between the minnows minnow-sized spaces
Modern Haiku 42:2
between the minnows minnow-sized spaces
Modern Haiku 42:2
the chill of
Modern Haiku 42:2, Summer 2011
I really, really hate sitting and listening to lectures. Especially long lectures. It’s hard for me to sit. It’s hard for me to concentrate for long stretches of time. It’s hard for me to take in information that is spoken — I’m a reader. In college I usually gave up going to my lecture classes after a while because I fell asleep after the first half hour anyway so it was more efficient just to stay home and read the textbook. Or take a nap.
Yesterday morning, however, I sat and listened to lectures for three hours straight, and never blinked. I was totally engrossed the entire time. Apparently lectures about haiku are an exception to my lecture-hating rule.
(It didn’t hurt that these lectures took place in the newly refurbished Mineral Point Opera House, originally built in 1919 and full of lovely architectural details. If you want pictures you’ll have to check out the link, since my iPhone decided at some point during the morning to go completely dead on me [don’t worry, my son performed some kind of magic rite on it when I got home and now it’s fine].
This also means, sadly, that I don’t have pictures of any of the wonderful people I met yesterday or of the town of Mineral Point, which is as far as I’m concerned the loveliest small town in Wisconsin. Also one of the oldest, and hilliest, so it makes this New England transplant feel right at home.)
Anyway. Back to the lectures. The first was a talk by Randy Brooks (one of the few haiku professors in the country) with the wonderful title of “A Tumbly Life of Haiku: The Poetics of Robert Spiess.” He took us through a chronological selection of Spiess’ poetry, analyzing his development as a haiku writer from, essentially, more to less traditional. The early ku are mostly conventional in form and nature-based, though keenly observed:
all water turned ice:
delicately a gray squirrel
is lapping snow
the day after rain;
a reach of river bank
scattered with morels
Later Spiess experimented more with both form and subject matter:
r e f l e c t s
making lunch for refugees —
my back turned, a child
picks through the garbage pail
The next lecture, which really enthralled me, was Lee Gurga’s talk on “Robert Spiess’s Muse and the Future of American Haiku.” Lee managed to touch on just about every issue in the writing of contemporary haiku that most interests and concerns me, and enhanced my understanding of all these issues by about five hundred percent. Also, he was entertaining and inspiring.
I took copious notes, which I will try to distill down to a reasonable length. This may mean that I don’t represent Lee’s ideas in the order they appeared in his talk. And needless to say, apologies to Lee if I don’t get the details right or end up misrepresenting what he was saying — this was a dense and challenging lecture and I struggled to type fast enough to get it all down.
Lee started out by saying that he was currently collaborating on an anthology of haiku from current journals with Scott Metz, whom he considers the most talented haiku poet in the under-40 generation. Despite the fact that Scott’s experimental haiku are at the opposite end of the haiku spectrum from Lee’s more traditional poems, Lee thinks the future of American haiku lies with experimental and gendai poets such as Metz, Richard Gilbert and Jim Kacian. (I find these guys exciting myself and have written a couple of essays about them.)
Lee spoke about the process of editing Gilbert’s seminal essay “The Disjunctive Dragonfly” in 2004 when he, Lee, was the editor of Modern Haiku. The essay outlines Gilbert’s view of haiku poetics, which emphasizes disjunction — a complicated concept, maybe best summed up as a sort of disorientation or shift in viewpoint, intended to “erupt the complacent mind” of the reader. Traditional haiku, in contrast, tend to favor juxtaposition — a finding of commonality between disparate elements — and to emphasize clarity of language, with a goal of enlightening the reader.
Disjunction, imagistic fusion, language as language rather than a way to convey meaning — these characteristics of experimental haiku, Lee said, have “sent haiku off in all different directions” — an exciting development. He thinks these techniques will produce haiku that are successful both as haiku and as short poems.
Lee discussed a bit about the history of English-language haiku: The early haiku translator R.H. Blythe, one of the first to introduce haiku to the English-speaking world, had a romantic vision of haiku as poems of discovery rather than of invention. In the sixties and seventies, the haiku ideal tended to be “the aha moment” — a sudden experience of enlightenment.
Gradually poets began to realize that these aha moments could take place at the time of the experience or at the time of writing. And the new experimental poets tend to think that the idea of writing about aha moments at the time of experience is a little played out. Lee himself, although he thinks this type of haiku will always be written, doesn’t think they will provide the future direction for American haiku. The new haiku poetry tends to consider words themselves the object of the poem, not experience.
If Lee were to encapsulate in a phrase what’s different about American haiku today, it would be “the opacity of language,” contrasted with the earlier haiku ideal of transparency of language. He said, memorably, “The ideal for me is not transparency but translucency.” This means that the haiku can be read at both the literal and deeper — metaphorical or symbolic — levels. These multiple levels add richness to haiku and make them worth keeping and adding to the English literary canon.
As Lee has been working with Scott Metz, he’s been finding that Scott also values translucency — but his haiku are more at the opaque end of the translucency spectrum, whereas Lee’s are more at the transparent end. Scott often finds more transparent poems “boring” — Lee often has the reaction “so what” to more opaque poems. Both poets, however, are beginning to open each other’s eyes to the value of ku closer to the other end of the spectrum from what they naturally prefer. (Lee entertainingly summed up his attitude: “Too opaque is not superior to too transparent, perhaps only more pretentious.”)
Lee’s goal in editing the anthology is to reflect the current state of haiku in Japan: There, three schools of haiku exist, with their own organizations and standards: the traditional, the mainstream, and the gendai (more experimental). He wants to show that something like these three schools currently exist in English language haiku as well.
Lee gave some memorable examples of experimental and mainstream haiku from current journals. From Roadrunner, the journal Scott Metz edits, he cited the following (all of which I have represented as one line; I have no idea if some actually have line breaks or where the line breaks might occur — apologies to the authors if I have misrepresented your work):
moon flower the fragrance of names
their wings like cellophane remember cellophane
his kiss deepens midnight’s throat of stars
like a mosquito or an old empire city night
where I go searching bare trees ending sentences
baby beans racing moonlight
razored through to the void raven
bird me catch me
I see the iris and its stamina and am blue
From Modern Haiku he gave these more mainstream examples (same disclaimer as before — no idea where the line breaks occur, if any):
dusk rearranging silences
small town small talk big moon
october light I open my ribs to pray
insomnia two parts doubt one part moon
a coyote’s skull reconsidering the way
when fire had sentience winter solstice
someone’s last first cicada
floating in the sonogram summer moon
sparrows pour through a blue hole into our gray world
Traditional poetry, like that of Robert Spiess, is quite easy to find in most haiku journals.
For Lee himself as a haiku poet, balance between the extremes of experimental and traditional haiku is important. He enjoys experimenting, but also sees its dangers. He cites William Ramsay from a Roadrunner essay, “How One Writes in the Haiku Moment: Mythos vs. Logos”: “The haiku that Gilbert shows as models of disjunctive technique are excellent … [but] I don’t want to write … demo haiku .. I want to write haiku” that reflect events in his life and his feelings about them.” Ramsey wants to avoid the phenomenon of “disjunctive haiku as bludgeon,” overpowering and confusing the reader.
Some of Ramsey’s own haiku, which Lee considers to achieve this balance between experimental and traditional, are:
on a white plate two figs in syrup deep winter
cool pillow stuffed with pale lives I have sloughed off
born to live I hoe and ah born to die I kiss the melon [my comment: WOW]
Lee sees an approaching bifurcation in American haiku — it will become not a single movement of like-minded poets but will be more divided into schools like the Japanese haiku movement, with journals becoming more specialized and oriented toward one school or another. He sees this development as an indication of the maturity of American haiku — leaving its adolescence behind.
Lee asks, “Haiku will survive but what will it be?” His answer: There will be a cross-fertilization between haiku and other minimalist poetry. Haiku will come to emphasize both attention to the world around us and attention to the material, the language, of the poem. Unequivocally, Lee said, “I believe this is the technique that will produce the best haiku.”
Lee does hope that the haiku of the future will not abandon completely two important elements of traditional haiku: the notion of seasons (whether of the solar year or, more metaphorically, of life), and the idea of “an invitation to the reader.” He doesn’t want haiku to lapse into narcissism or solipsism, but to reach out to its audience.
The best haiku, Lee believes, will enable us to “enrich our connection to others so that we become the best poets and the best human beings we can be.”
I had really been looking forward to Charles Trumbull’s talk on “Verbs in Haiku” ever since I saw the title on the program. This is because I am a big geek and really like grammar. I even got excited when Charlie announced at the beginning of his lecture, “Things will get suddenly heavy now.” Hey, I like heavy! I was not disappointed. (And once again, any idiocies in the following discussion are certainly mine and not Charlie’s.)
Charlie is actually writing a book on grammar in haiku and his talk concerned his research into the role of verbs in strengthening or weakening haiku. He started out with the question — are verbs necessary in haiku? Traditionally, haiku present two separate images, usually noun-based, so perhaps verbs can be considered optional. He presented Cor Van der Heuvel’s haiku as an example:
the shadow in the folded napkin
To answer this question, Charlie read all the previous literature on verbs in haiku (which consisted of three articles, discussed below), and also examined 200 haiku from journals in two years, 2005 and 2008. He analyzed what verbs these haiku used, if any; what tense and mood they were; whether they were active or passive, transitive or intransitive, weak or strong. He considered the role of participles and gerunds in haiku. For all these categories he presented numerous examples from his research, which were fascinating but I will mostly skip them.
There were a few concepts Charlie went into in more depth, for instance the idea, very common among traditional haiku poets, that haiku should all be in the present tense. He presented a few quotes on the subject, for instance this one by Bruce Ross: “Haiku takes place in the present. This is its special feature.” Rebecca Rust, likewise, says unequivocally, “Haiku is a record of a present moment.” Jane Reichhold offers a slightly more nuanced explanation for her preference for present-tense haiku: stories are more gripping if told in the present tense.
Charlie did find that most haiku in his sample were written in the present tense, but presented several compelling examples of ku written in other tenses:
the crow flew so fast
that he left his lonely caw
behind the fields
— Richard Wright
a woman at last!
tonight, old moon,
you will have to sleep alone.
— Jim Tipton
Charlie also discussed the use of verbs in Japanese haiku, which are often difficult to translate into English precisely:
the faces of the dolls!
though I never intended to,
I have grown old.
— Seifu-jo (tr. Blythe)
In this haiku, Charlie said, the verb in the last line indicates a completed past action and might be more accurately translated as “old age had happened” — a sudden realization of the fact of the poet’s age.
Charlie discussed the three previous articles on verbs in haiku. The first, by Ted-Larry Pebworth, disparages weak verbs in haiku, saying that “ ‘to be’ is one of the most dangerous verbs available to the haiku poet.” Charlie tends to agree, saying that in his sample he could find no uses of the verb “to be” (the copula) used to represent simple equality. “Very few respectable haiku poets use this form anymore.”
However, one acceptable reason to use the copula is to convey the idea of transformation, as in this example by Fay Aoyagi:
new year’s eve bath —
I fail to become
The second essay, by Gustave Keyser, encourages the use of strong verbs as the “key to optimum effect in haiku.” One example Keyser gives, coincidentally, is the haiku that Gayle Bull cited as her favorite by Bob Spiess during the remembrances the night before. It was written about a bush in her own yard:
of the snow that fell
some lies on a common bush
Here “lies,” Keyser says, is “the precisely right verb for the mood of the poem.”
Charlie also agrees that strong verbs improve haiku and notes that the number of strong verbs increased from his 2005 to his 2008 sample.
The third essay, by Bob Spiess himself, advocates for the use of no verbs in haiku. This does not mean, Spiess says, that the haiku will not have, or need, a “verbal element,” but this function can be taken over by other words.
Charlie found that in his sample, one quarter of the haiku had no verb at all, but most did have some kind of “verbal element” obliquely indicating action. In some, a verb, whether the copula or a more active verb, seemed to be implied:
early spring walk
in my pocket
— Roberta Beary
(Here Charlie suggested that “is” is implied after “hand.”)
Nouns can also have verbal overtones:
after making love
the slow click
of her knitting needles
— Michael Overhofer
(Here “click” is a noun that implies a verb.”
Participles, obviously, can have a verbal function:
in the starling’s skull
mint gone to seed
— John Barlow
Here once again Charlie discussed the difficulty of translating haiku from the Japanese and points out that different translations of the same haiku might use a verb, a participle, or no verb at all.
To my delight, he also presented Jane Reichhold’s idea of “The Technique of Noun-Verb Exchange,” using a word that can be interpreted in the haiku as either a noun or a verb:
the willow strings
After all his research, Charlie feels that either a verb or some kind of verbal element is desirable in haiku — haiku that don’t have any kind of implied verb seem weaker to him. I am still thinking about whether I agree with him.
Had enough? Yeah, by this point I had too. Let’s take a break for lunch.
Highlights of last night’s festival events (which I was way too dead on my feet to post about last night):
The reception that opened the festival took place in Gayle Bull’s home, which is attached to the back of her store. It’s almost as full of books as the store.
I, unfortunately, am not the ideal person to report on reception-type events, because despite the impression you may get from this blog that I am the kind of person who never shuts up, I am actually paralyzingly shy in large crowds of people. Three at a time is about my maximum. Several dozen? None of whom I’ve ever met before? Most of whom seem to know each other? Not so much.
This is not to say that people weren’t friendly. Everyone I actually managed to meet and talk to was extremely welcoming and warm. Charlotte DiGregorio, the Midwest Regional Coordinator of the Haiku Society of America, with whom I corresponded earlier this summer about the conference, gave me some great tips about starting my own haiku group in Madison, and also some pointers about submitting my haiku to journals (which I have just recently, and very tentatively, started doing). Charlie Trumbull, a wonderful haiku poet and the venerable editor of what is probably the most prominent haiku journal in America, Modern Haiku, was kind enough to endure the gushing admiration of a newbie haikuist without throwing up.
(There was also really good chocolate at the reception, including one designed for the conference (by whom? must find out) called “Haiku.” It was in the shape of a leaf and was spicy and why didn’t I get a picture of it?)
During the reception Charlie was running around handing out sheets of haiku by Robert Spiess, the late editor of Modern Haiku whom the conference was commemorating. Everyone was meant to pick two from their sheet to read in the next phase of the evening …
We moved outside to take over the microphone of the singer-guitarist who had been quietly playing country and soft-rock standards all evening in order to present remembrances of Bob Spiess. I knew pretty much nothing about Bob at the start of the evening but by the end I almost felt I’d known him personally. Everyone emphasized his kindness and generosity, including Gayle’s two daughters who remembered his frequent visits to their home and the way he doled out quarters to them (at a time when a quarter would have been a much bigger deal to a kid than it is now).
Possibly the funniest story involved the time Bob visited Japan and was riding the bullet train with some other haikuists, and was very eager to see Mount Fuji. Then he had to use the restroom. The other poets watched in dismay as Mount Fuji flashed by while he was gone. He got a haiku out of it though, a very funny one which I am going to track down and add here.
Several people read Bob’s thoughts about what haiku is or should be. Lee Gurga, another amazing haiku poet who is Bob’s literary executor and took over the editorship of Modern Haiku after his death, read Bob’s list of what annoyed him in haiku, a lot of which are the same things that annoy me in haiku, including the overuse of words like “suddenly” and “silence.”
Someone else read an observation of Bob’s which really struck me (maybe because I’ve been thinking about this a lot lately myself): “Haiku is the poetry of the healing of culture by nature.” Bob’s poetry is definitely heavy on nature imagery, which I have recently disparaged, but it feels very natural in his poetry because he has clearly spent a lot of time observing and thinking about it:
around the bend
a log lying in the stream
— the turtle’s ears
Not that he doesn’t closely observe human beings too:
some sticks and pebbles
and a place with mud
a child by himself
a high mountain path
the guide saying that monkey
tastes better than goat
He wrote a whole series of haiku, in fact — Tall River Junction, inspired, obviously, by Edgar Lee Masters’s Spoon River Anthology — with titles that were people’s names:
Fr. Augustine Confesso, Paris Priest
Smiles, “The pear you eat,
snitched from the tree, my neighbor boy,
be it doubly sweet.
This last poem illustrates something that I found interesting about Spiess’s haiku, which is how often it employs rhyme — and how well the rhyme works:
drifting in the skiff …
names of all the swallows now:
tree and barn and cliff
The rhyme almost always follows this pattern of the first and third line rhyming.
One of the most touching moments of the evening occurred during the reading of Spiess’s haiku. A Korean woman with a strong accent stood up and announced she was going to read only the shortest poem on her sheet because she knew her accent would be difficult for us to understand:
Then she added: “I have the pleasure to know Bob Spiess and he was the pure kindness.”
We had a brief break before the next phase of the evening, which was readings from our own (or others’, if we preferred) haiku. Many poets seemed to take this opportunity to further lubricate themselves with the local beer and wine that was for sale. (I don’t drink, not because I have any moral or health objections to alcohol or am a recovering alcoholic or anything, just because I have never acquired a grownup taste for the stuff. Or for coffee, for that matter. Or liver and onions. All equally disgusting as far as I’m concerned.)
Anyway, by the time the readings began, the poets were becoming kind of rowdy. Rowdy haiku poets. Heckling each other. It was quite a scene. Lots of the haiku involved double entendres or just subtle (or frank) references to sex, which all got great reactions.
Most of the haiku that were read were frankly wonderful; I wrote lots of them down thinking I would post some of them here and then realized I really can’t do that without the permission of the authors. If I can get that, I may put some up later.
Lee Gurga read a great haiku by Peter Yovu, and some commentary about it (some of which is reproduced in the link above), and announced he’d give everything he’d ever written to have written it. Everyone was familiar with the ku before he even read it, except, of course, me. But now I am and I also love it.
I really liked the Korean guy who got up and told us about the article he’d just written about how the origins of haiku were in Korea. I believe it’s traditional for the Japanese and Koreans to argue about who invented pretty much every cultural phenomenon they share, so that was entertaining.
I chose to read my “Full Moon” sequence, although, as I announced beforehand, this was completely inappropriate because we are at or near a new moon right now. This was politely, though not wildly enthusiastically, received. We all have to start somewhere.
Which reminds me that I never actually posted a new haiku yesterday. But I did write one! I swear!
haiku poets can’t forget
when it was full
Here’s an announcement of a haiku festival that is taking place about an hour from my house (in southern Wisconsin) in September. I’m very excited to go and meet some other haiku groupies in person. (I’m also very curious about their assertion that southwestern Wisconsin is the birthplace of American haiku. Anyone know anything about the history behind that?)
It doesn’t seem like most of my readers live anywhere near the Midwest, but if you do, or are in the mood for a really long road trip, I’d love to see some of you there. Think about it …
Join haikuists from the U.S. and Canada for their Second Annual Cradle of American Haiku Festival, at 2 p.m., Friday, Sept. 10, to 1 p.m., Sunday, Sept. 12, at Foundry Books, 105 Commerce St., Mineral Point. The festival is open to the public, and beginning and experienced haikuists are welcome.
… The festival will include several workshops and presentations on the form and art of haiku/related Japanese poetic forms, readings of haiku, and Japanese art. This year’s theme is “Remembering Robert Spiess—His Life and Work.” Spiess was a longtime haikuist and author, and former editor of “Modern Haiku,” an international journal of haiku and haiku studies.
The festival will also feature an opening reception; a “Kukai,” a peer-reviewed haiku contest on the theme “Transitions;” Tai Chi, meditative exercises; a presentation on “Kodo,” Japanese incense; mini-critique sessions with award-winning poets and publishers; a social with cocktails and Midwest style picnic/tailgate; and a “ginko” walk to observe nature and write haiku. Haikuists may also participate in a sale of books they’ve authored.
At the festival, The Haiku Society of America will hold its annual national quarterly meeting to which the public is invited. However, the HSA is not sponsoring the festival.
Southwest Wisconsin is the birthplace of American haiku. Mineral Point is a scenic town of 19th century architecture, listed in the National Register of Historic Places, located in the region’s hills. It is about a 45- minute drive from Madison and Dubuque, IA.
The cost of the festival is $30 which includes workshops, all activities, reception, and picnic. For more information, with a schedule of events and lodging options, contact Charlotte Digregorio, Midwest Regional Coordinator, The Haiku Society of America, at email firstname.lastname@example.org or by phone at 847-881-2664.
Yesterday’s post on gendai haiku is now already my most popular post of all time, which kind of blows me away because I assumed a total of about three people would ever read it and at least two of them would hate it. This makes me think I should strike while the iron is hot and write my promised post on innovators in English-language haiku. Once again, try not to be put off by the fact that I have no idea what I’m talking about. Yes, I’m a newcomer to the haiku world, a rank amateur, probably nothing more than a poseur, but no one, at least, can accuse me of a lack of enthusiasm, which you will just have to accept in place of expertise.
A good place to start, I think, would be with a comment Scott Metz posted on troutswirl quite recently in response to the essay of Richard Gilbert’s I mentioned in another post the other day: The Morning After: Haiku Faces a New Century. Be forewarned, these are some pretty polemical remarks (as remarks by poets go). If you are not entirely sold on the whole gendai/avant-garde haiku scene, try not to be offended by them but to take them in the spirit of sincere love for haiku and the English language with which I believe Scott offers them:
“…Japanese haiku are indeed, very much so, a word-based poetry, not the enlightenment-‘moment’/zen-image-sketching-experience-based mantra so many continue to espouse and cling to. … [English language haiku] are … for the most part, still, ‘slavish imitations’ of translations of what westerners *think* Japanese haiku are. Creative oversimplifications, most of which lack internal energy/dynamics. creative misreadings are cool. but i think they’ve lost their virginal glow in this case. …
“One direction i find interesting for [English language haiku] is that of symbolism and literary allusions/references being used within them, either in a mythological way, or in a more canonically literary way. knowingly or unknowingly. …
“Japanese haiku, at their root, are not simply, or only, about images at all, or moments, or ‘real/true’ experiences … but about language and culture and literature: an intricately woven rug of all these elements. …
“What also strikes me … is how strangely satisfied those writing [English language haiku] are with their nature imagery. Considering how radical Basho and his followers were about always trying to do something new and fresh with kigo, it seems a shame, and kind of mortifying, that so many writing [English language haiku] don’t try to experiment more with nature/environmental imagery. To try to turn them on their heads. To twist them. Play with them. …
“I think folks writing [English language haiku] need to play more: with images, words and techniques. and that not just western poetry/poetics should be considered and sampled, but anything and everything we can get our hands on. which is why it’s exciting to see things like ‘kire’ and ‘ma’ and vampires and sufism and gendai popping up. what can we do with these things?”
— Scott Metz, comments on troutswirl
Well…I think I should let what Scott said stand as most of the commentary here, and dedicate my efforts to displaying haiku by sundry poets that I think meet at least some of his criteria for “playing” with the haiku form, doing something “new and fresh” instead of, in Scott’s immortal words, remaining content with the “enlightenment-‘moment’/zen-image-sketching-experience-based mantra.”
Whether we use the word “gendai” to refer to these poets or whether we should stick to some term more familiar to us in English like avant-garde, experimental, non-traditional, I think we can all agree that most of them are attempting something different than is espoused by the mainstream haiku movement in the English-speaking world, and closer to what gendai haiku poets in Japan are doing with the genre.
It seems logical to start with Scott himself. On his blog lakes and now wolves, Scott republishes those of his haiku that have been printed in journals. References to pop culture, politics, and current events are par for the course; so is a fresh (if sometimes somewhat obscure) use of language. A couple of examples:
the milky way . . .
we start to discuss
walrus with its mouth wide open war statistics
— Scott Metz
The next obvious place to go would be Roadrunner, the haiku journal Scott edits in accordance with his preferred haiku aesthetics. Here are some examples from issue IX: 4:
second dawn the dream ghosts re-rehearsing
— John Barlow
A candle is a sweet machine
to fly across the crow-
— Grant Hackett
A couple of other journals frequently feature non-traditional haiku, such as Modern Haiku. Here are a couple of examples from the Autumn 2009 issue (vol. 40:3):
reading a poem
of urbane intelligence
how dead it is
— William M. Ramsey
O what the hell
haiku poet finally
kills the fly
— Le Wild
Here are some examples from the journal Notes From the Gean (vol. 2 issue 1, June 2010).
for something to happen —
The Evening Standard
— Ruth Holzer – USA
the echo of fireworksthe echo ofthe echo
not speaking the boiled egg clings to its shell
— Bob Lucky – Ethiopia
Richard Gilbert, the gendai haiku scholar I referred to extensively in my essay on that topic, also is a haiku poet himself, some of whose recent, innovative haiku appear on the website Word Riot:
dedicated to the moon
without a decent alibi
a drowning man
pulled into violet worlds
(Publication. NOON: Journal of the Short Poem, vol. 1, Philip Rowland, ed., Tokyo: 2004, pp. 25-27.)
the curving radius
(Publication. NOON: Journal of the Short Poem, vol. 6, Philip Rowland, ed., Tokyo: Summer, 2008.)
— Richard Gilbert
Fay Aoyagi is another poet doing innovative work with haiku. In my gendai haiku essay I mentioned her website Blue Willow Haiku World, on which she presents many of her English translations of Japanese gendai haiku. Her own haiku are described by David Lanoue, in his Modern Haiku essay, Something with Wings: Fay Aoyagi’s Haiku of Inner Landscape, as “avant-garde” and “new-style.” Following are a couple of Fay’s haiku with enlightening commentary by David from his essay:
in the oyster shell
[Lanoue’s commentary on this haiku:]
“I believe that haiku is about discovery: the deeper the feeling of discovery, the better the haiku, in my opinion. In a great haiku we sense the poet finding out something in the process of composition, not reporting on a thing that has been previously mentally digested. When Aoyagi brings us with her to the table for her pre-surgery dinner, we suspect that she has no a priori idea that the journey will take us to a tiny ocean in an oyster shell. We arrive there with her, sharing the ‘ah!-moment’ of the vision and sensing its nonlinear, non-logical connection to the poet’s (and our) interior life. Thoughts of mortality, the fear of the surgeon’s knife, a vague feeling of dread and lament … so many emotions ebb and flow in the tiny ocean in the shell. The shell on the plate is itself a post-op carcass that on closer inspection becomes a gleaming continental shelf enclosing a tiny, salty sea. Aoyagi doesn’t say what she feels about her vision, whether it comforts or terrifies her; she invites us into the intimacy of the moment to contemplate for ourselves what it might mean.”
ants out of a hole —
when did I stop playing
the red toy piano?
[David’s general commentary on Fay’s technique:]
“Her decision to probe her inner life is not new in haiku tradition, though few do it as well or as interestingly. The contemporary Japanese poet Hasegawa Kai (whose work Aoyagi has translated) describes the shift from outer to inner focus within a haiku as a sort of kire or “cutting.” In a interview with Richard Gilbert, Hasegawa defines zengo no kire as “The cutting which cuts a haiku from this reality within which we live — from the literal place / environment / atmosphere (‘ba’) of literal existence.” Such cutting, according to Hasegawa, entails a shift of focus from outward scenes to the “realm of the mind” — exactly Fay Aoyagi’s method.”
— Fay Aoyagi/David Lanoue, Something with Wings: Fay Aoyagi’s Haiku of Inner Landscape
There are a number of haiku bloggers I’ve discovered (many of whom also publish in journals, but I know their work mainly through their blogs) who, consciously or unconsciously, play with the traditional Western haiku form with interesting results. For example, John Sandbach of Crystal Dragon says, “I am deeply enamoured of the modern haiku of Japan, which, like modern art, is of many styles and energies, and which is constantly recreating itself as it unfolds. Unfortunately, the West is still primarily focused on traditional haiku and has not yet tuned in to the wonders of modern Japanese experimental artisans of this form.” Below is one of his haiku sequences:
Lettuce’s Bliss: 5 Haiku
in a hippo’s jaws —
the lettuce’s bliss
for tearing up a violet
so I ate it
On T.V. a spider
liquifies a frog —
spring in Kansas City
a stone mason —
servant of the endless wall
smooth and white —
the pyramid’s youth
— John Sandbach
Nicole Hyde of the blog “noodle,” who commented on my gendai haiku post, “I’ve bought a ticket on the Gendai Haiku train too,” has some interesting examples of nontraditional haiku on her site. Since she is also a painter, her haiku often refer to art.
unbound, the English
Bay in fog —
not seen: some weird duck
soundlessin the night museum
from end to end —
— Nicole Hyde
Alan Segal, or “Old Pajamas,” from the blog “old pajamas: from the dirt hut,” innovates in many ways, often describing what are clearly imaginary or fantasy scenes.
mourner’s kaddishdoes the fly, too,
wear a yamulke?
unwrapping an impossibly blue bird, flown from a castle keep
— Alan Segal
Brian Pike of paiku describes his poetry as “Haiku. More or less.” In the Q&A for his site he explains:
But aren’t haiku meant to be exactly 17 syllables long?
You’re right. They’re also meant to include a seasonal reference (kigo) and a structural break (kireji). But I’ve never been good at following rules.
If your poems don’t meet the criteria for haiku, why confuse the issue?
I like haiku. I think these are similar in mood and intention. And I quite enjoy confusion.
A few of Brian’s “paiku” follow:
For idea of cat
To go away
There’s a big field
Where you can dig up
Everything you ever lost
— Brian Pike
Yi Ching-Lin of the blog y writes primarily short free verse but occasionally writes haiku, and they are generally nontraditional, as in this recent example (the link on the second line connects to Yi’s photography):
it happens daily (6 June 2010)
it happens dailywith a wounded twist— Yi Ching-Lin
Anne Lessing, the teenage writer of the blog “Phantasma,” who is just beginning to write haiku (and intends to start a project of writing haiku daily in January 2011), has produced some very interesting haiku about zombies based on the video game “Call of Duty,” one of which I’ve reproduced below:
that flower looked so pretty
so I choked it
with my child’s blood
— Anne Lessing
Finally, Elissa of The Haiku Diary writes daily haiku describing events in her life, some of which are simply quotidian or jokelike, but many of which seem to transcend the category of mere diary-entry and evoke deeper feelings and meanings.
The second of the two haiku of Elissa’s I’ve quoted below is especially interesting in light of Scott Metz’s and Richard Gilbert’s discussions of the way haiku has always been in a dialogue with the past, constantly referring back to previous poetry and other literature and history. In a way this haiku of Elissa’s, referring as it does to a famous haiku of Basho’s (“The bee emerging/from deep within the peony/departs reluctantly”), is both modern and completely classical — so it seems like an appropriate place to bring this post to an end. Hope it was a fun ride.
Front and Center, June 8, 2010
Closing my eyes and
swaying with the music makes
me that girl, but so what?
watched a bumble bee stumble
out of a peony!
— Elissa of The Haiku Diary