Hello fellow inhabitants of the Haikuverse,
There was so much to explore in the Haikuverse this week that I feel a little overwhelmed by it all. If I’m ever going to get through the list I’ve got in front of me I will have to be brief and efficient, possibly even telegraphic. So … here goes.
First of all, congratulations to Andrew Phillips, of Pied Hill Prawns, and his wife on the recent birth of a baby boy. Andrew wrote a lovely poem, Sacred Space in the Suburbs, with haiku-like stanzas, about the home birth — I highly recommend it. Here’s an excerpt:
This is a room for women. I clamp
a hose to the tap, filling the pool
with warm waters.
— Andrew Phillips
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Lots of haiku journals published new issues in the last week. I naturally feel compelled to start with Notes from the Gean, which contains my first published haiku (reposted in this space last week). (Yes, I am excited. Thanks for asking.) They also published one of my haibun. (Excited, again.) But there are so many other wonderful things in this issue that are not by me that I demand you go over there and take a look.
For instance: There are the amazing photo haiga of Aubrie Cox and Carmella Braniger. There are some stunning renku — I like “Scribing Lines” (The Bath Spa Railway Station Renku) in particular. And, of course, there are dozens and dozens of great haiku. I was especially excited to see this one by Lee Gurga, which was thoroughly dissected in a workshop I attended in Mineral Point:
an unspoken assumption tracks through the petals
— Lee Gurga
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Heron’s Nest also published last week and is also full of wonderful haiku. Here are a couple that particularly struck me (and I just noticed they both mention the wind, what’s that about?):
north wind
the holes
in my beliefs
— Christopher Patchel
autumn wind
the leaves too
made of oak
— Joyce Clement
This issue also contains a lengthy and interesting commentary by Alice Frampton on the following amazing ku (winner of the Heron’s Nest Award), well worth reading if you’re interested in getting a better insight into how haiku are put together:
ragged clouds
how it feels
to hold a rake
— Robert Epstein
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A very exciting development last week was the publication of the first issue of Haijinx since 2002! Congratulations to the team who put this together. Because of a mouse-related incident that took place in my house this week, I was attracted to this haiku by the great Peggy Willis Lyles, who, sadly, died in September:
sharp cheese
I sometimes
feel trapped
— peggy willis lyles
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Yet another December publication: Haibun Today. They usually have a great selection of haibun, though I have to admit I have not had time to make my way through all the contents of this issue yet. Of those I’ve read, one that I really loved, especially because I am always thinking that there should be more short-story or fiction haibun, was Weight, Balance, and Escapement by Jeffrey Harpeng. This is wildly imaginative and may make your brain explode, so watch out.
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I can’t believe I didn’t know about before about this seriously awesome site: Haiku News. They publish haiku based on news stories, along with links to the story in question. This sounds like a gimmick (well, I guess it is in a way) that might involve mediocre or silly haiku, but in fact the haiku are very high quality and the interaction between haiku and news story is thought-provoking. Like this one by Claire Everett, based on the headline “Hunger index shows one billion without enough food.”
nothing left
but the wishbone
November sky
— Claire Everett
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Troutswirl this week published an essential read for those interested in the history of English-language haiku: an essay about Anita Virgil and Robert Spiess, who were two of the most prominent and innovative haiku poets in this country in the sixties and seventies and whose haiku still seems original and exciting. Here’s Anita:
walking the snow crust
not sinking
sinking
— Anita Virgil
and here’s Robert:
Muttering thunder . . .
the bottom of the river
scattered with clams
— Robert Spiess
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I don’t know how I have happened not to write about John McDonald before, because his blog Zen Speug was one of the first I discovered when I first started writing haiku and I still love it devotedly. For one thing: Great haiku, often very Shiki-ish, with wonderful nature images. For another: Scots! John (who is a retired mason, which is another reason to love him) writes his haiku in both Scots and English, and Scots, in case you weren’t aware, is one of the best. languages. ever.
In fact someone called David Purves has written an essay about how Scots may be a better language for haiku than English (actually, I think lots and lots of languages are better for haiku than English, and I’m not even counting Japanese, which is one reason why I am so devoted to foreign-language haiku).
This was one of my favorites of John’s from this week:
snaw –
the treen
aw yin flourish
snow
the trees
all one blossom
— John McDonald
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Over at Blue Willow Haiku World Fay Aoyagi this week translated and shared this amazing haiku:
my husband with hot sake
he, too, must have
a dream he gave up
— Kazuko Nishimura
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At Beachcombing For the Landlocked the other day, Mark Holloway posted the following tanka, which I took to immediately because it perfectly expresses my feelings about living in the, ahem, landlocked (but very lake-y) Midwest. (Note: I can’t get the formatting of this to work right here; the fourth line should be indented to begin about under the word “lake” from the line above.)
no matter
how beautiful
the lake
it’s still
not the sea
— Mark Holloway
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At Issa’s Untidy Hut Don Wentworth shares with us his review of a great used-book-store find he made this week (note to self: go to used book stores more often): an autographed copy of The Duckweed Way: Haiku of Issa, translated by Lucien Stryk. Stryk’s translations are highly minimalist and often (no pun intended, I swear) striking. For instance:
First cicada:
life is
cruel, cruel, cruel.
— Issa, tr. Lucien Stryk
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Over at Haiku Bandit Society there is always so very much to love. This week I watched a rengay in the process of composition — every day or two when I checked back a new verse had been added. It was like a magic trick. Here are the first couple of verses — go read the rest yourself.
I’ve had sake
only once or twice
but, as for dreams… / b
a walk on the moon
with Neil Armstrong / l’o
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Recently I discovered a Japanese newspaper, The Mainichi Daily News, which publishes English-language haiku every day — go ahead, send yours in, they have a submission form and everything. I really like today’s entry, in fact:
fog thinning out–
more and more visible
the way to nowhere
— Marek Kozubek (Zywiec, Poland)
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Check out this Japanese haiku blog by Hidenori Hiruta: AkitaHaiku. The author posts his haiku in both Japanese and English, accompanied by wonderful photographs. They’re grouped seasonally. Here’s an Autumn one that for obvious reasons I am very fond of:
red dragonflies
hiding in dahlias
the blue sky
— Hidenori Hiruta
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Chen-ou Liu is a very well-known English-language haiku (and tanka, and free-verse) poet whose blog
Stay Drunk on Writing, for some reason, I just came upon this week. Here’s
a great pair of ku about the upcoming Chinese Year of the Rabbit:
New Year’s Eve
a white rabbit falls
into my dream
New Year’s morning
standing before the mirror
it’s me, and yet …
— Chen-ou Liu
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Okay … so why didn’t anyone ever tell me about zip haiku before? Geez. You people.
What are zip haiku, you ask? Well, they’re an invention of the amazing John Carley, probably best known for his great work with renku (check out Renku Reckoner). At some point around the turn of the millennium John got fed up with all the squabbling about what constitutes an English-language haiku and decided to invent his own form of haiku that would be unique to English and capitalize on its special properties. You can read his essay about this yourself, but basically he got all scientific about it and crunched numbers with translations and did a little rummaging around in the basement of linguistics and ended up with this 15-syllable poem, divided into two parts, that he called a zip haiku. (You must understand that I am seriously oversimplifying what John did, and I won’t be surprised if he writes and tells me I’ve got it all wrong.)
ANYWAY. Here’s an example, and I am going to go off and write some of these myself. Soon.
|
orange and tan
|
tan orange and tan |
|
the butterflies
|
beat on
— John Carley
|
.r*
The Irish Haiku Society announced the results of their International Haiku Competition 2010 this week. Lots of great winners. Here’s an honorable mention I liked a lot.
recession
more tree
less leaf
— Hugh O’Donnell
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Few editions of the Haikuverse are complete for me without a French haiku by Vincent Hoarau, posted this week on Facebook. Please don’t ask me to translate.
Sinterklaas –
tombent les flocons
et les poemes inacheves
.
— Vincent Hoarau
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I absolutely loved this highly minimalist haiku by Angie Werren, posted this week both on Twitter and on her blog feathers. I wrote Angie a long comment about it talking about all the ways I love it (you can see it if you go over there), which may seem over-the-top because it’s only four words long and how much can you say about four words? A lot, it turns out.
snow
black crow
tea
— Angie Werren
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Bill Kenney of haiku-usa continues with his fine series of “Afters,” loose interpretations of classical Japanese haiku. This week: Basho and Issa on radishes. Really, there is nothing better. I could use a radish right now.
the chrysanthemums gone
there’s nothing
but radishes
— Basho (1644-1694)
the radish grower
pointing the way
with a radish
— Issa (1763-1827)
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It’s that time again — the topics for the December Shiki Kukai have been announced. The deadline is December 18. The kigo is “Winter sky,” and the theme for the free format is “ring” (used as a noun). Get composing.
And without further ado, I am going to bed. It’s been an exhausting whirl around the Haikuverse … but what great company! See you all next week.
Red Dragonfly 