Richard Wright and haiku
著者
書誌事項
Richard Wright and haiku
University of Missouri Press, c2014
大学図書館所蔵 全4件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 201-205) and index
内容説明・目次
内容説明
In the last years of his life, Richard Wright, the fierce and original American novelist known for Native Son and Black Boy, wrote over four thousand haiku. In Richard Wright and Haiku, Yoshinobu Hakutani considers Wright the poet and his late devotion to the spare, unrhymed verse that dwells on human beings' relationship to the natural world rather than on their relationships with one another, a strong departure from the intense and often conflicted relationships that had dominated his fiction.
Wright was not the only famous American author to be attracted to the art of haiku. Jack Kerouac, the Beat Generation novelist known for On the Road and The Dharma Bums, also explored the form and wrote many haiku. For guidance Wright and Kerouac both turned to the four-volume critical history and collection Haiku by R. H. Blythe. Wright went on to emulate such classic haiku poets as Basho, Buson, and Issa as well as the modernist Shiki.
Richard Wright and Haiku is presented in two parts. In the first, Hakutani traces the genesis and development of haiku in Japan, discusses the role of earlier poets, including Yone Noguchi and Ezra Pound, in the verse's development in Japan and in the West, and deals with both haiku and haiku criticism written in English. He goes on to describe how Wright acquired the theory and technique of haiku composition and offers a historical and critical study of Wright's haiku.
Integral to Hakutani's analysis is an exploration of what Wright in his Black Power: A Record of Reactions in the Land of Pathos called "the African primal outlook upon life." Hakutani delves into how this view inspired Wright to turn to first the study of and then the writing of haiku.
In the final chapter of the first part, Hakutani invites readers to try seeing Wright's haiku as "senryu," or humorous haiku. This departure from the relentlessly serious lens through which nearly all of Wright's work is viewed by critics helps to expand readers' perspectives on the poems and on Wright himself.
In part two, Hakutani presents a selection of Wright's poems from Haiku: This Other World. Each of the selected haiku is accompanied by a note that will provide assistance in interpretation and offers such additional information as definitions of critical or technical terms and bibliographical details.
Richard Wright and Haiku is a valuable addition to the critical discussion of the life and works of Richard Wright as well as a welcome contribution to scholarship on haiku in the West.
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