the chill of
Modern Haiku 42:2, Summer 2011
the chill of
Modern Haiku 42:2, Summer 2011
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.
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?)
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
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
— vincent hoarau
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 –
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
— Eiji Hashimoto, translated by Fay Aoyagi
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.
collages onto matchboxes
doesn’t count as “Write!”.
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.
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:
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.
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
— Anne Lessing
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”:
trying to make it fit like the old one
— Aubrie Cox
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?
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.
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!
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:
crouches on a lotus leaf —
— Chen-ou Liu
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
– 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”
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
— 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.
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.
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.
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.
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:
deeper and darker
the taste of tea
— Mary Ahearn
she let me
— Yu Chang
new year’s day all my anxieties in alphabetical order
leaves too small
to touch each other
— Burnell Lippy
maybe I don’t need
to be right
— Harriot West
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).
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.
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!
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!