By Joanne Kyger

This selection of Joanne Kyger's paintings finds her as one of many significant experimenters, hybridizers, and visionaries of poetry. Kyger is a poet of position, with a robust voice-delicate, sleek, and not wasteful; her poems discover issues of friendship, love, neighborhood, and morality and draw on local American delusion in addition to Asian faith and philosophy. Kyger's love for poetry manifests itself in a grander scheme of consciousness-expansion and lesson, yet consistently within the realm of the typical. Edited with a foreword by way of Michael Rothenberg, and with an advent by means of poet David Meltzer, this e-book is a wonderful review of a perfectly demanding and critical poet.

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It grows [ xxxiii ] darker and darker. ” 10. R. H. Blyth, Haiku: Eastern Culture, Volume 1 ( Japan: Hokuseido, 1949), 90. 11. Stephen Addiss, The Art of Haiku, 179. 12. Daisetz T. Suzuki, Zen and Japanese Culture (New York: Pantheon Books, Bollingen Series LXIV, 1959), 247. 13. Donald Keene, Japanese Literature (New York: Grove Press, 1955), 28, 29. 14. Frances Densmore, Chippewa Music (Minneapolis: Ross & Haines, 1973), 15. 15. Gerald Vizenor, Summer in the Spring: Ojibwe Lyric Poems and Tribal Stories (Minneapolis: Nodin Press, 1965), 23, 29.

Saigyo was a twelfth-century waka poet and priest. Issa, at age fifty-seven, writes at the end of The Year of My Life, in December 1819, “Those who insist on salvation by faith and devote their minds to nothing else, are bound all the more firmly by their singlemindedness, and fall into the hell of attachment to their own salvation. Again, those who are passive and stand to one side waiting to be saved, consider that they are already perfect and rely rather on Buddha than on themselves to purify their hearts—these, too, have failed to find the secret of genuine salvation.

Kenneth Yasuda, The Japanese Haiku (Rutland, Vermont: Charles E. Tuttle Company, 1957), 24, 32. 7. Kobayashi Issa, The Year of My Life (Berkeley: University of California Press, 1960), 103, 104. Oraga Haru, translated by Nobuyuki Yuasa. 8. Stephen Addiss, The Art of Haiku (Boston: Shambhala, 2012), 260. 9. R. H. Blyth, Haiku, Volume IV, Autumn-Winter ( Japan: Hokuseido, 1952), 230. Blyth wrote, “The poet or someone else has been playing the harp and at last leaves it on the tatami. Standing on the verandah, he gazes out at the rain which has fallen all day.

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