Abstract
L. M. Panero's haiku stand in contrast to the modern Hispanic and non-Hispanic adaptations of this Japanese form. In these haiku, the phanopeia organizes the body's destruction, and the experience of the present turns into the drama of the “I.” The article draws on Panero's approach opposing the traditional haiku. Whether zen, anti-zen, or zazen, Panero's haiku constitute an intertextual operation revealing literature's conflict. In spite of their Western features, the permanent scrutiny of the “I” links these poems to Matsuo Basho's legacy.
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