John Ashbery’s ‘37 Haiku’ and the American Haiku Orthodoxy

機構典藏 > College of Foreign Languages and Literature > Graduate Institute & Department of English > Journal Article > Item 987654321/58344

Please use this identifier to cite or link to this item: https://tkuir.lib.tku.edu.tw/dspace/handle/987654321/58344

Title:	John Ashbery’s ‘37 Haiku’ and the American Haiku Orthodoxy
Authors:	Brink, Dean;包德樂
Contributors:	淡江大學英文學系
Date:	2010-08
Issue Date:	2011-09-30 22:43:54 (UTC+8)
Publisher:	Fo Guang University; University of Manitoba
Abstract:	Shaped by R.H. Blyth and later Kenneth Yasuda’s seminal introductions to Japanese haiku in the midtwentieth century, haiku in America has as a form of poetry come to reflect certain premises, expectations and inhibitions. While claiming authentic emulation of the form, American haiku poets have abandoned possibilities for disturbing the fiction of the real, the so-called haiku or Zen “moment,” and reproduce fundamentally Orientalist stereotypes that both contribute to its popularity and weaken it as a serious literary form. Below I argue that John Ashbery’s haiku transgress this status quo in American haiku. American haiku has primarily focused on a rhetorical presentation of a passively experienced objective moment, which reflects only one approach to Japanese haiku, while in Ashbery one finds not only his own poetics irrupting in the haiku form, but also his re-introduction of writing practices found in traditional Japanese poetry to satirize American haiku. As such, his haiku stand as an amusing performative critique of haiku in twentieth century America and of haiku as received from Japanese models.
Relation:	Taiwan ELT Publishing, Globalization and Cultural Identity / Translation
Appears in Collections:	[Graduate Institute & Department of English] Journal Article

Files in This Item:

File	Size	Format
index.html	0Kb	HTML	136	View/Open

Loading...