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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. As with any new venture in scholarship, we have been heartened by a worldwide response to our inaugural issue of the journal in the realization that Juxtapositions clearly fills a critical role in the evolution of haiku scholarship in English. In this issue, authors from New Zealand and the U.K. respectively tackle diverse subjects: the former, Sandra Simpson, examining the role haiku played in the poetry of the First World War; the latter, Judy Kendall, how viewing haiku (Japanese script) as opposed to reading it (Latin alphabets) differ under the aesthetic conceptof jo ha kyū. Two further scholarly articles round out this issue’s selection: Ian Marshall and Megan Simpson ask the question, Can haiku be deconstructed?; and Charles Trumbull makes the case for Shiki’s practice of shasei to be taken as more than the simple “sketch from nature” that has characterized it in the West. This issue also is dedicated to, and celebrates, the life in haiku of poet, scholar, anthologist and publisher Cor van den Heuvel. Editor of the seminal The Haiku Anthology now in three editions and still in print after forty years, van den Heuvel’s contribution to haiku, and haiku in America in particular, are undisputed. Haiku Foundation founder Jim Kacian provides an insightful interview, focusing on the poet’s early chapbooks of the 1960s, and van den Heuvel’s life dedication to haiku. In addition, Melissa Allen offers a retrospective review of The Haiku Anthology and its place in the canon. 5 JuxtaPOSITIONS 1.1 Editor Randy Brooks builds on his exemplary bibliography of monographs on haiku literature provided in Juxta 1.1, with a comprehensive list of theses and dissertations related to haiku in English. The lost art of fine bibliography is obviously alive and well here. And Juxta editors Stephen Addiss and Jim Kacian offer their commentary on this issue’s haiga. We do hope you enjoy this new issue of the journal. This effort would not be possible without the tireless work of the editors, nor without the full support of The Haiku Foundation. If you find these scholarly articles worthy, please consider becoming a submitting author. Warm regards, Peter McDonald Senior Editor [email protected] < 6 JuxtaPOSITIONS 1.1 Snapshots:1 Haiku in the Great War Sandra Simpson ABSTRACT: Amid the death and destruction of the World War 1 battlefields, amid the mud, blood and chaos young men in the trenches were writing poetry, including haiku. How had haiku moved from Japan to western Europe and how established was it in the early years of the 20th century? And in this centenary year of the battles on the Gallipoli peninsula (in Turkey in 2015, with the Somme in 2016 and Passchendaele in 2017), it is timely to consider the way haiku can be used as tool for remembrance and honouring. 1. Although the word ‘snapshot’ was already in use before World War 1, it became one of the words and phrases used in the trenches that passed into common use: Snapshot – from a quickly aimed and taken rifle shot. Accessed July 13, 2015. http://terebess.hu/english/haiku/taneda3.html. 7 JuxtaPOSITIONS 1.1 juxta young men march away — the mountain greenness is at its peak — Santōka Taneda (1882 – 1940) tr John Stevens2 Introduction June 28 marks the anniversary of the First Battle of Kosovo in 1389, in which Serbia was defeated by the Ottoman Turks (the Sultan was, however, assassinated in his tent) and although Serbia did not truly lose its independence until the Second Battle of Kosovo in 1448, June 28 is a day of great significance, not to say sorrow, to Serbian nationalists. In 1914 there was added fuel on that day as Archduke Franz Ferdinand, heir to the Austro-Hungarian empire and all waxed moustaches, feathered helmet and gleaming medals, inspected imperial armed forces in Bosnia and Herzegovina. The annexation of Bosnia in 1908 had outraged Serbian nationalists, who believed the country should have become part of the newly independent and ambitious Serbian nation. After the inspection, Archduke Franz Ferdinand and his wife Sophie – with minimal security – went to Sarajevo, Bosnia’s capital, to open a museum. June 28 was also Franz Ferdinand’s wedding anniversary and this too has some bearing on why he was in Sarajevo that day. His beloved wife was denied royal status in Austria due to her birth as a poor Czech aristocrat, and their children were treated poorly at court. She could never sit by his side on any public occasion, except in a place where royal etiquette was unclear – a place such as annexed Bosnia. Waiting for the royal pair were six assassins from the Young Bosnia group, which wanted a pan-Serbia (pan-Yugoslavia), all young men who were “walking dead” as they all had tuberculosis. However, the assassins weren’t up to much, missed the royals a couple of times and seemed to lose interest. 2. Mountain Tasting by John Stevens. 8 JuxtaPOSITIONS 1.1 two Heading for their car at the Sarajevo Town Hall, moments before the assassination, from the Europeana 1914-1918 collection, via Wikipedia. “We see a pleasant couple on a sunny morning. They are a little plump, perhaps, and well into middle age. Clearly they are people of wealth and consequence. They are sitting in an expensive open car, a rarity at the time. She is elegant in a white dress and hat. Although the photograph is black and white, we know from other sources that the flowers she carries are roses, blood-red ones. He is wearing a military uniform. As she looks on approvingly, he shakes the hand of a local dignitary.3 “The man leaning down from the car is Archduke Franz Ferdinand, heir to the throne of Austria-Hungary, that vast and ancient empire at the heart of Europe. By his side is his wife, Sophie. As it happens, they are about to celebrate their wedding anniversary. By all accounts the marriage has been a very happy one. Nevertheless, the old emperor and his court disapprove of her because she comes from the wrong social class and they humiliate her at every opportunity. But today Franz Ferdinand and Sophie are in Sarajevo, far from Vienna and its rigid etiquette, and she is being received with full honours as his equal. 3. A Picture Before Dying: Franz Ferdinand and Sophie, Sarajevo, 1914 by Margaret MacMillan, Time magazine (July 16, 2014). 9 JuxtaPOSITIONS 1.1 juxta “The photograph was taken . on June 28 1914, and they have less than three hours to live. Young assassins, backed and armed by shadowy forces in Serbia, are waiting among the onlookers. Even then, the couple so nearly escape their fate. One bomb misses and others among the plotters lose their nerve. Then, while trying to flee, the driver of the car takes a wrong turn. As he fumbles with the gears to back up, the last of the assassins steps up and shoots the passengers, point blank.” The assassin is a 19-year-old loitering on a street corner after having given up on the plot. Seeing his chance, Gavrilo Princep steps forward to enter history and for a century afterwards credited with being the tinder that started World War 1. But the tensions in Europe that year were such that the fabric was likely to ignite anyway – and there were plenty of other sparks waiting to fly. On July 28, Austria-Hungary declared war on Serbia, and the tenuous peace between Europe’s great powers collapsed. Within a week, Russia, Belgium, France, Great Britain and Serbia had lined up against Austria-Hungary and Germany, and World War 1 had begun. Over the course of four years (1915 – 18) New Zealand lost the most men per capita of any of the British Empire countries – 18,166 out of a population of just 1.1 million – although other Allied countries had much greater numerical and relative losses, including France, Romania, Greece and Serbia.4 So what gladness and sadness must have been felt privately and publicly all around the world on the 11th hour of the 11th day of the 11th month in 1918, the first Armistice Day.
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