February 17: Numerical Order

“To Really Learn, Quit Studying and Take a Test” (New York Times)

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seven or eight
sparrows
count them again

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This haiku appeared on this blog last May, and on Haiku News last week (with the headline above).

For some reason, even though I wrote it in pretty much my first week of writing haiku, it is still one of my favorites of my own poems. Beginner’s luck, I guess.

Why do I like it so much? (You don’t have to ask so incredulously.) Well…first of all, there’s the whole “it’s true” thing. It’s impossible to count birds. (Impossible for me, anyway; maybe you’ve had better luck.) They keep moving. They’re transient, they’re transitory.

So many things in life are. You can’t pin them down. You look one minute and things look one way; the next minute they look entirely different. Don’t even ask about the differences between years.

But for some reason we (and by “we” I mean “I”) keep trying to get some kind of firm fix on the situation, whatever the situation is. Seven or eight sparrows? Well, does it matter? Rationally, no … but so much of life is spent trying to count those damn sparrows.

Also, I like numbers. I like numbers in general; I like arithmetic; I count things and add and subtract and multiply things all the time, just for the hell of it. Give me your phone number and I’ll tell you something interesting about the digits in, like, four seconds. “The sum of the first three digits is the product of the last two digits!” Or something. It’s a little weird. Kind of Junior Rain Man. (I do know the difference between the price of a car and the price of a candy bar, though.  So your longstanding suspicion that I really should be institutionalized has not yet been entirely confirmed.)

I like numbers in poetry because they are so specific. Other things being equal, generally the more specific a poem is the more powerful it is, so numbers to me seem like high-octane gas or something for poetry.

Gabi Greve, on her mindblowingly complete haiku website, has a great page about numbers in haiku. Here are a couple of my favorites of the examples she gives:

咲花をまつ一に梅二は櫻
saku hana o matsu ichi ni umi ni wa sakura

waiting for the cherry blossoms
one is the sea
two is the cherry tree

— Ishihara 石原重方

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ビタミン剤一日二錠瀧凍る
bitamiinzai ichi nichi ni joo taki kooru

vitamin pills
each day two of them –
the waterfall freezes

— Ono Shuka (Oono Shuka) 大野朱香

Also, Issa is great at haiku that feature numbers. (Does this surprise you? I thought not.) A few examples, all translated by David Lanoue (and if you want more you should go over to David’s spectacular database of Issa translations and type your favorite number in the search box):

three raindrops
and three or four
fireflies

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houses here and there
fly kites, three…four…
two

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three or five stars
by the time I fold it…
futon

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rainstorm–
two drops for the rice cake tub
three drops for the winnow

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lightning flash–
suddenly three people
face to face

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mid-river
on three or four stools…
evening cool

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cool air–
out of four gates
entering just one

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on four or five
slender blades of grass
autumn rain

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a five or six inch
red mandarin orange…
winter moon

and one of my favorites of all time —

first snowfall
one, two, three, four
five, six people

Interesting how many of these involve the kind of uncertainty about exact count that my own haiku does. I don’t remember whether I had read any Issa at the time I wrote it. I might have been shamelessly imitating him, or I might just have been trying to count sparrows. You try it. It’s not as easy as it sounds.

February 3 (Another snow)

another snow
another chance to change
the subject

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(First published in World Haiku Review, January 2011)
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I hope all of you who live in the 33 U.S. states that were pounded by the blizzard yesterday are dug out by now. Or that if you aren’t, you have plenty to read and eat (in that order) and some way of staying warm. And a nice view out your window.

By the way, this does not fall under my snow haiku moratorium because I wrote it a long time ago — back in December, when it was not yet a federal crime for haiku poets to write haiku about snow — and it was just published in the very interesting journal World Haiku Review, about which I will be writing more next week, when it is not so close to my bedtime.

(For those of you that are mourning the snow haiku [what, are you crazy?] I will point you in the direction of this page that lists 10 highly worthwhile snow poems, most of which are not haiku but one of which is Issa, and famous, spectacular Issa. Go ahead, take a look, I won’t report you to the feds.)

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!

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

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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)

*

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

Across the Haikuverse, No. 3: Underappreciated Edition

(For no. 1 in this series, look here. For no. 2, look here.)

The haikuverse? You want to know what that is? Why, children, it’s a wonderful place, where mostly underappreciated writers toil night and day to produce a body of short poetry that at its best makes you jump out of your shoes, clutch your hair in awe, and possibly weep. Also, where other underappreciated writers explain how these poems work, and talk about the people who’ve written them, and so on and so forth. Where can you find out about some of the most interesting things that happened there this week? Why, right here, of course.


1.

Last week Rick Daddario of 19 Planets was inspired by my link to Marlene Mountain’s “ink writings” to post a similar haiga of his own, rather than save it for Christmastime as he’d been planning. Since Rick lives in Hawaii, his images of the holiday are a little different than ours here in Wisconsin. I found this pleasantly jarring, and also just thought that both the ku and the drawing were a very successful combination. Here’s the haiku, but you really should visit 19 Planets to see the complete haiga.

silent night
the grass grows taller
with each note*

Rick also celebrated his blog’s 100th post this week — I’ll let you visit to find out how. Congratulations, Rick!

*This version is slightly different from the one I originally posted here, since Rick called my attention to the fact that he had modified his ku since I had last checked on it. I like this version even better.

2.

Congratulation also to another blog which celebrated its 100th post this week — Alegria Imperial’s “jornales.” In it she recounts the story of her first “ginko walk,” which her haiku group took to obtain inspiration for haiku. In Alegria’s case I’d say the walk was extremely successful — I love the haiku that resulted from it!

hydrangeas–
the same whispers
the same sighs

3.

I really liked several of the haiku that Steve Mitchell of heednotsteve posted this week. First there was his sequence “always wind,” inspired by his visit to the apparently constantly windswept Norman, Oklahoma. My favorite from that sequence:

always wind –
rush to the south, no,
now rush north

Then there was his humorous but thought-provoking “ku 00000010,” a followup to another robot-inspired haiku he posted earlier this month. This haiku is clever, but for me it works as a genuine haiku, not just a gimmick:

> 1: standby mode
>particles/waves illume
>blossoms as they close

4.

The wonderful online journal “tinywords,” curated by d.f. tweney, features a new haiku or piece of micropoetry every weekday (there are submission guidelines here, if anyone is interested). My favorite this week, by Janice Campbell:

amid fallen leaves

a business card

still doing its job

 

5.

Aubrie Cox’s personal website is well worth a look for her varied portfolio of haiku and other short-form poetry and critical writings. Since I’ve been thinking so much lately about how this blog is in some ways a collaboration between me and my community of readers, I especially enjoyed reading her essay “Writing with the Reader as a Co-Creator.” An excerpt:

“The inviting audience is ‘like talking to the perfect listener: we feel smart and come up with the ideas we didn’t know we had’ (Elbow 51). More importantly, however, is that the inviting reader can have an active role within the exchange between writer and reader. By doing so, the writer is not relinquishing all power back to the reader, or giving in to the tyranny, but merely developing a partnership. The reader can be the writer’s partner in the writing process if there is a mutual trust and cooperation, if the writer lets the reader become a part of the meaning-making process.”

Aubrie goes on to discuss how she sent one of her haiku to several acquaintances and asked for their reactions; their interpretations of its meaning were for the most part nothing like her own, but she points out that they were no less valid for all that — something I constantly have cause to remember when I’m reading my readers’ comments here.

6.
At Issa’s Untidy Hut this week, the Sunday Service is on hiatus for a week, but Don Wentworth has given us instead an insightful review of Silent Flowers, a short volume of haiku translated by the person who perhaps did more than anyone else to popularize haiku for English speakers: R.H. Blyth. Silent Flowers, published in 1967, was apparently excerpted from Blyth’s legendary 4-volume compilation of translations and critical study of Japanese haiku.

Here’s a brief excerpt from Don’s review — an Issa haiku and Don’s commentary on it:

Just simply alive,
Both of us, I
and the poppy.

Issa

“There it is, folks – doesn’t get plainer or simpler or truer or more beautiful than that.   After you read a poem like this, time to shut the book and get back to life.”

7.

Somehow I just managed to discover this week the Mann Library’s Daily Haiku site. Each day they republish a previously published haiku by an established haiku poet — each month is dedicated to the works of a different poet. The archives are a treasure for anyone exploring the world of contemporary English-language haiku — name a well-known haiku poet and they’re likely to have some of his or her works represented.

Here’s one of my favorites from this month’s poet, Gary Hotham:

time to go —
the stones we threw
at the bottom of the ocean

8.

Following up on my interest in foreign-language haiku: On the Haiku Foundation’s website, Troutswirl, last week, the regular feature “Periplum” (which is dedicated to haiku from around the world) was devoted to the work of a Bolivian poet, Tito Andres Ramos. Although Ramos’s first language is Spanish, he writes his haiku first in English and then translates them into Spanish. One I especially like:

sunny winter day
my packed suitcase
under the bed

dia soleado de invierno
mi maleta empacada
bojo mi cama

9.

Gene Myers of “The Rattle Bag” blog (and also the administrator of the “Haiku Now” page on Facebook) recently wrote about the chapbook of his haiku and other poetry that he put together on Scribd. (You can download the PDF here.) This looks like it could be a nice way to distribute collections of poetry without killing trees or inflicting boring design on people. I’m thinking about it myself, though I am also still attracted to the idea of the limited-edition dead-tree chapbook on handmade rice paper with custom calligraphy. But this is probably faster. :)

One of my favorite from Gene’s collection:

Moth between window and screen

I’m tired

 

And so am I. It’s exhausting, traversing the Haikuverse. Going to bed now. See you on the flip side …

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.