Haiku, Other Arts, and Literary Disciplines investigates the genesis and development of haiku in Japan and determines the relationships between haiku and other arts, such as essay writing, 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 genres, 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.
Toru Kiuchi is professor of English at Nihon University in Japan.
Yoshinobu Hakutani is professor of English and a University Distinguished Scholar at Kent State University.
Part I: Haiku and Other Arts
Chapter 1: Classic Haiku and Cy Twombly’s Modern Painting
Chapter 2: Bashō and Haiga
Chapter 3: Buson as Haiku Poet and Painter
Chapter 4: Jack Kerouac’s Haiku and the Beat Generation
Chapter 5: Sonia Sanchez’s Morning Haiku and Blues Music
Chapter 6: James Emanuel’s Haiku and Jazz
Chapter 7: North American Versions of Haibun and Postmodern American Culture
Part II: Haiku and Literary Disciplines
Chapter 8: Basho, Kerouac, and Confucianism
Chapter 9: Richard Wright’ Haiku and Zen Buddhism
Chapter 10: American Haiku and American Transcendentalism
Chapter 11: Haiku, Ezra Pound, and Imagism
Chapter 12: Haiku and Modernism in Japan
Chapter 13: American Haiku in the New Millennium: The First Two Decades
Chapter 14: Richard Wright’s Haiku and African Culture
Chapter 15: Creating African American Haiku Form: Lenard D. Moore’s Poetic Artistry
Chapter 16: Robert Spiess’s Haiku: Translating for Better Understanding