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This collection of ten critical essays is the first scholarly
criticism of haiku by Sonia Sanchez, who has exemplified herself
for six decades as a major figure in the Black Arts Movement, a
central activist in civil rights and women's movements, and an
internationally-known writer in American literature. Sanchez's
haiku, as an integral and prominent part of contemporary African
American poetry, have expressed not only her ideas of nature,
beauty, and harmony but also her aesthetic experience of music,
culture, and love. Aesthetically, this experience reflects a poetic
mind which has helped the poet to shape or reimage her poetic
spirit.
Lynching in American Literature and Journalism consists of twelve
essays investigating the history and development of writing about
lynching as an American tragedy and the ugliest element of national
character. According to the Tuskegee Institute, 4,743 people were
lynched between 1882 and 1968 in the United States, including 3,446
African Americans and 1,297 European Americans. More than 73
percent of the lynchings in the Civil War period occurred in the
Southern states. The Lynchings increased dramatically in the
aftermath of the Reconstruction, after slavery had been abolished
and free men gained the right to vote. The peak of lynching
occurred in 1882, after Southern white Democrats had regained
control of the state legislators. This book is a collection of
historical and critical discussions of lynching in America that
reflects the shameful, unmoral policies, and explores the topic of
lynching within American history, literature, and journalism.
Haiku, Other Arts, and Literary Disciplines investigates the
genesis and development of haiku in Japan and determines the
relationships of haiku with other arts, such as essay, painting,
and music, as well as the backgrounds of haiku, such as literary
movements, philosophies, and religions that underlie haiku
composition. By analyzing the poets who played major roles in the
development of haiku and its related geners, these essays
illustrate how Japanese haiku poets, and American writers such as
Emerson and Whitman, were inspired by nature, especially its
beautiful scenes and seasonal changes. Western poets had a
demonstrated affinity for Japanese haiku, which bled over into
other art mediums, as these chapters discuss.
American Haiku: New Readings explores the history and development
of haiku by American writers, examining individual writers. In the
late nineteenth century, Japanese poetry influenced through
translation the French Symbolist poets, from whom British and
American Imagist poets, Amy Lowell, Ezra Pound, T. E. Hulme, and
John Gould Fletcher, received stimulus. Since the first
English-language hokku (haiku) written by Yone Noguchi in 1903, one
of the Imagist poet Ezra Pound's well-known haiku-like poem, "In A
Station of the Metro," published in 1913, is most influential on
other Imagist and later American haiku poets. Since the end of
World War II many Americans and Canadians tried their hands at
writing haiku. Among them, Richard Wright wrote over four thousand
haiku in the final eighteen months of his life in exile in France.
His Haiku: This Other World, ed. Yoshinobu Hakutani and Robert L.
Tener (1998), is a posthumous collection of 817 haiku Wright
himself had selected. Jack Kerouac, a well-known American novelist
like Richard Wright, also wrote numerous haiku. Kerouac's Book of
Haikus, ed. Regina Weinreich (Penguin, 2003), collects 667 haiku.
In recent decades, many other American writers have written haiku:
Lenard Moore, Sonia Sanchez, James A. Emanuel, Burnell Lippy, and
Cid Corman. Sonia Sanchez has two collections of haiku: Like the
Singing Coming off the Drums (Boston: Beacon Press, 1998) and
Morning Haiku (Boston: Beacon Press, 2010). James A. Emanuel's Jazz
from the Haiku King (Broadside Press, 1999) is also a unique
collection of haiku. Lenard Moore, author of his haiku collections
The Open Eye (1985), has been writing and publishing haiku for over
20 years and became the first African American to be elected as
President of the Haiku Society of America. Burnell Lippy's haiku
appears in the major American haiku journals, Where the River Goes:
The Nature Tradition in English-Language Haiku (2013). Cid Corman
is well-known not only as a haiku poet but a translator of Japanese
ancient and modern haiku poets: Santoka, Walking into the Wind
(Cadmus Editions, 1994).
This collection of ten critical essays is the first scholarly
criticism of haiku by Sonia Sanchez, who has exemplified herself
for six decades as a major figure in the Black Arts Movement, a
central activist in civil rights and women's movements, and an
internationally-known writer in American literature. Sanchez's
haiku, as an integral and prominent part of contemporary African
American poetry, have expressed not only her ideas of nature,
beauty, and harmony but also her aesthetic experience of music,
culture, and love. Aesthetically, this experience reflects a poetic
mind which has helped the poet to shape or reimage her poetic
spirit.
In this minutely detailed, comprehensive chronology, authors Kiuchi
and Hakutani document the life in letters of one of the great
African American writers of the twentieth century. The author of
Black Boy and Native Son, among other works, Wright wrote
unflinchingly about the black experience in the United States,
where his books still influence discussions of race. Entries are
documented by Wright's journals, articles, and other works
published and unpublished, as well as his letters to and from
friends and associates. Part One covers Wright's life through the
year 1946, the period in which he published his best-known work.
Part Two covers the final two decades of his life, a prolific
period that saw him publish travel writing, novels, and four works
of nonfiction. Each part begins with a historical and critical
introduction.
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