Volume 6 | Issue 2 | June-July
2012 |
Experimental genre of Japanese Poetry
Abbas Panakkal
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It was a very interesting question raised, when I requested for Contemporary Japanese
poems for the special issue of the magazine, http://www.thanalonline.com, that
why so much interest was shown in Japanese poetry. The question took me aback,
but made me realize how it influenced me and my minimalist approach. Once it was
strongly mentioned by South African editor and poet, Alan Finlay, when my poems,
Unwind watch and Lizards were published. He wrote: “Overall I think your
poetry has an interesting minimalistic feel, almost haunting. You have a fascinating
conversation between the tangible (the watch for instance) and the internal experience.
I think what is important, is that you begin the poem from the inside. Although
the objects in your writing (again the watch) are important as far as meaning
goes, they seem almost dispensable as far as the emotional experience goes. (Of
course, in the end, they both go together. it is one movement, one experience.)
However, I think this is the right way to begin. For instance, the opposite way
results in poetry like Gary Cummiskey's, which I also publish on the site. This
is not bad, just the other way around. However, Cummiskey's poetry does not have
your feel -- his is more anarchic, surreal in the rawest sense, deliberately so.
I think you are writing quite important poetry.”
Japanese poetry, even in contemporary era, has sustained its prominent rank in the international literary planet. Though it had developed the remarkable genre like Haiku, it also experimented with postmodern literary techniques. Here I have selected six prominent women writers, ranging from the pioneer of the modern to the promising representative of the present generation poets. There is another count to select women poets that many of Japanese contemporary poets are female. Japanese poetry seems to stray away from the traditional style and blend it with new forms in modern era itself (experimental Green Flame and traditional Flower by Chika Sagawa). And I have taken freedom in randomizing the variety of verses analyzing their poetic language, literary expression, sphere of notes, variety of images and way of presentation. ( Ayane Kawata’s verses like Time of Sky, Ability to take action, On the grass, Travel scene and Eyelids peeled)
The focal forms of contemporary Japanese poetry can be considered as experimental poetry. Now without caring syllables and very strict rules of rhyme, these poets are composing the experimental style on contemporary genus of poetry (Hirata Toshiko’s poems like Mountain potato, Career counseling). Though these Japanese poets are skilled in those rules, they are producing better poetry with sophisticated outlook. Here in this selection you can see a combination of prose, traditional verse and haiku (Hiromi Ito and Sawako Nakayasu).
I express my heartfelt gratitude to the poet, Sawako Nakayasu, who helped me to realize this special issue by translating these poems with her lyrical intelligence and rhythmical sensitivity. Though she was so busy with her works in America, she helped me with sheer literary activism. It is very important that these poems were translated by a prominent women poet, well versed in both poetic languages. I think her genuine efforts helped to impart the real sense of contemporary Japanese women poetry to dear readers.
Japanese poetry is an influential literary genre to various traditions. Even the great poet of India, Rabindranath Tagore, after his visit to Japan, was influenced by Japanese literature. A large number of verses from Stray Birds’ were originally written in English during his stay in Japan. It was noticed by critics even in his famous work Gitanjali an indirect influence of Japanese flair. In his subtle lines and crafty approaches, famous critics analyzed the influence of Japanese Haiku. I believe in one sense poet should be sensitive to words, used only with utmost care. Minimalist movement always create a parallel line, which divide between the best and better poetry.
There was innate twist in me towards the Haiku. Firstly I smelt it in my pre-university days, when I possessed Stray Birds of the Great Indian poet and Nobel laureate Rabindranath Tagore. I have added my own two poems, composed on the hearth of the Haiku. The poem, Hermitage of love, describes my early inspiration from Tagore’s Stray Birds. I used to attend the assembly session late. The great Tagore and my dear kept the session lively. It is an attempt to recollect the memory of Stray Birds.
The poem, My Global village is also inspired by Tagore’s words. He had identified the better face and pace of globalization. The world can transform to the status of global village. But people should be ready to accept it with all virtues. He insisted to put off the mask of world only before its lovers. Now the world just unveils to its enemies. That is the tragedy of new globalization. In these lines, you can’t see the feel the haiku style in its level. Yes, it is the experimental mode of contemporary writings.
There is one more amazing moment merged with guest editing of http://www.thanalonline.com. It is still an unanswered question, stuck in my mind. ‘To stand on its own feet, without the backing of any outstanding publishing house or other poetry organizations’. Since its inception, under poet CP’s supervision, the literary enterprise has grown to this intensity. That question made me happier to burn more midnight candles for this issue.
Abbas Panakkal,
Guest Editor
Abbas Panakkal -
