East-West Literary Imagination: Cultural Exchanges from Yeats to Morrison (Volume 1)

337 Pages·2017·16.544 MB·English

by  Yoshinobu Hakutani

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
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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).
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