Frogpond 34.1 • Winter 2011
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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. -
October 2011 HSA Newsletter
Ripples Volume 26, Number 3 Haiku Society of America Newsletter October 2011 From the President erate momentum within our organiza- support to tion. More and more people are offering contribute to help out. Our secretary, Angela Terry, to the haiku Dear Members: routinely sends me names of people and larger who have noted on their membership literary have really appreciated the chance to forms that they’d like to volunteer. I’ve communi- serve the HSA for a second year, and I enjoyed the chance to correspond with ties, and I I am especially thankful to the executive those members and to work with them am abso- committee officers and regional coordi- to find the best ways for them to con- lutely cer- nators for their dedication and hard tribute. In some cases, we’ve added tain that the work on behalf of the HSA and English- their names to a growing list as we de- work of HSA President Ce Rosenow language haiku. I’m also very grateful to velop more volunteer opportunities for volunteers at the Dodge Poetry Festival the many HSA members who have vol- in Newark, New Jersey on the future. In other cases, there have helps those unteered to lead workshops; to serve on October 8, 2010 been clear affiliations between the inter- communi- Photo by Charlie Larsson our education, history, and publicity ests of the volunteers and particular ties better committees; and to participate on HSA HSA needs. The HSA is a stronger, more understand, panels at conferences and meetings vibrant organization because of the gen- and make use of, what we have to offer. -
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. -
Japanese Haiku and Contemporary English-Language Haiku
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Japanese Haiku and Contemporary English-Language Haiku ガーガ リー GURGA Lee Introduction R.H. Blyth wrote that haiku is Japan’s greatest gift to world culture. Who am I to argue with that? It is a great gift and I am grateful to the Japanese people for it. I shall try to show my gratitude today by demonstrating that it has been embraced by the English-speaking world. I have been asked to address the following questions: • How are the haiku of Bashō and other Japanese poets understood and appreciated in the United States? • What kinds of haiku are considered good or are popular? • How do Americans accept haiku as literature? • What are the evaluation standards for selecting haiku? • When one composes a haiku, what are the crucial points? Bashō and Japanese haiku in the West To begin with the fi rst question: How are past Japanese haiku, for example those of Bashō, understood or appreciated in the United States? - 157 - You might be surprised to hear that a familiarity with haiku in general and Bashō in particular is widespread in the West. So widespread that even the writers of the TV series “The Simpsons” expect their audience to know who Bashō is. There are a surprising number of translations of Bashō’s haiku in English, and more seem to appear every year. This attests to the high regard in which classical Japanese haiku are held in the West. As a result of the introduction of haiku as a Zen art, it is seen by many to be part of a spiritual path. -
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 ............................................................................................................................ -
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. -
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. -
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. -
Travel Is Home Travel and Landscape in Japanese Literature, Art, and Culture
TRAVEL IS HOME TRAVEL AND LANDSCAPE IN JAPANESE LITERATURE, ART, AND CULTURE Paper Abstracts (in alphabetical order): Sonia Favi, John Rylands Research Institute, The University of Manchester Meisho as Spaces of Contested Social Meaning in Edo Japan: The Case of Mount Fuji My paper discusses the role of maps and commercial prints of meisho as ways to re-discuss the meaning of space, and consequently the social and geographical boundaries imposed by the bakuhan state, in Edo Japan. The contested nature of the centralized social system imposed by the Tokugawa bakufu has been the object of a lively debate in studies on Edo Japan (see Tsutsui, 2007). Travel studies may provide fresh insight into this debate, as travel, a common practice within the bakuhan state (Ashiba, 1994; Vaporis, 1994; Vaporis, 1995; Nenzi, 2008; Funck and Cooper, 2013), was and is strictly entwined with social mobility, in a way that alters and marks social and cultural landscapes (Lean and Staiff, 2016). This process of transformation is reflected in travel literature, including disposable culture such as commercial prints and maps: these materials, in fact, “mirror and reproduce a whole range of taken-for-granted notions [about] understandings of history and culture.” (Hogan, 2008, 169) Representations of meisho are particularly interesting when analyzed in this perspective, as they were invested with (different, contested) meanings by a wide range of social actors: they were part of a new “official” landscape – a controlled landscape strategically devoid of travelers – in Tokugawa sponsored maps; they were invested with both religious and commercial meaning in religious maps; they were projected into a lyrical past in representations meant for a cultured audience; they were used as a way to reclaim spaces that for practical or normative reasons could not materially be experienced in other popular, commercial representations – that became “virtual” ways to defy boundaries and social conventions. -
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. -
TWENTY-FOUR SHIKISHI Michael Dylan Welch
ESSAYS 75 TOUCHING THE MOON: TWENTY-FOUR SHIKISHI Michael Dylan Welch we can almost touch the spring moon Teijo Nakamura n September 17, 1978, for the tenth anniversary of the Haiku Society of America, the society’s annual meeting in ONew York City was a particularly special occasion. It included a visit by a distinguished haiku scholar and notable poet from Japan, and the donation of twenty-four shikishi, or poem cards, to the society. Te society’s twentieth anniversary book, A Haiku Path, portrays the event as follows (163): and the haiku poet Sumio Mori were invited by the HSA to come from Japan to speak on haiku. Held on September 17 at Japan House in New York City, this historic occasion was opened by HSA President Cor van den Heuvel welcoming the distin- guished speakers and thanking those who had helped make the event possible, especially the co-sponsor, Japan Society, HSA of Haiku Literature, and Japan Air Lines. A short address by Yukio Sugano, representing the Consul General of Japan, stressed the universality of haiku and the value of the HSA’s - ers. Takako Lento interpreted for them as they gave their talks. A Haiku Path as being “the most influential haiku critic and commentator in 76 FROGPOND 41:1 the haiku journal Kanrai (Cold Tunder) from 1957 to 1971, and was one of Japan’s leading haiku poets. Te talks given by these two poets and scholars appeared in Frogpond 1:4, 1978, and in A Haiku Path (pages 163 to 173). As is common among the Japanese, the two visitors came with a generous gift, described as follows in A Haiku Path (174): Messrs. -
MY HAIKU PATH by Cor Van Den Heuvel
MY HAIKU PATH by Cor van den Heuvel Ladies and gentlemen, I'm honored to be here.i I am going to talk about my personal haiku path, a path I've been on since 1958-almost half a century. Before I came to it I'd already been trying for about ten years to be a writer. Pursuant to that ambition I had graduated from the University of New Hampshire with a degree in English Literature in 1957 and went to work as a newspaper reporter for the Concord Monitor in the state capital. After several months at this job I one day picked up a copy of the second issue of The Evergreen Review at a newsstand and read about the literary renaissance going on in San Francisco. The Bay Area poets Robert Duncan, Jack Spicer, and Gary Snyder were among its major figures as were several of the Beat writers, including Jack Kerouac and Allen Ginsberg. The selections from their writings that were in the review were so innovative and refreshing that I determined to go to San Francisco to experience the renaissance personally. I arrived in San Francisco in the early spring of 1958 and lived in a small residential hotel on the edge of Chinatown until late autumn, working at odd jobs-such as selling encyclopedias-and exploring the poetry scene in North Beach as often as I could. At the bar of a popular hangout for writers called The Place, I met one of the poets from the Duncan circle and was invited to attend their regular gatherings.