July 30: 1-4: The Technique of Above as Below

(See this post for an explanation of what’s going on here.)

Jane:

“… Some say one should be able to read the first line and the third line to find it makes a complete thought. Sometimes one does not know in which order to place the images in a haiku. When the images in the first and third lines have the strongest relationship, the haiku usually feels ‘complete.’ For exercise, take any haiku and switch the lines around to see how this factor works, or try reading the haiku without the second line.


holding the day
between my hands
a clay pot”

– Jane Reichhold, Haiku Techniques

*

Me:

This was way harder than it looked. And it looked hard.

I think part of the problem was that I really loved Jane’s example and none of my efforts came anywhere near her standard. I even resorted to breaking down her ku into parts of speech hoping that would provide some sort of formula for success:

gerund, noun object
prepositional phrase
modifier, noun

It didn’t.

But now I am a little bit obsessed with making one of these work, somehow, sometime. Anyone else got anything?

*

summer rain
one leftover cloud
frustrates

watching your eyes
by moonlight
the summer stars

a tree full
squirrels making lists
of supplies

night sheltering
from sunrise
our dark words

June 3: 1: A sort of haibun (Old Letters)

For my 100th post I thought I’d try my hand at haibun (which for the uninitiated is haiku preceded by a sort of brief prose commentary), but as usual I am unable to be brief in prose, so this is more like a wordy, boring essay with a haiku tacked on at the end, like an afterthought.

*

Down in my basement I have a plastic tub full of rubber-banded sheaves of hundreds of handwritten letters, most of them 80s-era. I went to boarding school in the mid-80s and my friends and I, tossed to separate corners of the globe (Ohio, Vermont, Saudi Arabia) over the summers,  wrote each other obsessively. A letter arrived in the mail for me every few days, it seemed, and I would repair to my bedroom, take it out of the envelope as if it were a holy artifact, and read it so many times I practically memorized it.

What did we write about? What we would have talked about, if we’d been together, or excessive long-distance phone calls hadn’t been prohibitively expensive in those days. Or, these days, what we would text or IM about. Boys, a lot of the time. (Or girls.) How bored we were. How much our parents drove us out of our mind. How crazy we were, and weird, and how nobody understood us except each other. We could write really long letters about all this stuff.

I rummaged through the piles lately and found I could still recognize different friends’ letters from the different styles of envelope they used and from their still-familiar handwriting. My best friend had terrible handwriting and liked to send ten-page missives in manila envelopes. She wrote crazy things all over the outside of them. She ended up dropping out of school our junior year and spending the rest of the year as a beach bum in Hawaii, but now she’s an anesthesiologist, married with two lovely children. Or so I see from her Facebook profile. We all seemed to have a lot of difficulty finding ourselves as adults. Maybe we were as crazy and weird as we thought we were.

Like everyone else I don’t write letters on paper anymore and I love the immediacy and convenience of email and other online communication, but these letters, as artifacts, as physical representations of my long-ago friendships and the personalities of my long-ago friends, filled me with an intense longing for that experience of missing someone and then receiving a talisman of them, one which would sustain me until the next one arrived, one which I could keep piled up with the other talismans and hold whenever I needed to. Are things better or worse now? Just different, I suspect. It seems impossible that teenagers today could ever feel as lonely and longing and isolated as I felt then on a daily basis. I wish I could have emailed my friends in high school and college. I wish I’d had a Facebook page, an online support group, a way of getting instant feedback when I felt like I was making important and difficult decisions all alone. But I still kind of wish for letters with scrawled, handwritten addresses to show up in my mailbox from time to time.

*

old letters
the strangeness
of handwriting

*

100 posts in 34 days does seem excessive. Things should slow down considerably once I start my summer school course in a couple of weeks, and even more when I’m in grad school full time in the fall, in case you’re concerned.

June 2: 1-3: The Technique of Sense-switching

(See this post for an explanation of what’s going on here.)

Jane:

“This is another old-time favorite of the Japanese haiku masters, but one they have used very little and with a great deal of discretion. It is simply to speak of the sensory aspect of a thing and then change to another sensory organ. Usually it involves hearing something one sees or vice versa or to switch between seeing and tasting.


“home-grown lettuce

the taste of well-water

green”

– Jane Reichhold, Haiku Techniques


*

me:

planes dance together
silently
sonic boom

the baby’s
soft cheek
strawberry jam

pounding
at the door
your bruised face

*

Yeah, okay, Jane, there’s a reason the “Japanese haiku masters” used this technique “very little and with a great deal of discretion.” It’s impossible, that’s why. Trying to write these made me feel like I understood what it must be like to write poetry in a foreign language. (Hmm…I should try that sometime…) I didn’t really understand what I was doing or why. But I did it. Let it never be said about me that I shirked my homework. Now can I do something else, please?