Wright wrote and published poetry throughout his career, culminating in the remarkable collection of “projections in the haiku manner” which he composed in the last years of his life. This analysis contextualizes Wright’s late turn to haiku in relation to his larger body of work; his reading of scholarship on haiku and Japanese Buddhism; his involvement with the Partisan Review during the 1930s; his revisionary engagement with modernist poetry, including Ezra Pound’s haiku-inspired imagism as well as T. S. Eliot’s The Waste Land; and his affirmation of Emersonian pragmatism. I conclude by exploring the transmission of Wright’s legacy to contemporary African American poets such as Sonia Sanchez, whose liberating experiments with haiku have resulted in new expressive possibilities. ; Published version