DOCSLIB.ORG

July 2015 HSA Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
July 2015 HSA Newsletter 1 -XO\ FROM THE PRESIDENT, DAVID LANOUE 9ROXPH ,VVXH 'HDU0HPEHUV 0XFKRIZKDW,KDYHWRVD\ZLOOVRXQGIDPLOLDUWRWKRVHRI\RX Contents ZKRKDYHEHHQNHHSLQJWUDFNRI+6$QHZVYLDRXUHEXOOHWLQV VHQWRXWRQWKHILIWKGD\RIHDFKPRQWKE\,JQDWLXV)D\$IHZ From the President 1 Ripples PHPEHUVKRZHYHUFRQWLQXHWRUHFHLYH LQKDUGFRS\² From the Treasure 5 DQGZHFRQWLQXHWRPDLOKDUGFRSLHVIRUWKHVDNHRIKLVWRU\WR WKH$PHULFDQ+DLNX$UFKLYHVLQ6DFUDPHQWR²VRDELWRI From the Secretary 6 UHSHWLWLRQLVZDUUDQWHG HSA News 7 7KHILUVW+6$TXDUWHUO\PHHWLQJRILQ7RN\RRQ0DUFK Print Publications 13 ZDVKHOGLQFRQMXQFWLRQZLWKDJDWKHULQJRIWKH0HJXUR Contest Results 16 ,QWHUQDWLRQDO+DLNX&LUFOH7KH6DWXUGD\PRUQLQJVSHDNHUV Call for Submissions UHSUHVHQWLQJ+6$LQFOXGHGPH ,VSRNHRQWKHFKDOOHQJHVRI 19 KDLNXHGXFDWLRQLQWKH86LQWKHFRQWH[WRI+6$¶VPLVVLRQ Regional News 21 3KLOLS5RZODQGZKRVKHGOLJKWRQFRQWHPSRUDU\H[SHULPHQWDO Upcoming Events 35 KDLNXDQG6KRNDQ7DGDVKL.RQGRZKRH[DPLQHG(]UD3RXQG¶V Remarks on Tony ³,QD6WDWLRQRIWKH0HWUR´SRHPDVWKHEHJLQQLQJRI(QJOLVK Virgilio 37 ODQJXDJHKDLNX5HSUHVHQWLQJWKH0HJXUR&LUFOH-XLFKL0DVXGD VSRNHRQWKHKLVWRULFDOXQGHUSLQQLQJVRI-DSDQHVHgendai PRGHUQ KDLNX6LPRQH.%XVFKWDONHGDERXWWKHKDLNX PRYHPHQWLQ*HUPDQ\DQG0DVDDNL2NDDIRUPHUVWXGHQWRI ͻ 5+%O\WKVKDUHGVRPHIDVFLQDWLQJSHUVRQDOUHFROOHFWLRQV DERXWWKLVLPSRUWDQWKDLNXWUDQVODWRUDQGFULWLF%HWZHHQDQG SHRSOHSDUWLFLSDWHGLQDWOHDVWRQHRIWKHVHVVLRQV WKH6DWXUGD\PRUQLQJSUHVHQWDWLRQVWKH6DWXUGD\ DIWHUQRRQZRUNVKRSDQGWKH6XQGD\KDLNXZULWLQJH[FXUVLRQWR .DPDNXUDZKHUHZHYLVLWHGWKHQHLJKERULQJJUDYHVRI'7 6X]XNLDQG5+%O\WKDVZHOODVWKHdaibutsu.DPDNXUD V PDVVLYHEURQ]HVWDWXHRIDVHDWHG%XGGKD 2 $VH[SHFWHGPRUHSDUWLFLSDQWVFDPHIURPWKH0HJXURJURXSWKDQIURP+6$VR,PDGHVXUHWRJLYH HDFKQRQ+6$DWWHQGHHDFRS\RIRXUODWHVWPHPEHU VDQWKRORJ\DQGLQIRUPDWLRQDOKDQGRXWVLQFOXGLQJ DPHPEHUVKLSIRUP5HFHQWLVVXHVRIFrogpondZHUHDOVRGLVSOD\HGDQGGLVWULEXWHG7KH+6$RZHVD GHEWRIJUDWLWXGHWR<DVXRPL.RJDQHLWKHOHDGHURIWKH0HJXUR&LUFOHIRUKLVFKHHUIXODQGKHOSIXO FRRSHUDWLRQ7KDWVDPHZHHN,SDLGDYLVLWWR7RN\R V0XVHXPRI+DLNX/LWHUDWXUHZKHUH,ZDV JUDFLRXVO\ZHOFRPHGE\6KXJ\R7DNDKD3UHVLGHQWRIWKH$VVRFLDWLRQRI+DLNX3RHWV0U7DNDKDWRRN PHRQDWRXURIWKHDUFKLYHZKHUHKHVKRZHGPHWKHILUVWLVVXHRIFrogpond )HE+6$DQQXDO GXHVZHUHRQO\ DQGHYHQPRUHLPSUHVVLYHO\WKHILUVWLVVXHRIHototogisuHGLWHGE\6KLNLLQ ,ZDVDOVRKDSS\WRDWWHQGRXUVHFRQGTXDUWHUO\PHHWLQJODVWPRQWKLQ2UODQGR)ORULGD6WDQIRUG0 )RUUHVWHUJDYHDVWLPXODWLQJWDONRQ³7KH+DLNX%HH%RSRI-DFN.HURXDF WKH%HDWV´DIWHUZKLFK ZHYLVLWHGWKHQHDUE\.HURXDF+RXVHIRUDVSHFLDOWRXUHQMR\LQJER[OXQFKHVRQWKHODZQZKHUH-DFN RQFHVSRXWHGKDLNXDQGZURWHDharma Bums7KHFRQIHUHQFHWKHQUHFRQYHQHGDW5ROOLQV&ROOHJH ZKHUHZHKHOGDEULHI+6$EXVLQHVVPHHWLQJIROORZHGE\6WDQIRUG¶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³WKULFH\HDUO\´PHHWLQJVWKXVVRPHZKDWUHOLHYLQJWKHZRUNORDGRIIXWXUH+6$ SUHVLGHQWV,WZDVSRLQWHGRXWWKDWLQWKH³ROGGD\V´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¶OOQHHGWRZDLWXQWLORXU$XJXVWFRQIHUHQFHFDOOWRKDYHRXURIILFLDO YRWHRQWKLVFKDQJH7KLVLVEHFDXVHDFFRUGLQJWRRXUE\ODZVZLWKLQWKUHHPRQWKVRIUHFHLSWRIDQ DPHQGPHQWPDGHE\WKH([HFXWLYH&RPPLWWHHEDOORWVPXVWEHVHQWWRDOOPHPEHUV6LQFHZH¶OO DOUHDG\EHSD\LQJIRUDQRQOLQHEDOORWLQ1RYHPEHUZHFDQRIILFLDOO\SURSRVHWKHDPHQGPHQWLQ $XJXVWDQGWKUHHPRQWKVODWHUYRWHRQLWLQ1RYHPEHU 3 7KLVZLOOJLYHDOORIXVSOHQW\RIWLPHWRPXOOWKLVRYHU GLVFXVVLWDPRQJRXUVHOYHVDQGVKDUHLGHDVDQGRSLQLRQVZLWK WKH(&DQGRUZLWK\RXU5HJLRQDO&RRUGLQDWRU $QRWKHURXWFRPHRIWKH0D\SKRQHPHHWLQJRIWKH(&ZDVWR GHFLGHWRJRWRRQOLQHRipplesDQGRQOLQHYRWLQJLQ 3UHVHQWO\ZHKDYHRQO\DIHZPHPEHUVZKRFRQWLQXH WRUHTXHVWKDUGFRS\RipplesDQGEDOORWV7RVDYHFRS\LQJDQG PDLOLQJH[SHQVHVDQGWRPDNHWKHWDVNRIWKHQHZVOHWWHU HGLWRUMXVWDELWHDVLHU LQOLJKWRIP\KRSHWRPDNHDOORIRXU RIILFHVDELWOHVVFOXWWHUHGZLWKZRUNDVZHHQWHUWKHHOHFWLRQ VHDVRQ ZH¶OODQQRXQFHLQWKH)DOOLVVXHRIRipples ERWK HOHFWURQLFDQGKDUGFRS\ WKDWDVRIWKHIHZPHPEHUV ZKRUHFHLYHKDUGFRSLHVZLOOQHHGWRDFTXLUHDFFHVVWRHPDLO LQRUGHUWRUHFHLYHWKHRQOLQHEDOORWDQGOLQNVWRRipples DV ZHOODVRXUPRQWKO\HEXOOHWLQV 2QH(&PHPEHUUDLVHGWKHTXHVWLRQ:KDWDERXWDQHOGHUO\ PHPEHUZKRFDQ¶WYLVLWWKHSXEOLFOLEUDU\¶VFRPSXWHUV WRVWD\ FXUUHQWZLWK+6$":HGHFLGHGWKDWVXFKPHPEHUVFRXOG VLPSO\UHTXHVWIHOORZPHPEHUVWRSULQWRXWDQGPDLOWKH QHZVOHWWHUWRWKHPDVDSHUVRQDOIDYRUEXWWKDWWKLVZRXOGQRW EHWKHIRUPDOUHVSRQVLELOLW\RIWKH+6$VHFUHWDU\$V, PHQWLRQHGHDUOLHUZH¶OODOVRPDNHVXUHWKDWZHDOZD\V DUUDQJHIRUDYROXQWHHUWRSULQWRXWDQGPDLODKDUGFRS\RI HDFKQHZVOHWWHUWRWKH$PHULFDQ+DLNX$UFKLYHVLQ 6DFUDPHQWR 2QHDJHQGDLWHPWKDWZHGLGQ¶WJHWWRGXULQJWKH0D\(& FRQIHUHQFHFDOOLVP\SURSRVDOWRFUHDWHDSODQQLQJFRPPLWWHH IRU+6$¶VWKDQQLYHUVDU\LQ$WWKHPHHWLQJLQ 2UODQGRZHGLVFXVVHGYDULRXVLGHDVIRUWKLV\HDUORQJ FHOHEUDWLRQVXFKDVSXEOLVKLQJDVSHFLDOILIWLHWKDQQLYHUVDU\ ERRNDQGPDNLQJDOORIRXUPHHWLQJVLQLQWHUQDWLRQDO LQYLWLQJUHSUHVHQWDWLYHVRIKDLNXJURXSVIURPDURXQGWKH ZRUOG,I\RX¶UHLQWHUHVWHGLQVHUYLQJRQWKHWKDQQLYHUVDU\ SODQQLQJFRPPLWWHHOHWPHNQRZ )LQDOO\,ZRXOGOLNHWRWKDQN5DIIDHO'H*UXWWROD.DWKOHHQ 2¶7RROH(OL]DEHWK0RVHUDQG7RP0RUJDQIRUUHSUHVHQWLQJ +6$DWWKHUHFHQWPHHWLQJRIWKH$PHULFDQ/LWHUDWXUH $VVRFLDWLRQLQ%RVWRQ7KHLUSDQHORQ³1LFN9LUJLOLRDQG $PHULFDQ+DLNX´GLGXVSURXG +DSS\VXPPHU 'DYLG/DQRXH +6$3UHVLGHQW GDYLGJHUDUG#KRWPDLOFRP 4 Terri L. French, artistically talented hostess of the second quarterly meeting in Orlando. Photo by David G. Lanoue. Stanford M. Forrester speaking at the second quarterly meeting in Orlando, Florida. Photo by David G. Lanoue. 5 FROM THE TREASURER, BILL DEEGAN HSA 2015 Financials As of March 31 we took in $19,667 in dues and contributions and need another $12,133 to meet 2015 our budget. Year-to-date 3/31/15 Actual Income over expenses was $12,998 year-to- date, however most expenses are yet to Beginning cash balance $ 66,630 come. We still have two frogpond, the Anthology and contest expenses ahead this year. Dues / Contributions 19,667 Cash balance @ 3/31 was $79,628. Members Anthology Sales 96 Please renew your membership early to help Contest Fees 0 keep dues low. Late renewals cost the HSA more due to the higher shipping costs of small Frogpond Sales 510 quantities of frogpond. Miscellaneous 61 -Bill Deegan, HSA Treasurer Income 20,334 Frogpond Expenses 5,359 Newsletter Expenses 513 Administrative Expenses 125 Members Anthology Expenses 0 Contest Awards / Expenses 231 Meetings/Travel Expenses 1,008 Grants/Sponsorships 100 Expense 7,335 Surplus/(Deficit) $ 12,998 Ending cash balance $ 79,628 6 FROM THE SECRETARY, MOLLIE DANFORTH 6HFUHWDU\¶V5HSRUW As of May31, 2015, there were 756 members. Under 50 do not have an email address. HSA is going all electronic for all communications other than Frogpond and for voting. Let me know of your new email address. New members come in every month. A big problem for HSA is late renewals causing extra mailings of Frogpond. Dues should be paid by December 31 for the next year. Unfortunately about 200 members fail to meet this deadline, increasing the burden on HSA volunteers. I plan to resign after this year so HSA Is looking for a new secretary to manage the membership records. Please contact me if you are interested. Mollie Danforth 4016 Harris Place Alexandria. VA 22304 [email protected] 7 HSA NEWS preserve and promote haiku and related poetry throughout the North American continent. Ruth Yarrow Appointed as New Honorary Curator after the garden party the garden of the American Haiku Archives Ruth Yarrow was born in 1939 in southern The American Haiku Archives advisory board is New Jersey and grew up in small college towns pleased to announce the appointment of Ruth from North Dakota to Ohio. ,QWKHVD Yarrow as the 2015ʹ2016 honorary curator of QDWXUHVWXG\FDPSVKHDWWHQGHGLQWKH%OXH the American Haiku Archives at the California 5LGJH0RXQWDLQVRI9LUJLQLDOHGKHUWRFKRRVH State Library in Sacramento (www.american $QWLRFK&ROOHJHLQ2KLRIRULWVVWURQJ haikuarchives.orgͿ͘dŚŝƐŚŽŶŽƌƌĞĐŽŐŶŝnjĞƐZƵƚŚ͛Ɛ HQYLURQPHQWDOHGXFDWLRQSURJUDP6KHWDXJKW four decades of devotion to haiku poetry and its VFLHQFHZLWKWKH3HDFH&RUSVLQ*KDQDDQGWKHQ innate environmental concerns, together with HDUQHGD0DVWHUVGHJUHHLQHFRORJ\IURP&RUQHOO her surefooted work in teaching haiku in 8QLYHUVLW\While on the environmental studies classrooms, workshops, and essays. It also faculty of Stockton State College in New Jersey honors the example of her poetry, which excels in the early 70s she taught a course on the in both domestic
Load more

Recommended publications
  • Haiku Attunement & the “Aha” Moment
    Special Article Haiku Attunement & the “Aha” Moment By Edward Levinson Author Edward Levinson As a photographer and writer living, working, and creating in Japan spring rain for 40 years, I like to think I know it well. However, since I am not an washing heart academic, the way I understand and interpret the culture is spirit’s kiss intrinsically visual. Smells and sounds also play a big part in creating my experiences and memories. In essence, my relationship with Later this haiku certainly surprised a Japanese TV reporter who Japan is conducted making use of all the senses. And this is the was covering a “Haiku in English” meeting in Tokyo where I read it. perfect starting point for composing haiku. Later it appeared on the evening news, an odd place to share my Attunement to one’s surroundings is important when making inner life. photographs, both as art and for my editorial projects on Japanese PHOTO 1: Author @Edward Levinson culture and travel. The power of the senses influences my essays and poetry as well. In haiku, with its short three-line form, the key to success is to capture and share the sensual nature of life, both physical and philosophical. For me, the so-called “aha” moment is the main ingredient for making a meaningful haiku. People often comment that my photos and haiku create a feeling of nostalgia. An accomplished Japanese poet and friend living in Hokkaido, Noriko Nagaya, excitedly telephoned me one morning after reading my haiku book. Her insight was that my haiku visions were similar to the way I must see at the exact moment I take a photo.
    [Show full text]
  • Kigo-Articles.Pdf
    Kigo Articles Contained in the All-in-One PDF 1) Kigo and Seasonal Reference: Cross-cultural Issues in Anglo- American Haiku Author: Richard Gilbert (10 pages, 7500 words). A discussion of differences between season words as used in English-language haiku, and kigo within the Japanese literary context. Publication: Kumamoto Studies in English Language and Literature 49, Kumamoto University, Kumamoto, Japan, March 2006 (pp. 29- 46); revised from Simply Haiku 3.3 (Autumn 2005). 2) A New Haiku Era: Non-season kigo in the Gendai Haiku saijiki Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (4 pages, 1900 words). Introduction to the Muki Saijiki focusing on the muki kigo volume of the 2004 the Modern Haiku Association (Gendai Haiku Kyôkai; MHA). This article contains the translation of the Introduction to the volume, by Tohta Kaneko. Publication: Modern Haiku 37.2 (Summer 2006) 3) The Heart in Season: Sampling the Gendai Haiku Non-season Muki Saijiki – Preface Authors: Yûki Itô, with Richard Gilbert (3 pages, 1400 words). An online compliment to the Introduction by Tohta Kaneko found in the above-referenced Muki Saijiki article. Within, some useful information concerning the treatments of kigo in Bashô and Issa. Much of the information has been translated from Tohta Kaneko's Introduction to Haiku. Publication: Simply Haiku Journal 4.3 (Autumn 2006) 4) The Gendai Haiku Muki Saijiki -- Table of Contents Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (30 pages, 9300 words). A bilingual compilation of the keywords used in the Muki Saijiki Table of Contents.
    [Show full text]
  • The History of Australian Haiku and the Emergence of a Local Accent
    The History of Australian Haiku and the Emergence of a Local Accent Author: Rob Scott, B.A. Dip Ed. College of the Arts, Writing, Communication and Culture Discipline Group, Victoria University Submitted in fulfillment of the requirements of the degree of Masters by Research March, 2014. Table of Contents The History of Australian Haiku and the Emergence of a Local Accent ....................................................... i Table of Contents ............................................................................................................................................................... ii Abstract .................................................................................................................................................................................iv Acknowledgements ........................................................................................................................................................... v Student Declaration .........................................................................................................................................................vi Prologue to Thesis ............................................................................................................................................................. 1 Australia’s First Haiku? ............................................................................................................................................... 1 Chapter 1 – Introduction to Thesis ............................................................................................................................
    [Show full text]
  • Biblio:Basho-27S-Haiku.Pdf
    Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging in Publication Data Matsuo Basho¯, 1644–1694. [Poems. English. Selections] Basho¯’s haiku : selected poems by Matsuo Basho¯ / translated by David Landis Barnhill. p. cm. Includes bibliographical references and index. ISBN 0-7914-6165-3 — 0-7914-6166-1 1. Haiku—Translations into English. 2. Japanese poetry—Edo period, 1600–1868—Translations into English. I. Barnhill, David Landis. II. Title. PL794.4.A227 2004 891.6’132—dc22 2004005954 10 9 8 7 6 5 4 3 2 1 Basho¯’s Haiku Selected Poems by Matsuo Basho¯ Matsuo Basho¯ Translated by, annotated, and with an Introduction by David Landis Barnhill STATE UNIVERSITY OF NEW YORK PRESS for Phyllis Jean Schuit spruce fir trail up through endless mist into White Pass sky Contents Preface ix Selected Chronology of the Life of Matsuo Basho¯ xi Introduction: The Haiku Poetry of Matsuo Basho¯ 1 Translation of the Hokku 19 Notes 155 Major Nature Images in Basho¯’s Hokku 269 Glossary 279 Bibliography 283 Index to Basho¯’s Hokku in Translation 287 Index to Basho¯’s Hokku in Japanese 311 Index of Names 329 vii Preface “You know, Basho¯ is almost too appealing.” I remember this remark, made quietly, offhand, during a graduate seminar on haiku poetry.
    [Show full text]
  • English Translations of Hokku from Matsuo Basho's Oku No Hosomichi
    xi The Beat of Different Drummers: English Translations of Hokku from Matsuo Basho's Oku no hosomichi Mark Jewel (Waseda University) Haiku is without question Japan's most successful literary export. Indeed, along with judo in the field of sports and, more recently, anime and video games, haiku is one of only a handful of Japanese cultural products that can be said to have acquired an international following of any significant size. Haiku in English boasts a history in translation of over one hundred years, and an active "haiku community" of original poets that dates back at least as far as the first regularly published magazines of English haiku in the 1960s. As one indication of just how popular English haiku has become in the past quarter century, it may suffice to point out that more than ten single­ volume anthologies of haiku in English have been published since the first such anthology- Cor van den Heuval's The Haiku Anthology (Garden City, N.Y.: Anchor Books)--came out in 1974. 1 Small wonder it may seem, the~ that the poetic travel diary Oku no hosomichi, by Matsuo Bash6 (1654-1694), which contains fifty ofBashO's hokku, has been translated into English more frequently than any other major work of Japanese literature, with no fewer than eight complete published versions. 2 Part of the purpose of this paper is to suggest that, in fact, eight different versions cannot be called an overabundance in this case. But before turning to an examination of some of the hokku from Okuno hosomichi to help justify this assertion, I think it will be helpful to review the changing fortunes of haiku in English over the past hundred years, for the current high regard in which BashO's poetry is held by both translators and English-language haiku poets by no means reflects its reputation among the first serious foreign students of Japanese literature.
    [Show full text]
  • View Digital Version
    JuxtaPOSITIONS 1.1 juxtatwo Research and Scholarship in Haiku 2016 The Haiku Foundation 1 JuxtaPOSITIONS 1.1 juxtatwo ISBN 978-0-9826951-3-5 Copyright © 2016 by The Haiku Foundation JUXTAtwo is the print version of Juxtapositions 2.1. A journal of haiku research and scholarship, Juxtapositions is published by The Haiku Foundation. The Haiku Foundation PO Box 2461 Winchester VA 22604-1661 USA www.thehaikufoundation.org/juxta Senior Editor Peter McDonald General Editors Stephen Addiss Randy M. Brooks Bill Cooper Review Editor Ce Rosenow Haiga Editor Stephen Addiss Managing Editor Jim Kacian Technical Manager Dave Russo Proofreader Sandra Simpson 2 JuxtaPOSITIONS 1.1 Contents Snapshots: Haiku in the Great War . Sandra Simpson …… 7 Haiga: “Christmas Eve” . Pamela A. Babusci ..… 47 Jo Ha Kyū and Fu Bi Xing . Judy Kendall ..… 49 Haiga: “first snow” . .Ion Codrescu ..… 85 Masaoka Shiki and the Origins of Shasei . Charles Trumbull ..… 87 Haiga: “coloring” . Terri L. French … 123 Deconstructing Haiku . Ian Marshall & Megan Simpson … 125 Haiga: “the first dip” . Ron C. Moss … 149 a stick over the falls: A Juxta Interview of Cor van den Heuvel … 151 Haiga: “on my own” . Marlene Mountain … 183 Do We Know What a Haiku Is? . Melissa Allen … 185 Cor’s Cores: Interpretations . Various Authors … 205 Unfolding Destiny . Michael DylanWelch … 217 Intertextual Poetics . Ce Rosenow … 233 Haiga: “Montauk IXX” . Ellen Peckham … 241 Haiku Theses and Dissertations . Randy. M. Brooks, Ph.D. … 243 Haiga: “willow fluff” . Stephen. Addiss … 281 Juxta Haiga Commentary . Stephen Addiss & Jim Kacian … 283 Juxta Contributors … 287 Juxta Staff … 291 3 JuxtaPOSITIONS 1.1 4 JuxtaPOSITIONS 1.1 Editor’s Welcome Welcome to JUXTATWO: Research and Scholarship in Haiku.
    [Show full text]
  • Japanese Haiku FM Final:Japanese Haiku FM Final 5/5/11 3:26 PM Page I
    Japanese Haiku FM final:Japanese Haiku FM final 5/5/11 3:26 PM Page i The Japanese Haiku Japanese Haiku FM final:Japanese Haiku FM final 5/5/11 3:26 PM Page iii The Japanese Haiku b y KENNETH YASUDA TUTTLE PUBLISHING B O S T O N • RUTLAND, VERMONT • TOKYO Japanese Haiku FM final:Japanese Haiku FM final 5/5/11 3:26 PM Page iv Japanese Haiku FM final:Japanese Haiku FM final 5/5/11 3:26 PM Page v To Gedatsukongo– Japanese Haiku FM final:Japanese Haiku FM final 5/5/11 3:26 PM Page vii contents Foreword by Robert B. Hall ix Acknowledgments xii Introduction xvii I AN APPROACH TO HAIKU 3 II BASIC PRINCIPLES 10 1. Aesthetic Attitude 11 2. Aesthetic Experience 15 3. Haiku Moment 31 III HAIKU NATURE 34 1. Form and Content 34 2. Haiku Experience and Length 38 3. Three Elements 52 When 53 Where 61 What 62 4. Relationship of the Three Elements 69 5. Five-Seven-Five 78 Japanese Haiku FM final:Japanese Haiku FM final 5/5/11 3:26 PM Page viii viii Contents IV CRYSTALLIZATION 90 1. Haiku Art 90 2. Haiku Rhythm 103 3. Rhyme in Haiku 118 4. Alliteration in Haiku 127 Initial Alliteration 128 Stressed Alliteration 130 Syllable Alliteration 131 Oblique Alliteration 132 Buried Alliteration 134 Crossed Alliteration 135 5. Assonance in Haiku 136 V HISTORICAL VIEW 139 1. Poetic Forms 140 Pre-Haiku Period 141 Tanka Period 150 Renga Period 161 2. Seasonal Element 185 VI THE ENGLISH HAIKU: CONCLUSIONS 235 SELECTED HAIKU 241 Notes 264 Bibliography 282 Index 289 Japanese Haiku FM final:Japanese Haiku FM final 5/5/11 3:26 PM Page ix FOREWORD T HAS BEEN SAID that every age produces its Shake- speare.
    [Show full text]
  • Basho's Haikus
    Basho¯’s Haiku Basho¯’s Haiku Selected Poems by Matsuo Basho¯ Matsuo Basho¯ Translated by, annotated, and with an Introduction by David Landis Barnhill STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging in Publication Data Matsuo Basho¯, 1644–1694. [Poems. English. Selections] Basho¯’s haiku : selected poems by Matsuo Basho¯ / translated by David Landis Barnhill. p. cm. Includes bibliographical references and index. ISBN 0-7914-6165-3 — 0-7914-6166-1 1. Haiku—Translations into English. 2. Japanese poetry—Edo period, 1600–1868—Translations into English. I. Barnhill, David Landis. II. Title. PL794.4.A227 2004 891.6’132—dc22 2004005954 10 9 8 7 6 5 4 3 2 1 for Phyllis Jean Schuit spruce fir trail up through endless mist into White Pass sky Contents Preface ix Selected Chronology of the Life of Matsuo Basho¯ xi Introduction: The Haiku Poetry of Matsuo Basho¯ 1 Translation of the Hokku 19 Notes 155 Major Nature Images in Basho¯’s Hokku 269 Glossary 279 Bibliography 283 Index to Basho¯’s Hokku in Translation 287 Index to Basho¯’s Hokku in Japanese 311 Index of Names 329 vii Preface “You know, Basho¯ is almost too appealing.” I remember this remark, made quietly, offhand, during a graduate seminar on haiku poetry.
    [Show full text]
  • A Glossary of Literary Terms A: Arabic/Persian/Farsi; Gr: Greek; L: Latin; J: Japanese; Fr
    http://www.ahapoetry.com/whbkglo.htm A Glossary Of Literary Terms A: Arabic/Persian/Farsi; Gr: Greek; L: Latin; J: Japanese; Fr. French; K: Korean; Heb: Hebrew. In the Japanese language nouns are the same in both the plural and singular form. When we adopt the word in English, we honor this by refraining to add the ‘s’ of our plural. In indicating pronunciations, the letter within the parenthesis shows the word the sound is taken from but is itself not spoken. accent – AC(t)-SENT (L: accentus – song added to speech) Greater articulary force, resulting from greater musculatory exertion in forming a sound. This may be achieved by raised or lowered pitch, or duration or a combination of both. Though some find differences between accent and stress, the two words are often used interchangeably. acrostic – A-CROSS-TIC (Gr. at the tip of the verse) In an acrostic verse the first letter, or the last, of each line or stanza adds up to the name of the topic, the author, addressee or the title of the work. The oldest examples are from Babylonian texts from1,000 B.C. Both Chinese ring poems (which can be read by starting anywhere in the poem) and Japanese poems use the acrostic. ageku -AH-GAY-COO (J: completing verse) The last stanza of a renga. The link that attempts to summarize the whole work with a reference to the beginning stanza. aishôka AA-EYE-SHOW-KAH (J: laments) One of the designated topics for the organization of poems within an anthology and of certain stanzas of a renga.
    [Show full text]
  • Kigo Without Season: a Presentation of the Japanese Muki Saijiki
    The Heart in Season: Sampling the Gendai Haiku Non-season Muki Saijiki[1] Translators: Yūki Itō, Tomoko Murase, Ayaka Nishikawa, Tomoko Takaki Compiler and editor: Richard Gilbert Preface by Yūki Itō, with Richard Gilbert About a decade ago, Tohta Kaneko wrote An Introduction to Haiku,[2] an illuminating presentation of haiku culture. Within, two main attitudes toward seasonal themes (kidai) or seasonal keywords (kigo) are discussed: the divergent approaches typified by Bashō and Issa. Bashō's attitude toward kidai tends toward idealism, while Issa takes an approach related with realism. These two attitudes to seasonal themes or keywords continue today. Bashō lived like a traveling-hermit and pursued deep philosophical thought, while Issa lived a penniless life among the masses. Bashō comes from the samurai class, while Issa hails from the farmer or peasant class. Bashō celebrates a penniless life because such a lifestyle finds sympathy with the renunciation of desire. Issa, on the other hand, felt that such a glorification of poverty was based on the stable status of the samurai class, and that Bashō did not know real poverty. We might say that Bashō is an illuminating philosopher, but he has a certain strain of idealism (“a thing useless for daily life is beautiful” is a Bashō aphorism), where Issa is more the realist. These two haiku poets' philosophies and attitudes toward seasonal keywords are strikingly different. Before discussing this point further, it seems useful to clarify some of the technical terms used. From a philological point of view, the term “haiku' did not exist in the Edo period (from circa 1600).
    [Show full text]
  • A Bibliography of Online Books, Journals and Exhibitions on Haiku, Senryu and Tanka in English
    A Bibliography of Online Books, Journals and Exhibitions on Haiku, Senryu and Tanka in English Randy M. Brooks, PhD Millikin University Decatur, Illinois Last updated: August 15, 2020 Journals, web sites, databases with books, journals and web-site exhibitions currently indexed in this bibliography (as of the latest update) include: Africa Haiku Network <https://africahaikunetwork.wordpress.com> AHA Poetry (and AHA Online Books) <http://www.ahapoetry.com/> Alaska Haiku Society <http://home.gci.net/~alaskahaiku/index.html> American Haiku Archives <https://www.americanhaikuarchives.org/> American Tanka <http://www.americantanka.com/> Anglo-Japanese Tanka Society <http://www.tankasociety.com/> Ardea <http://www.ardea.org.uk/index.html> Asashi Haikuist Network <http://www.asahi.com/ajw/special/haiku/> Atlas Poetica <http://atlaspoetica.org/> The Art of Haiku <http://www.geraldengland.co.uk/hk/> Bare Bones Bonze <http://edbaker.maikosoft.com/> Bones: Journal for Contemporary Haiku <http://www.bonesjournal.com/> Boulder Haiku Group <http://haikutimes.com/> British Haiku Society <http://britishhaikusociety.org.uk/> Brooks Books <http://www.brooksbookshaiku.com/> Cattails <http://www.unitedhaikuandtankasociety.com/> Chrysanthemum (Bregengemme) <http://www.bregengemme.net/> Contemporary Haibun Online <http://contemporaryhaibunonline.com/> Daily Haiga <http://www.dailyhaiga.org/> Daily Haiku <http://www.dailyhaiku.org/> Denis M. Garrison Poetry <https://denisgarrison.wordpress.com/> Eucalypt <http://www.eucalypt.info/> Failed Haiku <https://failedhaiku.wordpress.com/>
    [Show full text]
  • The Five Hundred Essential Japanese Season Words
    THE FIVE HUNDRED ESSENTIAL JAPANESE SEASON WORDS Selected by Kenkichi Yamamoto Translated by Kris Young Kondo and William J. Higginson Edited for Renku Home with added information on the seasonal system by William J. Higginson Use the following links to navigate to specific areas in the season word list, or just scroll down through it. See below for a summary of these categories, and for help finding specific terms in the list. Click here for background on the origin of this list. Here is an explanation of one of this list's important features: the parts of the seasons. Click here if you would like to propose an addition to a new season word list. (Search first to make sure that it's not already included!) SPRING SUMMER AUTUMN WINTER NEW YEAR The Season The Season The Season The Season The Season The Heavens The Heavens The Heavens The Heavens The Heavens The Earth The Earth The Earth The Earth The Earth Humanity Humanity Humanity Humanity Humanity Observances Observances Observances Observances Observances Animals Animals Animals Animals Animals Plants Plants Plants Plants Plants NEW! Each entry includes the name of the relevant time period. Clicking on the this time period takes you to an explanation of when this is in the Gregorian calendar. There is another list of season words on the WWW, a kiyose by Hiromi Inoue of the Shiki Team in Matsuyama, Japan. To access it, scroll down to the table about half-way down the following page: http://shiki1.cc.ehime-u.ac.jp/~shiki/kukai.html. I don't know what Mr.
    [Show full text]