East-West Literary Imagination: Cultural Exchanges from Yeats to Morrison (Volume 1) PDF
Preview East-West Literary Imagination: Cultural Exchanges from Yeats to Morrison (Volume 1)
EAST-WEST LITERARY IMAGINATION EAST-WEST LITERARY IMAGINATION CULTURAL EXCHANGES FROM YEATS TO MORRISON Yoshinobu Hakutani UNIVERSITY OF MISSOURI PRESS Columbia Copyright © 2017 by The Curators of the University of Missouri University of Missouri Press, Columbia, Missouri 65211 Printed and bound in the United States of America All rights reserved First printing, 2017 ISBN 978-0-8262-2080-6 Library of Congress Control Number: 2016937788 This paper meets the requirements of the American National Standard for Permanence of Paper for Printed Library Materials, Z39.48, 1984. Typefaces: Minion and Hiroshige For Jaeyeon Park Hakutani and Emiko Hakutani CONTENTS Acknowledgments ix List of Abbreviations xi Introduction 3 Part One: Transcendentalists 1 Henry David Thoreau and Confucian Ethics 27 2 The Poetics of Subjectivity: Emerson, Zen, and Lacan 45 3 Emerson, Whitman, and Zen Aesthetics 55 Part Two: Modernists 4 W. B. Yeats’s Poetics in the Noh Play 71 5 Yone Noguchi, Ezra Pound, and Imagism 87 6 Albert Camus’s The Stranger and Richard Wright’s The Outsider 111 7 Richard Wright’s Haiku and Modernist Poetics 131 8 Jack Kerouac’s Haiku, Beat Poetics, and On the Road 153 Part Three: African American Writers 9 The Western and Eastern Thoughts of Ralph Ellison’s Invisible Man 179 vii CONTENTS 10 Pagan Spain: Richard Wright’s Discourse on Religion, Politics, and Culture 195 11 Private Voice and Buddhist Enlightenment in Alice Walker’s The Color Purple 215 12 Toni Morrison, Richard Wright, and African Culture 227 13 African American Haiku: Richard Wright, Sonia Sanchez, and James Emanuel 241 Notes 271 Works Cited 299 Index 311 viii ACKNOWLEDGMENTS I am indebted to many writers and sources, as acknowledged in the notes and the works cited. I wish to thank, in particular, the late John M. Reilly, the late Robert L. Tener, the late Michiko Hakutani, and the anonymous readers for the University of Missouri Press, who read part or all of the manuscript and offered useful, constructive suggestions. I would also like to acknowledge my son Yoshiki Hakutani for his editorial and technical support, and Toru Kiuchi for making an index. Over the years the Kent State University Research Council has provided several research leaves and travel grants. I am grateful for their support. I have used in modified form my previously published essays “Ezra Pound, Yone Noguchi, and Imagism,” Modern Philology 90 (August 1992); “W. B. Yeats, Modernity, and the Noh Play,” in Modernity in East-W est Lit- erary Criticism: New Readings (Associated University Presses, 2001); and “Cross- Cultural Poetics: Sonia Sanchez’s Like the Singing Coming off the Drums” and “James Emanuel’s Jazz Haiku and African American Individ- ualism,” in Cross- Cultural Visions in African American Modernism: From Spatial Narrative to Jazz Haiku (Ohio State University Press, 2006). ix
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