Haiku, Zen, and Wanaki: The Hybridized Poetics of Gerald Vizenor
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This paper explores how Anishinaabe writer and postmodern critic Gerald Vizenor engages with creating animated words that concern trans-cultural conversations among different literary traditions. Both of Vizenor’s fictional and poetic works show an attempt to negotiate between Japanese culture and indigenous oral tradition and even between Western thoughts and indigenous philosophy. This is possible because Vizenor’s works represent the process in which his animated words, like native trickster figures, move beyond any fixed identity or time and space, actively participating in language games. While focusing on Vizenor’s theoretical commitment, this paper deals with Vizenor’s novel Dead Voices (1992), where Vizenor’s fictional device, Wanaki game, represents how trickster figures from Anishinaabe oral tradition work, and analyzes some of his early poems which concern the themes of Haiku based on Zen philosophy and Ojibwe dream songs. In demonstrating how such a hybridized voice is heard in Vizenorian poetry, “The Balcony,” one of Vizenor’s first serious poems is particularly compared to “On the road,” one of poems by Matsuo Basho, the Haiku master.
Abstract
This paper explores how Anishinaabe writer and postmodern critic Gerald Vizenor engages with creating animated words that concern trans-cultural conversations among different literary traditions. Both of Vizenor’s fictional and poetic works show an attempt to negotiate between Japanese culture and indigenous oral tradition and even between Western thoughts and indigenous philosophy. This is possible because Vizenor’s works represent the process in which his animated words, like native trickster figures, move beyond any fixed identity or time and space, actively participating in language games. While focusing on Vizenor’s theoretical commitment, this paper deals with Vizenor’s novel Dead Voices (1992), where Vizenor’s fictional device, Wanaki game, represents how trickster figures from Anishinaabe oral tradition work, and analyzes some of his early poems which concern the themes of Haiku based on Zen philosophy and Ojibwe dream songs. In demonstrating how such a hybridized voice is heard in Vizenorian poetry, “The Balcony,” one of Vizenor’s first serious poems is particularly compared to “On the road,” one of poems by Matsuo Basho, the Haiku master.
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