I’ve always acquired books at an alarming rate, but in the past I also read books at an alarming rate, so my life was kept in a pleasing state of equilibrium. Now that the internets have turned me into a distracted, flighty creature with the attention span of a dragonfly, books pile up in untidy drifts around my house, often unread or even unopened, no matter how eager I was to read them when I acquired them.
When I do manage to finish reading a book, it’s usually because it was so good I couldn’t help myself, and then, perversely, instead of moving efficiently along and reading some new book, I go back and read it again. I’m a voracious re-reader. I probably spend at least half of my reading time re-reading things, through most of the process asking myself in alternate anguish and admiration, “How did they do it?” Usually I don’t figure it out but it’s worth it, to be so amazed and delighted so much of the time.
In case some of you could use some amazement and delight, here’s a rundown of what I’ve been re-reading lately.
Welcome to the Joy Ride: Haibun, by Peter Newton
This book contains many wonderful things, among them my new favorite sentence: “A fine mist wets the garden and by garden I mean produce section.” This is the first sentence in the haibun “Daydreaming at Night,” which you have to read. (I keep wondering whether Peter had one of my favorite non-haiku poems, Allen Ginsberg’s “A Supermarket in California,” in mind when he wrote it — what peaches and what penumbras!) You also have to read the haibun “Welcome to the Joy Ride,” “Prayer for a Stranger,” “The Deli Clerk,” “Home Remedy,” “Unspeakable,” “Pinwheels,” “The SX-70,” “Borderline, “My America,” and okay fine, you have to read the whole thing. Peter’s style is light and deft and funny, insightful and enlightening without being heavy-handed — basically perfect for haibun, which should take itself neither too seriously nor too flippantly. Just read it, ok? and tell me if you figure out how he did it.
Haiku 2015, ed. Lee Gurga and Scott Metz
This series is only two books old but it’s already established itself as the best way to save time if you’d like to quickly find fifty or sixty or a hundred new haiku that you really, really love. Like these:
the beach road the beach house the beach painting the rain
–Adan Breare
one dark bird in snow rummaging the invisible
–Susan Diridoni
snow through teeth in
…….the window a glass
–Eve Luckring
cosmos as cranium as cavern as temple as map as board game
–Michael Nickels-Wisdom
the pill I’m told to swallow
has a name
like a remote moon
–Chad Lee Robinson
This edition honors the late Martin Lucas and the principles in his classic essay “Haiku as Poetic Spell,” something else you should just go read immediately if you’ve somehow managed to miss it.
see haiku here, by Kuniharu Shimizu
When this book arrived at my house all the way from Japan, there was much rejoicing. For years I’ve been in awe of Kuni-san and his spare, beautifully designed haiga, and I got, um, slightly excited when he illustrated some of my haiku a few years ago. There are actually two volumes in this series; one contains haiga with haiku by Basho and the other are Kuni-san’s own haiku, which quite frankly stand up very well against Basho. Sometimes when I look through this book I think we probably should just hire Kuni-san full-time to illustrate All the Haiku because, you know, they look better that way. Also, they kind of force you to spend the proper amount of time that should be spent reading haiku, instead of whipping through them like a maniac the way I sometimes have a sad tendency to do. Here’s one of my favorites of Kuni-san’s own:
Out of Translation, by Aubrie Cox
It’s true that I have a personal attachment to this chapbook because Aubrie selected and sequenced the haiku in it by lining up little slips of paper on my living room floor one day last winter. (This is the kind of thing that happens to you when half your friends are haiku poets.) However, the rest of my attachment comes from my amazement at how effectively Aubrie’s haiku transport me to and through the childhood, adolescence, and young adulthood of a girl in the countryside of central Illinois, where I have never been and, if I am being perfectly honest, never have any desire to go, except sometimes when I’m reading Aubrie’s poetry. She writes with utter simplicity and clarity and the kind of emotional honesty that can be a little heartbreaking sometimes.
rainy Monday
another crumpled
paper crane
country church
forget-me-nots
between the floorboards
spring rain
a joker taped
to the spokes
toys
my father couldn’t fix…
spring rain
opening the shed–
cigarette smoke
from last fall
Into the Light, by Harriot West
I wrote a review of this book of haibun and it appeared in Frogpond 38.2, so reading that is probably the best way to find out what I think about the book (spoiler alert: I like it a lot). I think I read Into the Light at least three times before I wrote the review and I’ve probably read it another three times since, so that’s like six times in less than a year which, you do the math. I need Harriot to write some more haibun so I have something else to re-read.
Red Dragonfly 