Category: Twitter

NaHaiWriMo, Week One

1    hailstones dreaming of semiautomatic weapons
2    blizzard so many ways to fly
3    lunar new year stamps so that’s what persimmons look like
4    stone wall the gaps in what you tell me about yourself
5    honeybee sting the desperation of the search for sweetness
6    environmentally conscious recycling your love letters
7    fiddleheads the family I never see anymore

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I wasn’t going to do NaHaiWriMo, because I figured, I already write a haiku (or two, or ten, or thirty) every day, why should I make a special event of it?

But then I got carried away by all the fun everyone else seemed to be having doing it (man, over on Facebook people are partying it up), and then I thought of a theme, or a gimmick, or something, that got me more interested in it. I decided to write only one-liners. So many of my ku already start out as one-liners (and then get rewritten into whatever number of lines seems to work best for them) that I thought this couldn’t be too painful.

I also decided not to put too much pressure on myself to make these brilliant, and I also also decided not to post them on the blog or Facebook every day. I’ve been tweeting them instead (@myyozh, in case you’re interested). For some reason I am more laid-back on Twitter. It’s a pretty laid-back place. Not that this blog is exactly known for its uptight vibe, but, you know. I don’t like to let you guys down.

I don’t completely hate the way all of these are turning out, though. So I decided to put them up one week at a time. That way the effect of the really mediocre ones is mitigated somewhat. Also I kind of like the juxtaposition of the varied subjects I’m coming up with.

A couple notes:

  • Yes, there is a little snow here. But not the actual word snow. That would be wrong, wrong, wrong. And if you have an actual blizzard, how can you not write a haiku about it? That would be wrong too.
  • Also, U.S. readers may feel tempted to point out to me that the fruit on this year’s Lunar New Year stamps is kumquats, not persimmons. Geez. Picky, picky, picky. I mean, the whole point of the poem is that I don’t know what persimmons look like, right? I’ve been so baffled the last couple of months trying to understand all these persimmon haiku that everyone writes. No persimmons in Wisconsin. I’m sure you can buy them somewhere but what can I say, I’m a little afraid of strange fruit. I also could just Google to see what they look like but what fun would that be? Sometimes you just have to say no to Google. (Hi, my name is Melissa and I go to library school.)

Tune in next week, same time, same place, for seven more of these.

Across the Haikuverse, No. 9: Rabbit Edition

So. We’ve started another trip around the sun. Is everyone strapped in tightly? This planet can really get up some speed when it wants to. I have a feeling this is going to be an especially speedy year for me. So much haiku to read and write, so little time.

With that in mind — let’s start this week’s tour of the Haikuverse without further ado. This will be a long one. Go ahead, add an extra five minutes to your coffee break, I won’t tell.

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Haiku on New

I’ve mentioned before that 2011 is the Year of the Rabbit according to the Japanese calendar, and that rabbit haiku have been proliferating like, um, rabbits all over the Interwebs. If you’re interested in reading some (I make fun of them, just because I like to make fun of things — including, in all fairness, myself — but a lot of them are really good), there are a bunch of examples (and a bunch of other great New Year haiku) over at the Akita International Haiku Network blog.

Other places to read good New Year haiku (and haiga, and tanka, and gogyoghka) include the following, which is just a small sample of the pages I remembered to bookmark that had good New Year haiku and doesn’t include any of the many good New Year haiku I encountered on Facebook and Twitter in the last week or so. (You’ve got to draw the line somewhere. Don’t you?)

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Vincent Tripi/Kuniharu Shimizu (haiga), see haiku here
Gary Hotham, Mann Library’s Daily Haiku
Bill Kenney, haiku-usa
Takuya Tomita, tr. by Fay Aoyagi, Blue Willow Haiku World
John McDonald, zen speug
Steve Mitchell, Heed Not Steve
Johannes S.H. Bjerg, scented dust
Chen-ou Liu, Stay Drunk on Writing

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Haiku Till You Drop

And on to haiku on other topics — quite a few of those were written recently too, believe it or not. We must start off with my obligatory Vincent Hoarau haiku in French. (My apologies to anyone who doesn’t know French and/or has no appreciation for the haiku of Vincent Hoarau, but he knocks my socks off. And I have somehow just managed to discover that he has a blog! so you don’t need to have a Facebook account to read his poetry after all! Though this one doesn’t seem to be on the blog at the moment.)

leur bébé dort
dans la neige
de l’échographie

— vincent hoarau

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Another new blog I’ve just discovered: Haiku by Two, where I found the following lovely offering by Alison (can’t seem to locate a last name):

whether or not
there is a god –
heavenly skies

— Alison

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This one from Blue Willow Haiku World really struck me for some reason. I was right out there on the ocean for a while after I read it. Caravels. Whales breaching. Waves, fog, salt spray. Japanese whaling ships. Guys in ruffed collars. An inundation of images, if you will.

the Age of Discovery
has ended
a whale

— Eiji Hashimoto, translated by Fay Aoyagi

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Over at The Haiku Diary, Elissa managed to perfectly capture the spirit of procrastination, especially the procrastination of us writers who can always think of some other creative thing to do that’s sort of like writing but nahhh. I should write this one down and tape it to my laptop.

To-do Listless

Gluing tiny
collages onto matchboxes
doesn’t count as “Write!”.

— Elissa

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New Year’s Resolution: Exercise

Somebody (who? who? I must remember to write these things down!) posted this link to Facebook a week or two ago. It’s “a training exercise … [that] helps condition the muscles necessary for making haiku.” The poster suggested that it would be of help to those pursuing Fiona Robyn’s a river of stones project this month, which it certainly would, but it also seems like an invaluable exercise for anyone interested in learning to write haiku, or improving the haiku they already write. If you try it, let me know how it worked out.

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Blog News

Out with the old, in with the new, isn’t that what they say this time of year? Well, right with the New Year a couple of new blogs worth watching started up and another one of my old favorites closed up shop.

First I’d like to pay tribute to the latter, David Marshall’s wonderful haiku streak. At this blog and another, David has been posting a daily haiku for five years (yes, you did read right). He says he’s giving up his streak now because he’s starting to feel that writing them is becoming a routine and he’s no longer sure of the purpose. But I have to say that practically everything he writes seems utterly inspired to me. His haiku are like no one else’s on the planet, and that kind of intense personal vision is rare.

Here’s his last entry, posted on New Year’s Eve:

Moved Out

In the empty room
an empty box—everything
inside me at last

— David Marshall

Fortunately, David is not giving up poetry altogether. I will be following him at his other poetry site, derelict satellite, where he says he plans to post weekly “haiku sonnets” — fascinating concept.

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And to console me a little, Anne Lessing and Aubrie Cox started up new blogs on the first of the year. I have been eagerly awaiting Anne’s The Haiku Challenge ever since she announced way back last May that she would be starting to write a daily haiku on 1/1/11. Anne, gloriously, is a teenager who is a relative newcomer to haiku, but not to writing, and she too has a very well-defined personal vision. I loved her first offering:

first second of a new year
and all I see is
glitter
— Anne Lessing

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Aubrie Cox, whom I met at the “Cradle of American Haiku” Festival back in September, is not new to haiku, although she too is very young. She’s a senior in college who has been studying haiku for several years now under the aegis of Randy Brooks, has published her very skillful haiku many times, and has a vast store of knowledge about the history and poetics of haiku that awes me. You can find out more about her at her personal blog, Aubrie Cox. But she’s just started up another blog called Yay Words! (which is, of course, the best blog name ever). She started it to participate in a river of stones, and also plans to use it for just generally celebrating words in all their forms. I love enthusiasm combined with knowledge (that will be the name of my next blog), so I’m sure Aubrie’s blog will become a favorite very soon. Here’s her first “small stone”:

new hat
trying to make it fit like the old one

— Aubrie Cox

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I discovered a site this week that is new to me although not to the world, and although it may be of interest to none of my readers I just had to let you know about it because I am jumping up and down in my mind with excitement whenever I think about it. It’s called Taming the Monkey Mind and it features — wait for it — Russian translations of Issa’s haiku. Yeah. I know. My life is pretty much complete now. Okay, so it doesn’t look like they’ve updated since 2008 but they have just recently started tweeting on Twitter, so I’m hoping that means that more translations are in the works. A girl can dream, can’t she?
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Another great site that I can’t believe I never discovered before is Haiku Chronicles, featuring wonderful podcasts about various aspects of haiku. I’ve only had time to listen to one, which was about a renku party and went into fascinating detail about the composition of renku in general and one renku in particular. If you listen to any others, send me reviews — I will be working my way through the rest slowly.

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Essaying Essays

I found a few essays that blew my mind this week. I’m starting to get a little tired here (this is actually the last section of this post I am writing, even though it doesn’t appear at the end — I like to jump around when I write, it makes things more interesting). So I might not go into as much detail about them as I had planned to (you are probably giving devout thanks for this right now to whatever deity floats your boat).

This is where I implore you to follow the links and read some of this stuff. Okay, I won’t lecture you any more. You probably have one or two other important things to do with your time, like making a living or raising children or growing prize orchids or something. Or, you know, writing haiku instead of reading about it. How sensible of you!

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Last week Chen-ou Liu posted on his blog Poetry in the Moment an essay called “The Ripples from a Splash: A Generic Analysis of Basho’s Frog Haiku” that might forever change the way you look at good old furuike ya. He discusses the necessity of viewing this poem in the context of the literature of its time — for instance, “frog” is a spring kigo that was “used in poems since ancient times, and had always referred to its singing and calling out to a lover.” By making the frog’s sound a splash instead of singing, Basho parodies literary convention. The poem also works, of course, on a purely literal, objective level, but this second dimension of allusion to earlier literature is usually missing from most Western translations and considerations of this poem.

Chen-ou concludes with his own poetic sequence paying tribute to this ku and to Basho and other earlier literary masters, including this verse:

this frog
crouches on a lotus leaf —
reciting Basho

— Chen-ou Liu

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At Still in the Stream there is an essay by Richard R. Powell called “Wabi-Sabi in Haiku,” which gives many examples with a detailed analysis of what makes them wabi-sabi. You will definitely want to go look at this one, if only for the wonderful examples. It’s beautifully laid out and wabi-sabi is always fascinating to contemplate.

Here’s one of the examples and a bit of Powell’s commentary to go along with it, just to whet your appetite:

wings aglow –
gulls rising above
the garbage

– Eric Houck Jr.

Yesterday while on a walk with my son we observed two herring gulls alight on a lamp pole. They seemed to be a pair and one stuck out its neck and emitted the common and recognizable call gulls everywhere make. I thought of Mr. Houck’s haiku and watched as the two birds leapt into the air and soared over us. Looking up at these birds I was struck by their clean appearance, the sharp line between the white feathers and gray ones. Their bodies, when they glide, are smooth and elegant, heads pivoting on otherwise plane-rigid bodies. I was charged with a subtle joy, not overwhelming, but hopeful.

Mr. Houck’s poem is an excellent example of a haiku that contains karumi, the quality Basho considered to be the hallmark of his mature style.

— Richard R. Powell, “Wabi-Sabi in Haiku”

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This one isn’t really an essay, but a review. But Don Wentworth’s reviews over at Issa’s Untidy Hut are always so in-depth and thought-provoking that they give the same satisfaction to me as a well-wrought essay. This one concerns John Martone’s book of short poetry, scrittura povera. I had never heard of this poet before but I will certainly be searching out more of his work. Here’s an example:

how much time
do you need
morning glory

— John Martone

Don, a fellow Issa aficionado, says of this one (and I agree with him) that, “In terms of modern haiku, it just doesn’t get much better than this.  There is certainly a touch of Issa here, a perfect balancing between the comic and the serious. It is, as is life, both at the same time.”

I would definitely recommend that you follow the link and at least read through the example poems by Martone, even if you don’t have time to read the full review. They are all superb.

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Competition Corner

A bunch of fun competitions are in the works at the moment. As always, there are the monthly Shiki Kukai (which I wrote about a few days ago; this month’s topics still haven’t been announced but should be any day now so keep your eyes peeled, if that isn’t too painful) and Caribbean Kigo Kukai (this month’s kigo: calendar). Kukai are a great way to get your feet wet in the contest world, and they’re judged by the participants so you get to have fun picking out your favorite ku from among the entries.

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But there are also a couple of contests that don’t come around as often. You’ll have to act fast on the first one: XII bilingual Calico Cat Contest. It’s a blitz — it just started yesterday, and the deadline is tomorrow. But it’s a fun one for several reasons: It involves using one of the wonderful sumi-e paintings of Origa Olga Hooper (contest organizer) as a prompt, the prize being said sumi-e painting; and — so you know I’m definitely going to enter — all the entries will be translated into Russian (if they’re in English) or English (if they’re in Russian), and posted on the contest site in both languages for everyone to see before the judging. You can submit up to three haiku; maybe I’ll try writing one in Russian. Or not. I might have to work up to that level of bravery.

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The final contest on my list is the biggest. Just opening today, with a deadline of March 31, is The Haiku Foundation’s yearly HaikuNow contest. There are three categories: Traditional, Contemporary, and Innovative — go to the site for more explanation and examples of what exactly these categories mean. This contest gives out actual monetary awards and it’s free to enter, so there’s no downside, really. Go for it!

Full disclosure: I am helping out (on basically a peon level) with coordinating this contest. Specifically, I, along with two other helper elves, will be fetching contest entries from email, taking the authors’ names off for anonymity’s sake, and sending them off to the judges to be judged. This is a great gig for me, of course, because I get to see a lot of really cool haiku before anyone else. Sadly, I of course cannot share these really cool haiku with you or anyone else, but maybe the inspiration I derive from reading them will help make the haiku I post here a little better, which will surely improve your life.

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Dead Tree News

After I got the “Close, But No Cigar” award in The Haiku Foundation’s Facebook contest in November (basically, I was a runner-up, but Jim Kacian, the judge, invented this humorous award name to indicate that he liked the idea of my ku but was not so wild about its execution), the Foundation kindly sent me and all the other winners and runners-up a copy of where the wind turns: The Red Moon Anthology of English-Language Haiku.

This turned out to be a great prize. The panel of ten editors, led by Jim, chose their favorites from the past year’s journal output and web content, and I assure you that they have excellent taste. I spent a lot of my extensive driving time over the holidays reading it. I started out marking all the stuff I liked, until I realized that I was marking pretty much every page. Want some examples? Yeah, I thought you did.

Okay, here are just a couple of the ku that blew me away. Okay, more than a couple. Really, I narrowed it down as much as I could:

autumn rain
deeper and darker
the taste of tea
— Mary Ahearn

cemetery gate
she let me
go first
— Yu Chang

new year’s day all my anxieties in alphabetical order
—Carlos Colon

leaves too small
to touch each other
spring chill
— Burnell Lippy

blue sky
maybe I don’t need
to be right
— Harriot West

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Haiku were not the only things in this anthology either. There were some amazing haibun, and in my experience amazing haibun are not all that easy to find. The most touching of these was William (Bill) Higginson’s last piece of writing before he died in 2008, “Well-Bucket Nightfall, or New Day?,” a masterly meditation on well buckets, life transitions, death, and haiku. I also commend to you Johnny Baranski’s “Gandhi’s Game” and Bob Lucky’s “Shiraz.”

And then there were the essays … oh God, the essays. I wish I had time to write essays about the essays. But most of them you can find online so you can read them yourselves. (I know most of you won’t though. Uh-oh. Starting to lecture again.)

There was a reprint of one of my longtime favorite essays, a consideration of the haiku of Fay Aoyagi (one of my favorite poets) by David Lanoue (one of my favorite translators). A very interesting meditation on haiku and capitalism (which I’m not sure I entirely understood), by Dimitar Anakiev. A fascinating essay on haiku from the World War II Japanese internment camps, by Margaret Chula (the essay doesn’t seem to be online but here’s a link to her book on the same subject).

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The only essay I would like to say a little more about is Jim Kacian’s, called So::Ba, which I am still thinking about, because it both crystallized some of the ideas that I have been having about haiku myself and also added some new information and ideas to support my previously vague, uncertain thinking. Basically, Jim takes the English sentence “So here we are” and relates it to the Japanese word “ba,” which he translates as “a pointer to a kind of awareness that something of importance is happening in time and space.” In his vision of haiku poetics, ba is essential: “Ba is the basis for pretty much everything we do in haiku. In fact, ba is the message of haiku: so here we are!”

A lot of the essay is taken up with denigration of the vast amount of “trash” haiku out there these days, and with historical notes about the development of haiku, in which Basho gets a hero’s welcome and Shiki gets piled on for his objectivism: his insistence on merely observing nature, rather than alluding to human history or culture or literature, or making use of the kind of richness of emotional expression that characterized the haiku of, among others, Basho and Buson. Jim regrets that the West encountered haiku right at the moment when Shiki was the dominant influence on haiku, since what he considers as the wrong-headed separation of Nature from Man in the minds of most haiku poets tends to persist to this day.

So how should we be thinking about haiku, according to Jim? Well, as far as I can make out, as a form of poetry that expresses a moment of the poet’s consciousness, that makes use of art and imagination as well as purely objective observation (this discussion will undoubtedly seem familiar to those of you who read my “Willow Buds” post the other day). I really love this passage from the essay in particular:

Haiku is not photography, a simple exact limning of what lies before our eyes. If it is an art, then it must be the selecting and ordering of words into a cogent form that helps lead another’s mind along the path that the poet’s has followed, with perhaps a similar reaction to be had at the end. And this rarely takes place before the butterfly’s wing, but usually in the roiling of the mind, consciously and unconsciously, whenever it can — for me that often means in the middle of the night.

And yet despite this we still retain some residual disdain for what are termed “desk haiku.” In truth, every haiku I’ve ever written has been a desk haiku. It may have had its origins in some natural spectacle, and I may even have written it on the spot. But always, some time later and in the darkness of my mind and study, I look again. It’s this revisiting that is the actual work of art — even if I don’t change a word. “Desk haiku” is another way of saying I’m a working poet.

— Jim Kacian, “So:Ba”

Lots to think about here. I hope you go and read this one if you have a spare half-hour. Jim’s thoughts are always worth encountering.

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Note: For those of you who are holding your breath, Dead Tree News will return next week to the thrilling saga of the early development of Japanese haikai (haiku), as recounted in Donald Keene’s World Within Walls. Don’t miss this exciting installment in which master Basho arrives on the scene!

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Okay. [Heaves sigh of relief.] I made it through yet another massive list of indispensable haiku-related reading for yet another week. What is the deal with you people — you keep writing too much good stuff. Or I keep reading too much good stuff. I don’t know who has the bigger problem. Is there some kind of 12-step program for people like us — oh, look, there is! (Thanks, Michael!)

Happy Rabbiting, fellow traversers of the Haikuverse. And hey, I am dying for a day off here, so don’t forget to send me your haiku for my 400th post next week!

The 400 Posts (An Invitation)

Dear readers,

It’s that time again: Round number time. I’m coming up on my 400th post. (January 12th, if my calculations are correct.)

I like to celebrate these little occasions by giving you a break from me for a day and inviting you all to be my guest bloggers. (Note: This is an idea for which I am indebted to Matt Morden of Morden Haiku, who did this for his thousandth post a while back.)

The details, for those who haven’t played before or need a refresher course:

  • By “you” I mean “anyone who has ever commented on my blog.” (If you haven’t commented before and want to participate, go ahead and comment sometime before the 12th and you’re in.)
  • By “participate” I mean “send me one or two of your haiku, tanka, senryu, gogyoghka, haiga or other forms of Japanese short-form poetry or micropoetry.” Published or unpublished, I don’t care. Don’t agonize over whether they are good enough. They are. See below.
  • Let me know what name, or haiku name, or alias, or other identifying information you wish to sign your poems with. If you have a blog or webpage or a Twitter or Tumblr account or some other online presence you want me to alert people to, include that information too.
  • These poems will ALL (OK, I guess I reserve the right to leave out anything I find in mind-bogglingly bad taste, but I can’t really believe any of you are less squeamish than I am) be posted here on January 12th.
  • They will not be judged, juried, or edited. They will be cut and pasted into my blog. They will be signed with whatever ID and URL you sent me.
  • This entire thing will be wildly entertaining and inspiring for everyone involved. Really. That’s what everyone always tells me. It is really fun to see all the different styles of poetry by all the different participants. And, perhaps most important, not have to read anything I’ve written for an entire day. (Except my obligatory interminable introductory essay. I’ll try to keep it snappy this time, though.)
  • I really want YOU (that’s right, buster) to send me your stuff. It’s only fair, you’ve been reading mine all this time. Sharing is nice.
  • The deadline is 7 a.m. U.S. Central Standard Time on January 12. If you’re not sure how that translates to your local time, Google it. I will post sometime in the couple of hours after that.
  • Don’t leave your submissions in the comments, it spoils the surprise for the other readers. Email them to MelissaLAllen AT yahoo.com.
  • Any other questions? Go ahead and ask.
  • Have fun!

Your blog friend,

Melissa

Across the Haikuverse, No. 6: Telegraphic Edition

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

*

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)

*

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

*
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

*

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

*

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

*

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

*

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)

*

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.

Across the Haikuverse, No. 5: Too Much Homework Edition

Dear Fellow Travelers,

Some weeks the Haikuverse seems to stir up a lot of Deep Thoughts in me, but not this week. This week I was too busy for Thinking Deeply. (I can hear you sighing in relief. Stop that.)

So what have I got for you? Well, a lot of really great haiku (other people’s, natch), snatched out of the ether during moments stolen from homework, fiction writing, Thanksgiving dinner, and sleep. For some reason, most of them seem to relate to one of two themes: astronomical phenomena or snow.

(It’s snowing in a lot of places these days, apparently. So interesting, the sense you can get of world weather patterns by following the world’s daily haiku output.)

Anyway. To start off our journey … here are some of my favorite responses to a polite request that The Haiku Foundation’s Facebook page recently made of its followers: “Please share a haiku inspired by the onset of cold weather.” (They frequently make interesting requests like this. You should go over and oblige them occasionally. It’s nice to share.)

premières gelées blanches –
une envie soudaine
de carrot cake
.
…first white frosts –
…a sudden urge
for a carrot cake

— Vincent Hoarau

first snow
she pockets a large carrot
for later use

— Laura Sherman

(Yes, two carrot haiku, right next to each other. It freaked me out too.)

 

closure…
a ring around
the moon

— George O Hawkins

 

listening to myself
on the walk home
fresh snow

— Michael Rehling

 

Twitter was all cold this week too. And for some reason (okay, maybe my foreign-language fetish), it seemed very polyglot.

First of all, my Twitter friend Polona Oblak, or one cloud, whose username is cirrusdream, overheard me raving in a tweet about how much I liked foreign-language haiku and generously offered to translate some of her haiku into Slovenian, her first language. (Great quotation from Polona: “the problem is, although i’m not a native english speaker, my muse appears to be.”)

There are SO many things I love about this — first of all the fact that Slovenian is a Slavic language, so I can actually semi-follow what’s going on here. (All Slavic languages are alike, but some are more alike than others. [Whoa — Tolstoy/Orwell mashup! Didn’t see that coming.])

Secondly the fact that in Slovenian, this haiku is so highly alliterative and even rhymes a little. English haiku needs more of that. Remind me to do some of that some time soon.

first chill
a spider weaves its web
under a neon light
.
prvi mraz
pajek plete mrežo
pod neonsko lučjo

— Polona Oblak (cirrusdream)

Then, I believe the very same day, I had the incredibly thrilling experience of discovering a Twitterer who writes haiku in Esperanto. Not just any haiku. Good haiku. (Excuse me: hajko.) I am still in shock that there is a person like this in the world. I like the world better now.

pelas norda vent’ unuopajn neĝerojn… sonoriladon

.

north wind drives snowflakes one by one… a bell rings and rings.

— Steven D. Brewer (limako)

David Serjeant, over at distant lightning, had a great snow moment this week too. I caught a whiff of Issa drifting from this haiku. (I’m very sensitive to that scent.)

midnight snowfall
my neighbour
coughing away

— David Serjeant

I caught even more of a whiff of Issa, maybe even something more like a deliberate (and extremely successful) tribute, coming from Elissa’s recent snow haiku, “who’s counting,” at the haiku diary:

Watching the first one,
two, three . . . four, five, six . . . seven
snowflakes fall outside.

— Elissa

(And okay … I got a little sidetracked here. I have a huge weakness, for some reason, for haiku with numbers in them. In fact, one of my favorites among my own haiku is still this one that I wrote way back in, like, the first week I ever wrote haiku. I went looking for more information about these number-haiku things and ended up, naturally enough, on Gabi Greve’s territory, reading this amazing essay-full-of-inspiring-examples. I have to read it again, when I can spend more time on it.)

(And another slight detour, this one possibly even verging on Deep Thought. This quotation, from a very famous Japanese haiku poet, got in my face when I read it on someone’s Facebook page this week — I’m sorry, Facebook person, I don’t remember who you are, but thanks for posting this! It reminded me of the essay by Aubrie Cox I wrote about a couple of weeks ago:

“The reader of a haiku is indispensable to the working of ma. This person must notice the ma and sense the kokoro of the poet. A haiku is not completed by the poet. The poet creates half of the haiku, while the remaining half must wait for…the appearance of a superior reader. Haiku is literature created jointly by the poet and the reader. A Western poem is the product of the poet alone, and thus here also the way of thinking about haiku is different.”

— Hasegawa Kai

I must say, I feel very fortunate to have had the occasional “superior reader” show up here to complete my haiku, because God knows they [my haiku, that is] need all the help they can get…)

This haiku from David Marshall, at haiku streak, is an exception to this week’s astronomy-and-snow theme, but it does seem somehow to complement Hasegawa’s words. It’s called Old Friends, and don’t tell me haiku aren’t supposed to have titles. They can if they want to. It’s a free country.

Silence that ripens,
silence that stays green, silence
fallen and sere

— David Marshall

I’ll finish up with the astronomical phenomena, since this is, after all, a voyage across the Haikuverse…

Here’s one from Terri L. French’s recent week as the featured poet on the Daily Haiku blog — I love this image:

long road trip —
Orion’s belt rests
on the dashboard

— Terri L. French

And here’s one I like a lot from the blog of extra special bitter:

November sky —
I used to remember
which planet that was

— extra special bitter

As I recently mentioned to someone, I sometimes have difficulty myself even in recalling exactly which planet we are supposed to be on, so I can relate to this sentiment. You know — keeping track of where you are can get to be a challenge when you spend as much time wandering the Haikuverse as I do …

Have a great week, and don’t get lost in space.

_______________________________

The Haikuverse in the fourth dimension:

No. 1

No. 2

No. 3

No. 4

November 27 (Deep autumn)

deep autumn
learning to live
with the dark

(originally posted at Haiku-doodle as a comment to Margaret Dornaus’s blog post “Deep Autumn“)

__________________

I’m continuing what has apparently become my Thanksgiving week tradition of saving myself the work of writing a whole new haiku every day by stealing from myself. Specifically, by stealing the haiku I have dribbled around in other places across the Interwebs, like Facebook and Twitter and other people’s blogs. (I did change the line breaks here a little from the original. Does that make me less pitiful?)

I might do this for a few more days, at least until I finish my stupid novel, or the 50,000 words of it I’m supposed to have written by the end of the month anyhow.

(In case you were suspecting me of violating my sacred vow to write haiku every day, I am still scribbling the things down, but I would not be so cruel as to force you to read anything I’ve written lately.)

Across the Haikuverse, No. 2: Only Connect Edition

In which I present for your inspection all the things I found this week while exploring the haikuverse that I thought might interest, entertain, infuriate, intrigue, or otherwise engross you. Or might not. (No. 1 in this series is here, in case you’re interested.)

This week’s theme (because I’ve been rereading Howards End): Only Connect. (Every item connects somehow to the previous item, if only by the skin of its teeth.)

1.

Are you feeling competitive this week? This coming Saturday is the deadline for November’s Shiki Kukai. If you don’t know about Kukai, they are haiku contests in which all the entrants vote on and choose the winners. The Shiki Kukai is a long-running contest with two categories: one that requires a particular kigo (this month: geese), and one that is free format but on a particular theme (this month: weaving). If either of those themes inspire you, check out the rules and give it a try.


2.

And for those who just can’t get enough competition … If you checked out the Haiku Foundation’s Facebook page as I advised you to do last week, you’ll know that they are now running a Facebook haiku contest. Through the end of November, anyone can enter one haiku in the contest by posting it on the page in the comment section following the contest announcement. The top three (as judged by Jim Kacian, Haiku Foundation founder) will get prizes. And glory, of course.

There are lots of entries already. Go check them out even if you’re not sure you want to enter the contest. I’ve found that this is a great forum just to get your haiku looked at by other poets and get a little feedback, so you might want to think of that as your goal rather than winning the contest. I certainly am. 🙂

3.

And more from the wonderful world of Facebook … Last week I shared with you a haiku in French by Vincent Hoarau, which he originally posted on Facebook. This week I will take mercy on the non-French-readers among you. A few days ago Vincent posted the following haiku, which he translated into English:

jour de pluie …
je pense à la mort
elle au berceau

rainy day …
i think about death
she about a cradle

4.

And while I’m on the subject of haiku in French … I recently discovered on Twitter a Belgian haiku poet, Bill Bilquin. He posts new haiku several times a week; here’s my favorite from this week (French original, English translation by Bilquin):

presque trois ans
ses mots de plus en plus précis
premières mandarines

nearly three years old
her words more and more precise
first mandarins

5.

And while I’m on the subject of haiku in foreign languages … There’s a haiku translation site called “Versions” that I discovered a few weeks ago and have been very excited about. (Warning: Serious geek territory ahead.) You can enter your own haiku in your language, which will then be available for others to translate into their language(s). You can also translate the haiku of others. It’s searchable by author, so you can go look at the haiku of a poet you like and see all the different translations that have been made on the site of their haiku. It’s a lot of fun (if, as I say, you’re a complete language geek) to compare the different “versions.”

A caveat: although in theory the site is available to writers and translators of any language, for right now most of the haiku seem to be in, and to be translated into, either English or Russian. (It’s a Russian site.) This is great for those of us who know both those languages, but if you are more into, say, German, you won’t find nearly as much on the site to interest you. However, you will be doing us all a great service if you add more haiku and translations in other languages, so give it a try.

Here’s an example of a haiku by Lee Gurga and a couple of (very) different Russian translations of it. Bear with me — even if you don’t know Russian I’ll give you some idea what they’re all about:

Lee’s original haiku:

his side of it
her side of it.
winter silence

 

(translation 1, by Versions user Боруко)

его сторона…
её сторона…
зимняя тишина

(translation 2, by Versions user A.G.)

твоё моё наше
холод молчание

The first translation is quite literal; if I saw it only in the original Russian I would probably render it back into English almost exactly as Lee originally wrote it. The second is very different — it’s more of a free interpretation, I would say, of Lee’s haiku than a translation. I might translate it back into English something like this:

yours mine ours
cold, silence

Which Lee might recognize as his haiku, and might not. Anyway, if you’re interested in translation, and especially if you know Russian (I realize that I am addressing a minuscule, possibly nonexistent, subset of my readership here, but hey, it’s my blog and I’ll geek out if I want to), you will certainly want to check this site out.

6.

And on the subject of versions of things … Bill Kenney has started a new feature on his blog haiku-usa that he calls “afters.” That is, they are haiku “after” haiku of classical haiku poets — not translations per se (Bill doesn’t know Japanese), but loose interpretations, attempts to capture something of the feeling of the original. Here’s his first:

a bit drunk
stepping lightly
in the spring wind
Ryokan (1758-1831)

7.

And more on the blog front … Andrew Phillips and I became acquainted with each other on Twitter this week and I’ve been enjoying checking out the haiku on his blog Pied Hill Prawns. An example:

telephone wires
connecting –
possum’s nightly walk

8.

And yet more bloggy matters … From Matt Holloway of Beachcombing for the Landlocked, a haiku I really enjoyed reading this week:

a tray      of stored apples      not yet a poem

9.

And while we’re in one-line haiku mode: I’ve been blown away this week by the amazing contents of Marlene Mountain’s website. In case you don’t know about Marlene, she is something of a haiku legend; she’s been writing haiku since the sixties, and she was one of the first poets to work with haiku as one line in English.

Here’s a page showing some of her early 3-line haiku, and then the same haiku later rewritten as one line. Here’s a selection of her one-line haiku. (A wonderful example: off and on i’ve thought of you off and on.) Here are scans of some pages from her notebooks, showing her revisions — I love this kind of thing, getting to see into another writer’s mind as she works. Here are some of her “ink writings,” similar to haiga. Here are some wonderful things called “unaloud haiku,” and here are some really fun things called “visually aloud” haiku. And that’s just the tip of the iceberg as far as Marlene’s site is concerned. Enjoy!

And that’s all from the Haikuverse this week. Thanks for visiting.

Across the Haikuverse, No. 1: Let’s Get Started Edition

I’ve been feeling lately like I need to share some of the amazing haiku (and other short-form verse) and writing about haiku that other people post on the Interwebs. After all, this blog for me is not just about having a forum to post my own haiku, it’s about developing a community of people who are learning about and sharing their knowledge and appreciation of haiku with each other.

I follow a few dozen haiku blogs on a regular basis, some by quite well-known haiku poets and some by haiku poets who deserve to be much better known. I also read haiku journals and haiku essays and informational sites about haiku, and I follow a bunch of haiku poets on Twitter (also occasionally post stuff there that I don’t post here, in case you’re interested — my username is myyozh), and I am a member of a few different haiku-related groups on Facebook. (And oh, yeah — sometimes I read haiku-related things on pieces of dead tree, too.) There is always enough new and exciting stuff in all these places to keep me interested and inspired. So I think on a weekly (or so) basis I’ll let you know what has stuck with me, or challenged me, or stopped me short and made me glad to be alive. I hope some of what I share does something similar for some of you.

(N.B.: I’m limiting myself to what has been posted, or what I have discovered, in the last week or so. You have to draw the line somewhere. And this got way longer than I expected even with that constraint. That being said … if you find something haiku-related this week that you think others would enjoy, send me the URL and I may post it in my next version of this feature.)

___________________________

For this All Souls’ Eve, Margaret Dornaus, over at Haiku-doodle, has posted a great selection of haiku that pay tribute to loved ones who have passed away. (The haiku for my father that I wrote for his birthday earlier this week is one of them.) It’s worth taking a look at them. I mean, not only are the haiku worth reading, but Margaret has an actual ability to do layout (the bane of my existence), which means they are literally worth looking at.

I really like the ambiguity caused by the way Patti Niehoff of A Night Kitchen has split up the lines in her autumn (Halloween?) themed poem “can’t avoid.

As usual I found all kinds of treasures this week at Fay Aoyagi’s Blue Willow Haiku World, including her translations of the Japanese haiku autumn wind, still lonely (which I think must be a riff on Basho’s famous haiku about the autumn road along which no one is passing), and holding my knees. Also, Fay’s own haiku Halloween.

Daily Haiku usually has plenty worth reading — my favorite this week was Robert Epstein’s Indian summer day.

David Marshall’s Haiku Streak is one of the first haiku blogs I started reading and still one of those I enjoy the most. He writes a daily haiku; they are often surreal, always utterly original — he has his own inimitable style which is not quite like anyone else’s. This week I found myself drawn to “The New Apocalypse.”

Issa’s Sunday Service at Issa’s Untidy Hut (the blog of The Lilliput Review) is one of the highlights of my week. It combines rock music (including embedded audio), haiku (always including one by my man Issa!), other poetry, and literary and philosophical musings to create a mind-altering experience. This week’s song is Bob Dylan’s “As I Went Out This Morning”; Tom Paine’s Common Sense is mentioned in the context of the upcoming midterm elections; there are a couple of great autumn-related poems; and the Issa haiku about cherry blossoms is going on my list of all-time favorites. Added bonus: Check out the jukebox in the sidebar that enables you to play all the songs from all 76 Sunday Services.

At his blog lakes and now wolves, Scott Metz’s “leaf shadows” is as thought-provoking as most of his ku.

Stacey Wilson’s found haiku collages at the odd inkwell are wonderful both to look at and read. I especially liked “autumn sun” this week.

I just got around to downloading the most recent issue of Roadrunner (X:3, issued in September) and all kinds of wild ku are now spinning through my head, including Peter Yovu’s wonderful

the night heron’s cry
your left elbow slightly
sharper than your right

Notes from the Gean also published its most recent issue in September and I have been revisiting it more or less weekly since then. This journal publishes a lot of haiku (and tanka, haiga, haibun, renga) and it’s hard to absorb it all at once. Right now I’m very fond of Chen-ou Liu’s one-line haiku:

single married single again a rushing river

And I also think it would be worth your while to read Zane Parks’s haibun “Ain’t No Sunshine.”

I found a lot to think about in Susan Antolin’s essay on her blog Artichoke Season about what makes a “good” poem. (If you go there, you should also spend some time reading Susan’s wonderful haiku and haibun.)

Curtis Dunlap’s Blogging Along Tobacco Road has a great feature called “Three Questions” in which the same three questions are posed to a wide variety of haiku poets, which provides a fascinating look at their varied motivations for writing haiku and understandings of what haiku is. This week the featured poet is Aubrie Cox, a college student who is already a fine haiku poet (and whom I met at Mineral Point and have spent some time batting around ideas about haiku and other literature since then).

If you are on Facebook, I highly recommend joining the pages (or liking them, or whatever the heck it is they call it these days) “haiku now” and “The Haiku Foundation,” where there is almost always some kind of lively discussion of some aspect of haiku going on and where haiku poets from all over share their work and comment on others’. The Haiku Foundation has a regular, weekly-or-so feature where they ask members to contribute a haiku on a particular theme — the current one is “water.” It’s fascinating to see all the different riffs on the topic.

Also on Facebook: Michael Dylan Welch has just come up with the brilliant idea of NaHaiWriMo, a takeoff on NaNoWriMo, the National Novel Writing Month that is starting tomorrow (and that I have, probably unwisely, signed up to participate in, because I don’t have enough to do, I guess.) NaHaiWriMo, naturally, calls for participants to write one haiku a day for a month, in this case the mercifully short month of February. You can join the group now, though, and start commiserating with your fellow participants several months ahead of time.

Via Facebook I have recently become an admirer of the haiku of Vincent Hoarau, who writes primarily in French but frequently translates his haiku into English for the benefit of the non-Francophones among us. I find that my high-school French (as well as the services of a good French-English dictionary) is just sufficient to allow me to enjoy the rhythms of Vincent’s French haiku, such as the one he posted on Facebook yesterday without translation (but I am not going to attempt to translate for you lest I completely embarrass myself):

l’heure d’hiver
dans la paleur de l’aube
un peu perdue

Dead-tree news: From the Everyman’s Library Haiku, which I have been slowly making my way through, several verses have been resonating with me this week (all translations by the not-necessarily-accurate but stylistically pleasant R.H. Blyth):

The flea
That is poor at jumping,
All the more charming.
— Issa

A cage of fireflies
For the sick child:
Loneliness.
— Ryota

The beginning of autumn,
Decided
By the red dragonfly.
— Shirao

Between the moon coming out
And the sun going in —
The red dragonflies.
— Nikyu

The peony
Made me measure it
With my fan.
— Issa

Having cut the peony,
I felt dejected
That morning.
— Buson

From what flowering tree
I know not,
But ah, the fragrance!
— Basho

Roses;
The flowers are easy to paint,
The leaves difficult.
— Shiki

This willow-tree
That looks like a white cat,
Is also a votive flower.
— Issa

As if nothing had happened,
The crow,
And the willow.
— Issa

And that’s the Haikuverse for this week. See you again soon.