This collection of ten critical essays is the first scholarly criticism of haiku by Sonia Sanchez, who has exemplified herself for six decades as a major figure in the Black Arts Movement, a central activist in civil rights and women’s movements, and an internationally-known writer in American literature. Sanchez’s haiku, as an integral and prominent part of contemporary African American poetry, have expressed not only her ideas of nature, beauty, and harmony but also her aesthetic experience of music, culture, and love. Aesthetically, this experience reflects a poetic mind which has helped the poet to shape or reimage her poetic spirit.

Contributions by: Michio Arimitsu, Tiffany Austin, John J. Han, Sally Michael Hanna, Richard A. Iadonisi, Toru Kiuchi, Ce Rosenow, Meta L. Schettler, Becky Thompson