is a Hokku Poem?” Utamaro, (Noguchi, Y.), 163n7, (Noguchi, Y.), 72, 74–75, 166n11 77–78, 85, 165n4, 166n18 Upward, Allen, 75, 87; The New Whistler, James, 76 Word, 75 Whitman, Walt, 7, 41–43, 47, 50, Usuda Aro, 10 58, 87, 91, 96, 109, 128–29, Utagawa Hiroshige, 2, 51, 166n11 137–38, 146–47, 155, 160n7, Utamaro. See Kitagawa Utamaro 167n25, 168n6, 171ch8n6, 171ch9n6; Complete Poetry and Variorum Civil Disobedience, The Selected Prose, 42–43, 50, 96, (Thoreau), 91, 168 128–29, 147, 160n7, 168n6, Variorum Edition of the Plays of W. 171ch8n6, 171ch9n6; Leaves of B. Yeats, The (Yeats), 56, 60, Grass, 58 61, 63, 65–66, 164n10 Wilde, Oscar, 76 Victory in Limbo: Imagism 1908– Wordsworth, William, 19, 51 1917 (Harmer), 166n10 Works (Zeami), 11 Villon, François, 54, 165n9 Wright, Julia: Introduction to Voice of the Valley, The (Noguchi, Haiku: This Other World, Y.), 38, 50, 162n15 170n4 “Vorticism” (Pound), 3, 35–36, 57, Wright, Richard, 4, 103, 111–27, 59, 69–72, 75–77, 84–85, 87, 129–32, 136, 138–42, 144–45, 97, 118, 124–25, 134, 165n3, 147, 156, 169nn1–2, 170nn6, 168n4 9; Black Boy, 111–13; Black Waley, Arthur, 11, 59, 159n8; The Power, 111, 113–15, 126, Nǀ Plays of Japan, 59, 159n8 132, 136, 147; “Blueprint Walden (Thoreau), 91, 169n8 for Negro Writing,” 112–13, Walker, Margaret, 118; Richard 145; “Bright and Morning Wright: Daemonic Genius, 119 Star,” 142; Conversations with Ward, Clara, 142 Richard Wright, 140, 144; Warren, T. H., 54, 76 “Down by the Riverside,” 142; Weary Blues, The (Hughes), 141 Haiku: This Other World, 4, Webb, Constance: Richard Wright: 103, 112, 116, 118–19, 122, A Biography, 112 127, 132, 156, 170n3; “Long Weinreich, Regina, 92–93 Black Song,” 142; “The Man Werner, Craig, 141–44, 171n5; A Who Lived Underground,” Change Is Gonna Come: Music, 128; Native Son, 111, 141; Race & the Soul of America, Pagan Spain, 136; This Other 171n5; Playing the Changes: World: Projections in the Haiku From Afro-Modernism to the Manner, 112; 12 Million Black Jazz Impulse, 141–44 Voices, 141 Subject Index 189
Yamazaki Sǀkan, 159n2 “Yone Noguchi’s ‘Poe Mania’” Yeats, W. B., 2–3, 35, 39–40, (Graham), 161n3 53–67, 72–74, 76, 78, 87, 124, “Yone Noguchi’s Poetry: From 142–43, 161n11, 162nn1, Whitman to Zen” (Hakutani), 6, 163n8, 164n10, 165n9, 163n3, 165n2 166n17; At the Hawk’s Well, Yosa Buson, 1, 7, 13–31, 77–78, 3, 56, 59–60, 63, 142, 163n8, 81, 83, 92–93, 111, 114, 164n10; Autobiography, 62; 118, 121–22, 129–30, 139, Certain Noble Plays of Japan, 170nn11–12 53; The Dreaming of the Bones, 58, 66, 163n8; The Poems of W. Yoshimitsu. See Ashikaga Yoshimitsu B. Yeats, 58, 61, 63; Reveries Youmans, Rich: “For My Wife on over Childhood and Youth, 53; Our First Anniversary,” 149–50 The Variorum Edition of the Plays of W. B. Yeats, 56, 60, 61, Zeami, 11, 55, 59, 62, 66, 159n8 63, 65–66, 164n10 Zeami, Basho, Yeats, Pound (Ueda), Yeto, Genjiro, 162 162n1 Index of Haiku and Poems
Haiku (by first line) Autumn’s full moon (Kikaku), 48, 85 A bird on (Kerouac), 101 Autumn? This makes ten years Abstract, I try you (Emanuel), 152 (Basho), 27 A butterfly makes (Wright), 121, A wild sea— (Basho), 33 129 A willing jonquil (Wright), 122 A crow (Basho), 12, 119–20, 122 A day of quiet gladness (Basho), 92 Banana panties (Emanuel), 150 A flower of the camellia-tree Beads of quicksilver (Wright), 120 (Basho), 24 Been ridin’ the rails (Emanuel), 156 After the sermon (Wright), 117, 170 Bee, why are you (Kerouac), 98 After the shower (Kerouac), 98 Bones exposed in a field (Basho), 27 Ah, kankodori (Basho), 29 Bright harvest moon (Basho), 32 Ah, the crickets (Kerouac), 109 By daylight (Basho), 30 A leaf chases wind (Wright), 118 Also stepping on (Buson), 121, Chainmates, black, vomit 129–30 (Emanuel), 155 Am I a flower (Kerouac), 106 Chains, whips, ship-to-shore A morning glory (Chiyo), 9, 159 (Emanuel), 155 An autumn eve (Buson), 31 Chops makes drum sounds SPIN A pale winter moon (Wright), 120, (Emanuel), 153 123 “Chops, whatcha doin’?” A paulownia leaf has fallen (Basho), (Emanuel), 153 23 A quiet autumn night (Kerouac), Desk cluttered (Kerouac), 109 108 Dizzy’s bellows pumps (Emanuel), As cool as the pale wet leaves 146–47 (Pound), 78–79 Domino lovers (Emanuel), 157 As my anger ebbs (Wright), 117 Droopy constellation (Kerouac), A thin waterfall (Wright), 119–20, 106–7 122, 132, 171 Dusk—The blizzard (Kerouac), 95 At the faint voices (Kusataro), 15 Autumn is deepening (Basho), 155, EVERYTHING is jazz (Emanuel), 172 147 192 Index of Haiku and Poems
Everywhere beyond (Kerouac), In the silent forest (Wright), 102–3 119–20, 132, 171 In the sun (Kerouac), 95–96 First winter rain (Basho), 26 In the winter dusk (Wright), 117 Following each other (Kerouac), 95 In this rented room (Wright), 156 From across the lake (Wright), 121 in this wet season (Sanchez), 130 Frozen (Kerouac), 98 I said a joke (Kerouac), 105 Is it, Oh, list (Noguchi), 78, 167 Glow worms (Kerouac), 106 It has burned down (Hokushi), 83 Good-grip Jazz, farmer (Emanuel), I thought I saw the fallen leaves 148 (Moritake), 76–77, 83 It is deep autumn (Basho), 25 He dug what she said (Emanuel), It is September (Wright), 103, 116 150 I would like a bell (Wright), 121, High noon (Kerouac), 108 125 Hot coffee (Kerouac), 100–101 How cool it is! (Basho), 18, 82, 160 Jackhammer Jazz POUNDS how fast is the wind (Sanchez), 131 (Emanuel), 154 How quiet it is! (Basho), 32–33, Jack reads his book (Kerouac), 108 119–20, 131 “Jazz”: cool banister (Emanuel), 151 how still the morning sea (Sanchez), “Jazz”: from drowsy lips (Emanuel), 131 151 Hurt, always hurt. Wounds “Jazz”: quick fingerpops (Emanuel), (Emanuel), 157 151 Jazz-rainbow: skywash (Emanuel), I am nobody (Wright), 116, 122 152 I am paying rent (Wright), 156 Josephine, royal (Emanuel), 152 i am you loving (Sanchez), 129–30 I called Hanshan (Kerouac), 103 Knee-bone, thigh, hip-bone I close my eyes (Kerouac), 100 (Emanuel), 148 I come from the same (Sanchez), 130 Lay the pencil (Kerouac), 104 I count the morning (Sanchez), 130 Legs wrapped around you If Twin’s the arrow (Emanuel), 153 (Sanchez), 134 Ignoring my bread (Kerouac), let me be yo wil (Sanchez), 131 98–99 let us be one with (Sanchez), 133 In back of the supermarket Lines of winter rain (Wright), 122 (Kerouac), 106 Looking for my cat (Kerouac), 99 In enormous blizzard (Kerouac), “Love Supreme,” JA-A-Z train 107 (Emanuel), 155 In my medicine cabinet (Kerouac), Lying ill on journey (Basho), 47, 83 101 In the hospital room (Hakyo), 14 May grass (Kerouac), 96 In the midst of the plain (Basho), 28 Merciful autumn (Wright), 156 Index of Haiku and Poems 193 mixed with day and sun (Sanchez), She has put the child to sleep (Issa), 135–36 92 My decrepit barn (Wright), 156 She raised champagne lips My Love’s lengthened hair (Emanuel), 150 (Noguchi), 84 Shooting star!—no (Kerouac), 97 Should I take it in my hand (Basho), No dust, rust, no guilt (Emanuel), 20 152 Sinking into the body (Basho), No meaning at birth (Emanuel), 34–35 151 Sleek lizard rhythms (Emanuel), 148 No telegram today (Kerouac), 97 Soars, leap frogs, yells: JAZZ! Nothing intimates (Basho), 21 (Emanuel), 152 No use cryin’ ‘bout (Emanuel), 156 Space moves, contours grow (Emanuel), 151 Off the cherry tree (Wright), 118 Spring day (Kerouac), 103 Oh, how cool (Buson), 83 Stairstep music: ups (Emanuel), 150 On a withered branch (Basho), Step out, Brother. Blow (Emanuel), 152 18–19, 35–36 Step out, Daughter. Shine On desolation (Kerouac), 108 (Emanuel), 153 On the hanging bell (Buson), Step out, Sister. Blow (Emanuel), 121–22 152 Or, walking the same or different Step out, Sonny. Blow (Emanuel), (Kerouac), 105 153 Sunset on the sea (Basho), 34–35 Perfect moonlit night (Kerouac), Sweeping the garden (Basho), 29 108 Prince young, gallant (Buson), 83 Take up a cup of water (Kerouac), prisms in (Youmans), 150 105 Tell me the street to Heaven Quietly pouring coffee (Kerouac), (Noguchi), 78, 167 100 That abandoned house (Wright), 156 Reading the Sutra (Kerouac), 108 The apparition (Aldington), 166 Reflected upsidedown (Kerouac), 94 The apparition (Pound), 35–36, 70–71, 79–80 Second-chance rhythms (Emanuel), The backyard I tried to draw 148 (Kerouac), 94 Seen from a hilltop (Wright), 117 The bottoms of my shoes (Kerouac), Sex—shaking to breed (Kerouac), 106 96 The bright harvest moon (Kikaku), Shake, O grave! (Basho), 20 120–21, 123 Shall I break God’s commandment? The caged eagle (Hakyo), 15 (Kerouac), 102 The dew of the camphor tree Shall I say no? (Kerouac), 101–2 (Basho), 20 194 Index of Haiku and Poems
The fallen blossom (Moritake), 76, Were my wife alive (Aro), 10, 159 77, 97, 118 What is a rainbow, Lord? (Kerote The fallen blossoms (Sadaiye), 8 busuac), 99 The first snow (Basho), 21 what is done is done (Sanchez), 132 The god is absent (Basho), 26 When stuck on his lick (Emanuel), The guardians (Kyorai), 13 153 The harvest moon (Kikaku), 10, When we say good-bye (Sanchez), 159 134 THE LIGHT BULB (Kerouac), 96 When you rock those hips The love of the cats (Basho), 32–33, (Emanuel), 150 107 While meditating (Kerouac), 100 The morning (Basho), 21 White Bugsy Rabbit (Emanuel), 154 The mountains (Kerouac), 100 Why did this spring wood (Wright), The mountains and garden also 117 move (Basho), 29, 94 Woke up groaning (Kerouac), 102 The nightingale is singing (Buson), Woman’s gone. BLUES knocks 92 (Emanuel), 156 The night of the spring (Buson), World waif: lone-wolf notes 77–78 (Emanuel), 157–58 The octopuses in the jars (Basho), Wrong arms to sleep on (Emanuel), 27 157 The old pond (Basho), 9, 11–12, 17, 32–33, 83, 131, 149, 152 Yellow and white chrysanthemums The pine-tree in mist (Pound), 85 (Ransetsu), 13 There’s no Buddha (Kerouac), 103 Yellow and white chrysanthemums The Rose of Sharon (Basho), 31 (Shiki), 14 The spring lingers on (Wright), 118, you are rock garden (Sanchez), 133 121 you ask me to run (Sanchez), 128, The summer chair (Kerouac), 95 134 The train speeding (Kerouac), 104 You dare not strike him! (Issa), 102 The trees are putting on (Kerouac), You’d be surprised (Kerouac), 105 104 you too slippery (Sanchez), 134 The tree looks (Kerouac), 97 The water-birds too (Rotsu), 16 The wind in autumn (Shiki), 14, Poems (by title) 104 The year draws to its close (Basho), After Apple-Picking (Frost), 106, 24 169 This tenement room (Wright), 156 Alba (Pound), 78–79, 82, 125 Tight-bellied ships, gorged Alone in the Canyon (Noguchi), 44 (Emanuel), 155 Among School Children (Yeats), 61 To be rained upon, in winter At the Yuigahama Shore by (Basho), 31 Kamakura (Noguchi), 162
Waiting for the leaves (Kerouac), 96 Bath Tub, The (Pound), 82 Index of Haiku and Poems 195
Because I Could Not Stop for Death My Poetry (Noguchi), 45 (Dickinson), 107, 169 My Universe (Noguchi), 42 Bird of Silence (Noguchi), 46 By a Buddha Temple (Noguchi), 43 Negro Speaks of Rivers, The By the Engakuji Temple: Moon (Hughes), 135–36 Night (Noguchi), 49, 162 Byzantium (Yeats), 58, 63 Ode on a Grecian Urn (Keats), 160 Out of the Cradle Endlessly Rocking Deserted Village, The (Goldsmith), (Whitman), 168 37 Downhill Blue, The (Emanuel), 157 Passing of Summer, The (Noguchi), 49, 86 Elegy Written in a County Poem for Ella Fitzgerald, A Churchyard (Gray), 37 (Sanchez), 129–30 Eternal Death (Noguchi), 46 Problem, The (Emerson), 94 Eulalie (Poe), 161 Road Not Taken, The (Frost), 108, Fan-Piece, for Her Imperial Lord 169 (Pound), 79, 82 Seas of Loneliness (Noguchi), 42 Hagoromo (Noguchi), 63–65 Sight in Camp in the Daybreak Gray Heather (Pound), 79 and Dim, A (Whitman), 58, Howl (Ginsberg), 89–90 146, 172 Silence (Miller), 45 I Cannot Stay Home (Sanchez), 129 Sittin’-Log Blues (Emanuel), 156 I Collect (Sanchez), 130 Snow-Storm, The (Emerson), 95 I Died for Beauty—but Was Scarce Society (Pound), 79 (Dickinson), 107, 160, 169 Song of Myself (Whitman), 41–43, In a Station of the Metro (Pound), 3, 70–71, 79, 125, 134, 168 50, 96, 128–29, 137, 147, 155, In the Valley (Noguchi), 50 160, 171 Invisible Night, The (Noguchi), 162 Soul Selects Her Own Society, The I Thought About You (Sanchez), (Dickinson), 149 133 Success Is Counted Sweetest (Dickinson), 30, 156 Knockout Blues, The (Emanuel), 156–57 To an Unknown Poet (Noguchi), 44 Lines (Noguchi), 48, 161 Ts’ai Chi’h (Pound), 79 Love Poem [for Tupac] (Sanchez), 132 We Real Cool (Brooks), 108, 169 Love Song of J. Alfred Prufrock, Weary Blues, The (Hughes), 29, The (Eliot), 34 108, 141, 169 When Lilacs Last in the Dooryard Mother, The (Brooks), 136–37 Bloom’d (Whitman), 58, 146