BOOK REVIEW: The Spirit of Japanese Poetry by Yoné Noguchi

The Spirit of Japanese PoetryThe Spirit of Japanese Poetry by Yoné Noguchi
My rating: 5 of 5 stars

Amazon.in Page

Free Online at Wikisource

This book-length essay, originally published in 1914, discusses the unique style and aesthetic of Japanese poetry. It’s written for an audience of English language readers and advances its objective not only by presenting illuminating translations of Japanese poetry, but also by comparing Japanese poetry to English language poetry.

Noguchi takes a no-holds-barred approach to literary criticism that is both the strength and weakness of the book, sometimes it feels as though the author’s boldness is granting deep insight into the subject, but other times it reads as though the author is tribally narrow-minded and curmudgeonly. By “tribally narrow-minded,” I mean that he takes the view that the Japanese aesthetic and approach to art is always and in everyway superior to non-Japanese art (in this case, English language poetry.) Interestingly, he frequently compliments specific artists, e.g. Walt Whitman, but doesn’t have anything nice to say about English language poetry in general. By “curmudgeonly,” I mean that he takes the popular — if biased –view that the world is going to shit, and – in the section on modern poetry – it is only after discussing how the art has fallen on hard times that he can discuss a few modern poets who’ve produced some poems worthy of adoration [and some worthy examples of the modern form (Shintaishi.)]

One might think this bigoted view would cripple his book (as bigoted views usually do,) but because what he’s promising is depth of insight into the Japanese poetic aesthetic, he is able to succeed just fine. [Also, to be fair, being highly opinionated and pretentious were hallmarks of critics of his era – just usually not so nationalistically.] Noguchi does a great job of selecting evocative examples, providing powerful translations, and illuminating the Japanese mindset as it pertains to art and poetry.

If you’re interested in Japanese poetry and the psychology that influences Japanese artistic tastes, this short book is highly recommended. [Just be prepared to be offended if you aren’t a hardcore Japanophile.]


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Blanket of Clouds [Haiku]

mountain clouds
move with spontaneity --
like blanket fort kids

It Burns [Haiku]

a cottage burns;
its owner watches ash swirl
in the air

Note: Influenced by an exchange between Bashō and his student Hokushi, the latter’s cabin burning down being the topic of discussion. As told in Yoné Noguchi’s The Spirit of Japanese Poetry.

Foggy Forest [Haiku]

in foggy woods,
distant trees dissolve 
into the void

Ma-Ai: The Ideal Interval [Free Verse]

there is a ma-ai

-- an ideal interval --

the perfect gap
in space & time
& space-time

there's a ma-ai:

between setup and punchline
&
between punchline and laugh

between inhalation 
&
exhalation

between listening
&
speaking

between receiving
&
countering

between swinging
&
hitting

too rushed and momentum
is smothered

to slow and momentum
dissipates

there is a ma-ai
for all things that move.

Green Branch [Haiku]

a brown branch
runs beside the green branch
that isn't a branch

Thorny Nightshade [Tanka]

thorny leaves
and poisonous fruits;
if ever
a plant wanted 
to be left alone!

BOOK REVIEW: The Wet Hex by Sun Yung Shin

The Wet HexThe Wet Hex by Sun Yung Shin
My rating: 5 of 5 stars

Amazon.in Page

Out: June 14, 2022

This is a varied collection of poems. It includes sparse free verse poems as well as prose-style poems. There are a number of stream-of-consciousness poems that read like surreal free writing, but there’s also a narrative poem and a number of clean prose-like poems.

The poet is of Korean ethnicity, and her heritage and the experience of being a transplanted individual both feature prominently in her poems. (Though Greek Mythology is also about as common as Korea Folklore in the poems.] The poems also display a fascination with words and as well as with violence.

The poems are divided into five sections. Section three is unique in that includes the collection’s longest poem, a narrative poem, which is presented with some simple, geometric artworks.

I enjoyed reading this collection, it employs clever language and interesting approaches to verse, both among the more cryptic, freeform entries and the neater, more “business-like” poems.


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Tractor [Free Verse]

the tractor idles in the end-row,
chugging and sputtering,
with a rattling exhaust flap

soon the tractor lurches
into straight-line locomotion,
chugging down the row,
carving out furrows,
peeling soft, black soil aside

the cut worm does not forgive,
but neither does it know
what hit it --
some thunderous storm,
monotonously rolling nearer -
becoming more all-pervading -
until it starts to fade,
but by then
 the worm is halved

everything becomes something else:
worm aerates soil
and 
then becomes food for the 
tugging bird