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First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on
the Chinese written language has become one of the most often
quoted statements in the history of American poetics. As edited by
Pound, it presents a powerful conception of language that continues
to shape our poetic and stylistic preferences: the idea that poems
consist primarily of images; the idea that the sentence form with
active verb mirrors relations of natural force. But previous
editions of the essay represent Pound's understanding-it is fair to
say, his appropriation-of the text. Fenollosa's manuscripts, in the
Beinecke Library of Yale University, allow us to see this essay in
a different light, as a document of early, sustained cultural
interchange between North America and East Asia. Pound's editing of
the essay obscured two important features, here restored to view:
Fenollosa's encounter with Tendai Buddhism and Buddhist ontology,
and his concern with the dimension of sound in Chinese poetry. This
book is the definitive critical edition of Fenollosa's important
work. After a substantial Introduction, the text as edited by Pound
is presented, together with his notes and plates. At the heart of
the edition is the first full publication of the essay as Fenollosa
wrote it, accompanied by the many diagrams, characters, and notes
Fenollosa (and Pound) scrawled on the verso pages. Pound's
deletions, insertions, and alterations to Fenollosa's sometimes
ornate prose are meticulously captured, enabling readers to follow
the quasi-dialogue between Fenollosa and his posthumous editor.
Earlier drafts and related talks reveal the developmentof
Fenollosa's ideas about culture, poetry, and translation. Copious
multilingual annotation is an important feature of the edition.
This masterfully edited book will be an essential resource for
scholars and poets and a starting point for a renewed discussion of
the multiple sources of American modernist poetry.
The Poetics of Emptiness uncovers an important untold history by
tracing the historically specific, intertextual pathways of a
single, if polyvalent, philosophical term, emptiness, as it is
transformed within twentieth-century American poetry and poetics.
This conceptual migration is detailed in two sections. The first
focuses on "transpacific Buddhist poetics," while the second maps
the less well-known terrain of "transpacific Daoist poetics." In
Chapters 1 and 2, the author explores Ernest Fenollosa's "The
Chinese Written Character as a Medium for Poetry" as an expression
of Fenollosa's distinctly Buddhist poetics informed by a
two-decade-long encounter with a culturally hybrid form of Buddhism
known as Shin Bukkyo ("New Buddhism"). Chapter 2 explores the
classical Chinese poetics that undergirds the lost half of
Fenellosa's essay. Chapter 3 concludes the first half of the book
with an exploration of the didactic and soteriological function of
"emptiness" in Gary Snyder's influential poetry and poetics. The
second half begins with a critical exploration of the
three-decades-long career of the poet/translator/critic Wai-lim
Yip, whose "transpacific Daoist poetics" has been an important
fixture in American poetic late modernism and has begun to gain
wider notoriety in China. The last chapter engages the intertextual
weave of poststructural thought and Daoist and shamanistic
discourses in Theresa Hak Kyung Cha's important body of
heterocultural productions. By formulating interpretive frames as
hybrid as the texts being read, this book makes available one of
the most important yet still largely unknown stories of American
poetry and poetics.
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