etic authenticity. The poet could gain increased cache’ as well as appearing sophisticated and international, while at the same time remaining safely within the realm of the provincial.
Now we enter an era where for the first time we are able to see Japan in its modernity and in that context, Japan’s dynamic and creative Modernist tradition. This too may have its own social, economic and political background. In other words, Japanese Modernism becomes visible within the context of contemporary global capitalism, in which cultural ebbs and flows, subjectivities and national identities, become more fluid and ambiguous. In other words, we are now in an era in which we can both see and accept the reality of hybrid culture, which has in actual fact been the reality of culture throughout time.
One Hundred Poems From the Japanese, Kenneth Rexroth, New Directions, 1955
One Hundred More Poems From the Japanese, Kenneth Rexroth, New Directions, 1974
The Love Poems of Marichiko, Kenneth Rexroth, Christopher’s Books, 1978
Shiraishi Kazuko, Seasons of Sacred Lust , Editor, Kenneth Rexroth, New Directions, 1978
Nation, Language, and the Ethics of Translation, Sandra Bermann and Michael Wood, Princeton University Press, 2005
America’s Geisha Ally: Reimagining the Japanese Enemy, by Naoko Shibusawa, Harvard University Press, 2006
Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961, by Christina Klein, University of California Press, 2003
Orientalism and Modernism: The Legacy of China in Pound and Williams, by Zhaoming Qian, Duke University Press, 1995
The Chinese Written Character as a Medium for Poetry: A Critical Edition, by Haun Saussy, Fordham University Press, 2008
The Poetics of Fascism: Ezra Pound, T.S. Eliot, Paul de Man, by Paul Morrison, Oxford University Press, 1996
Japanese Hermeneutics: Current Debates on Aesthetics and Interpretation, edited by Michael F. Marra, University of Hawai’i Press, 2002
Mavo: Japanese Artists and the Avant-Garde 1905-1931, by Gennifer Weisenfeld, University of California Press (2002)
Blue Nippon: Authenticating Jazz in Japan, by E. Taylor Atkins, Duke University Press (2001)
Advertising Tower: Japanese Modernism and Modernity in the 1920s, by William O. Gardner, Harvard University Asia Center, 2006
Modanizumu: Modernist Fiction from Japan 1913-1938, edited by William J. Tyler, University of Hawai’i Press, 2008
Erotic Grotesque Nonsense: The Mass Culture of Japanese Modern Times, by Miriam Silverberg, University of California Press, 2006
Miryam Sas, Fault Lines: Cultural Memory and Japanese Surrealism, Stanford University Press, 2001
John Solt, Shredding the Tapestry of Meaning: The Poetry and Poetics of Kitasono Katue (1902-1978), Harvard University Asia Center, 1999
Hosea Hirata, The Poetry and Poetics of Nishiwaki Junzaburo, Princeton University Press, 1993
Leslie Pincus, Authenticating Culture in Imperial Japan: Kuki Shuzo and the Rise of National Aesthetics, University of California Press, 1996
Leith Morton, Modernism in Practice: An Introduction to Postwar Japanese Poetry, University of Hawaii Press, 2004
Naoki Sakai, Translation and Subjectivity: On “Japan” and Cultural Nationalism, University of Minnesota Press, 1997
Seiji M. Lippit, Topographies of Japanese Modernism, Columbia University Press, 2002
Harry Harootunian, Overcome by Modernity: History, Culture and Community in Interwar Japan, Princeton University Press (2000)
Robert N. Bellah, Imagining Japan: The Japanese Tradition And Its Modern Interpretation, University of California Press (2003)
Christopher Goto-Jones, Modern Japan: A Very Short Introduction, Oxford University Press (2009)
Some selections of experimental Japanese poetry:
Oceans Beyond Monotonous Space: Selected Poems of Kitasono Katue (1902-1978), tr. John Solt, Highmoonoon Books (2007)
For The Fighting Spirit of The Walnut, by Takashi Hiraide, translated by Sawako Nakayasu, New Directions (2008)
Four from Japan: Contemporary Poetry & Essays By Women, edited and translated by Sawako Nakayasu, Litmus Press (2006)
Sagawa Chika, translations by Sawako Nakaya