Titre : Haiku, Volume I: Eastern Culture.
Éditeur : Hokuseido Press, Tokyo, Japan
Date d'édition : 1949
Reliure : Hardcover
Edition : 1st Edition
Good: Shows significant indications of use: considerable soiling to the cream buckram over boards; only light wear to the extremities; some darkening and rubbing; dampstaning at the outside edge of the pages in the appendix. The binding remains square and, after repairs due to cracked and or shaken conditions, remains quite secure; the text is clean. Overall, remains, despite some heavy soiling to the covers, a reasonably sturdy reading copy with a clean text. NOT a Remainder, Book-Club, or Ex-Library. 12mo. 422pp. Color frontispice. Decorated endpapers. Twenty-five duotone plates. Appendices. First Edition Thus , Thirteenth Printing . Hardback: No DJ 'as issued'. After early imagist interest in haiku the genre drew less attention in English, until after World War II, with the appearance of a number of influential volumes about Japanese haiku. In 1949, with the publication in Japan of the first volume of Haiku, Blyth's four-volume work, haiku was introduced to the post-war Western world. Blyth produced a series of works on Zen, haiku, senryu, and on other forms of Japanese and Asian literature, the most significant being his Zen in English Literature and Oriental Classics (1942); his four-volume Haiku series (1949–52), dealing mostly with pre-modern haiku, though including Shiki; and his two-volume History of Haiku (1964). Many contemporary Western writers of haiku were introduced to the genre through his works. These include the San Francisco and Beat Generation writers, such as Jack Kerouac, Gary Snyder, and Allen Ginsberg, as well as J.D. Salinger. Many members of the international "haiku community" also got their first views of haiku from Blyth's books, including American author James W. Hackett (born 1929), Eric Amann, William J. Higginson, Anita Virgil, Jane Reichhold, and Lee Gurga. Some noted Blyth's distaste for haiku on more modern themes and his strong bias regarding a direct connection between haiku and Zen, a connection largely ignored by modern Japanese poets. (Basho, in fact, felt that his devotion to haiku prevented him from realising enlightenment. In addition, many classic Japanese haiku poets, including Chiyo-ni, Buson, and Issa were Pure Land rather than Zen Buddhists.) Blyth also did not view haiku by Japanese women favourably, downplaying their substantial contributions to the genre, especially during the Basho era and the twentieth century. In just over 800 pages of text in his two volume History of Haiku, Blyth devotes a total of 16 pages to haiku by women, and even these pages are run through with negative comments about women as writers of haiku. "Women are said to be intuitive, and as they cannot think, we may hope this is so, but intuition, like patriotism, is not enough." With respect to a verse ostensibly by Chi-yo he wrote, "Chiyo's authorship of this verse is doubtful, but so is whether women can write haiku." Although Blyth did not foresee the appearance of original haiku in languages other than Japanese when he began writing on the topic, and although he founded no school of verse, his works stimulated the writing of haiku in English. At the end of the second volume of his History of Haiku (1964), he remarked that "The latest development in the history of haiku is one which nobody foresaw.the writing of haiku outside Japan, not in the Japanese language." He followed that comment with a number of original verses in English by Hackett with whom Blyth corresponded. First Edition Thus , Thirteenth Printing . N° de réf. du libraire 44328
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