Decatur Haiku Collection at Millikin University
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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. -
Frogpond 36.2 • Summer 2013 (Pdf)
F ROGPOND T HE JOURNAL O F T HE H AIKU SOCIET Y O F A MERICA V OLUME 36:2 S PRING/SUMMER 2013 About HSA & Frogpond Subscription / HSA Membership: For adults in the USA, $35; in Canada/Mexico, $37; for seniors and students in North America, $30; for everyone elsewhere, $47. Pay by check on a USA bank or by International Postal Money Order. All subscriptions/memberships are annual, expiring on December 31, and include three issues of Frogpond as well as three newsletters, the members’ anthology, and voting rights. All correspondence regarding new and renewed memberships, changes of address, and requests for information should be directed to the HSA secretary (see the list of RI¿FHUVS). Make checks and money orders payable to Haiku Society of America, Inc. Single Copies of Back Issues: For USA & Canada, $14; for elsewhere, $15 by surface and $20 by airmail. Older issues might cost more, depending on how many are OHIW3OHDVHLQTXLUH¿UVW0DNHFKHFNVSD\DEOHWR+DLNX6RFLHW\RI America, Inc. Send single copy and back issue orders to the Frogpond editor (see p. 3). Contributor Copyright and Acknowledgments: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Neither the Haiku 6RFLHW\RI$PHULFDLWVRI¿FHUVQRUWKHHGLWRUDVVXPHUHVSRQVLELOLW\ IRUYLHZVRIFRQWULEXWRUV LQFOXGLQJLWVRZQRI¿FHUV ZKRVHZRUNLV printed in Frogpond, research errors, infringement of copyrights, or failure to make proper acknowledgments. Frogpond Listing and Copyright Information: ISSN 8755-156X Listed in the MLA International Bibliography, Humanities Interna- tional Complete, Poets and Writers. © 2013 by the Haiku Society of America, Inc. Francine Banwarth, Editor Michele Root-Bernstein, Associate Editor Cover Design and Photos: Christopher Patchel. -
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REDISCOVERING BASHO ■i M ft . ■ I M S 0 N ;V is? : v> V,•• I 8 C: - :-4 5 1k: ; fly j i- -i-h. • j r-v?-- m &;.*! .! * sg ‘Matsuo Basho’ (Basho-o Gazo) painting by Ogawa Haritsu (1663-1747) (Wascda University Library, Tokyo) REDISCOVERING BASHO A 300TH ANNIVERSARY CELEBRATION f,:>; TED BY r.N HENRY GILL ' IDREW GERSTLE GLOBAL ORIENTAL REDISCOVERING BASHO A 300TH ANNIVERSARY CELEBRATION Edited by Stephen Henry Gill C. Andrew Gcrstlc First published 1999 by GLOBAL ORIENTAL PO Box 219 Folkestone Kent CT20 3LZ Global Oriental is an imprint of Global Boohs Ltd © 1999 GLOBAL BOOKS LTD ISBN 1-901903-15-X All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the Publishers, except for the use of short extracts in criticism. British Library Cataloguing in Publication Data A CIP catalogue entry for this book is available from the British Library Set in Bembo llpt by Bookman, Hayes, Middlesex Printed and bound in England by Bookcraft Ltd., Midsomer Norton, Avon Contents List of Contributors vii 1. Introduction - Shepherd’s Purse: A Weed for Basho 1 STEPHEN HENRY GILL 2. An Offering of Tea 13 MICHAEL BIRCH ; o and I: The Significance of Basho 300 Years after 16 his Death . - 'NEHIKO HOSHINO 4. ■ seiuation of Basho in the Arts & Media 24 : C HEN HENRY GILL 5. ri : ao has been Found: His Influence on Modem 52 Japanese Poetry VlIROFUMI WADA 6. Laughter in Japanese Haiku 63 NOBUYUKI YUASA 7. -
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. -
SPRING 2010 Land O’Lakes Tourism Association - by Ken Hook, LOLTA
Regional Green Vision & Strategy Project SPRING By Anne Marie Young, County of Frontenac Local municipal and economic development organizations have joined forces to create a regional green vision and strategy that founding partners expect will position the Kingston- Frontenac-Lennox and Addington area as a global leader in energy and the environment. Frontenac County, the Kingston Area Economic Development Corporation, and the Frontenac Community Futures Development Corporation secured $60,000 from the Frontenac CFDC through the Eastern Ontario Development Program (EODP) and launched a Regional Green Vision and Strategy project to move the region forward on this front. The idea of building a regional effort emerged from a workshop held in Kingston in the spring of 2009, participants looked at the wind turbines then going up on Wolfe Island, the sustain- ability plans coming forward in Frontenac County and the City of Kingston, research taking place at our post-secondary education institutions, the development of a solar farm nearby, the continued development of SWITCH, and many other ‘green’ developments. It was realized that the region has the critical mass to become known as a green region and there is reason to capitalize on the opportunity. The Regional Green Vision and Strategy project is focused on bringing the region’s stake- holders together in a shared effort to establish awareness of this critical mass, attract attention outside the region, and encourage further activity within the region. Early in 2010, additional stakeholders will be invited and encouraged to become part of the green initiative. Looking for a New Business Opportunity? The Frontenac Stewardship Council, through Eastern Ontario Development funding from the Frontenac CFDC, is developing a business plan that explores the feasibility of a local busi- ness providing septic haulage from ‘water-access only’ properties in Frontenac County. -
Dissection of the Haiku Tradition
http://fayaoyagi.wordpress.com/essay/ Dissection of the Haiku Tradition: Ten Short Essays on Japanese Kigo by Fay Aoyagi Flowers and Plants In this series of essay, I will discuss one of the traditional elements of haiku: the kigo. I would like to share the view of a non-traditionalist. My focus will be on how I use a kigo when I write a haiku in English. Though many of the samples I use will be the work of Japanese haiku poets, my main purpose is not to compare Japanese-language haiku with English-language haiku. Also, my intention is not to tell you how you should write a haiku. I believe in diversity and I trust the voice of a haiku poet. I hope that my approach to kigo will help you deepen your haiku experiences. This first article is about flowers and plants. I plan to write future installments about animals and birds, moon and wind, and holidays and observances. Comments are welcome, but I am not planning to seek haiku submissions for my articles. In American haiku, the linkage between nature and human has been emphasized. In most published haiku in the United States, the poet is invisible; one remains only an observer of nature. Many American haiku poets seem to believe that haiku should be a subdued sumi-e or a quiet still life. But haiku can be as colorful as van Gough’s paintings or as abstract as the work of Picasso. The core of my haiku is my emotion as a woman, as a Japanese person, and an immigrant. -
Frogpond 35.1 • Winter 2012
frogpond The Journal of the Haiku Society of America fr g Volume 35, Number 1 Winter, 2012 About HSA & Frogpond Subscription / HSA Membership: In the USA: adults $35; seniors (65+) & students (full-time) $30. In Canada and Mexico: $37; seniors & students $32. For all others: 47 USD. Payment by check on a USA bank or by In- ternational Postal Money Order. All subscriptions/memberships are annual, expire on December 31, and include three issues of Frogpond as well as three newsletters and voting rights. All correspondence regarding new and renewed memberships should be directed to the HSA Secretary (see p. 186). Make checks and money orders payable to Haiku Society of America, Inc. Single copies of back issues postpaid: In USA & Canada, $12; elsewhere, $15 seamail; $20 airmail. These prices are for recent issues. Older ones might cost more, depending on how many are left. Please enquire first. Make checks payable to Haiku Society of America, Inc. Send all orders to the Frogpond Edi- tor (see next page). Changes of Address and Requests for Information: Such concerns should be directed to the HSA Secretary (see p. 186). Contributor Copyright and Acknowledgments: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Neither the Haiku Society of America, its officers, nor the editor assume responsibility for views of contributors (including its own officers) whose work is printed in Frogpond, research errors, infringement of copyrights, or failure to make proper acknowledgments. Frogpond Listing and Copyright Information: ISSN 8755-156X Listed in the MLA International Bibliography and Humanities Inter- national Complete © 2012 by the Haiku Society of America, Inc. -
Simply Haiku Vol
Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 SIMPLY HAIKU Vol. 10 No. 3 SPRING / SUMMER 2013 Co-owned by Robert D. Wilson and Saša Važić 1 Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 Features 2 Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 Haiku is Dead TO BE OR NOT TO BE An Experiment Gone Awry Part VI: An Essay on Haiku Aesthetics By Robert D. Wilson "Since becoming the sport of amateurs and ignoramuses, haiku have become more and more numerous, more and more banal." Masaoka Shiki Tr. by Janine Beichman Masaoka Shiki His Life and Works Skinhead the words Fuck You carved on his forehead Jack Galmitz New York, U.S.A. Spot ImPress 2013 Published by Dimitar Anakiev at his facebook group Haiku Masterclass, October 12, 2013. My father, mouth and anus wide open --- a shining cloud Ban'ya Natsuishi Japan Mending the holes of my raincoat - that's the way I became a Marxist Dimitar Anakiev Slovenia Mending the Holes of My Raincoat 3 Simply Haiku Vol. 10 No. 3 – Spring / Summer 2013 new fish pond – the cat learns to swim Lorin Ford Australia Shiki Kukai, June 2005 (9th place) as the world fails saxophone in the lips of a walrus Marlene Mountain U.S.A. Haiku 21 2011 frost-covered window I add a rubber ducky to the bubble bath Roberta Beary Washington D.C., U.S.A. First Prize Winner of the 2012 Kiyoshi and Kiyoko Tokutomi Memorial Haiku Contest botanic gardens a plastic daisy dangles from a woman's hat Ernest Berry New Zealand Honorable Mention of the 2013 23rd Ito en Oi ocha New Haiku Contest nevertheless fall colors Christopher Patchel U.S.A. -
Ploc¡ La Revue Du Haïku Numéro Réalisé Par Christian Faure
La revue du haïku N° 69 – Juin 2017 Association pour la promotion du haïku www.100pour100haiku.fr SOMMAIRE 1. Préambule par Christian Faure 5 2. Le paradoxe sur la mondialisation du haïku par Katsuhiro HORIKIRI 7 3. La marque de la salutation chez Seigetsu Inoue par Katsuhiro HORIKIRI 15 4. Entretien avec Katsuhiro HORIKIRI 22 Ploc¡ la revue du haïku Numéro réalisé par Christian Faure 1. PRÉAMBULE Christian FAURE Le projet kigo a été porté au sein de la revue Ploc et dès son origine, avec pour objet la présentation et transmission des aspects essentiels du haïku à la japonaise, tout en portant une attention importante au développement des mots de saison dans la pratique du haïku francophone. Pour certaines raisons, il est ensuite resté en sommeil pendant longtemps, jusqu’à ce qu’un numéro spécial puisse voir le jour. Il apparaissait essentiel et naturel de donner ici la voix à des japonais francophones sur les notions et interrogations que véhicule le haïku. C’est avec quelques regrets que nous n’avons pu recevoir les textes de Kosuké mais nous souhaitons le remercier chaudement pour sa participation à Ploc tout au long de ces années. Le lecteur trouvera un premier texte de Katsuhiro HORIKIRI (Le paradoxe sur la mondialisation du haïku) qui répond à sa manière aux questions d’interculturalité que les poètes francophones peuvent se poser. Katsuhiro nous évoquera ainsi les interrogations des japonais sur la mondialisation du haïku et la recherche d’une définition mondiale de ce poème, malgré d’éventuels problèmes de transpositions qui pourraient se poser. -
Celebrating Sustainability
Get me every issue Become a member! InsiderVolume 32, Number 1 • January–March 2017 Finding Balance Through Retreat: Wintergreen to carry out strategic plan- by Rena Upitis ning. The simple yet comfort- able accommodations include i n t e r g r e e n private rooms, shared rooms, Studios is a year- woodland cabins, and tent spac- round wilderness es for those who prefer to sleep retreat centre. under the stars. WThe built facilities are nestled Guests can explore more than within more than 200 acres of a dozen trails through the proper- forests, marshes, and meadows ty, including guided hikes. There in the heart of the Frontenac are mixed forests and meadows, Arch Biosphere Reserve. ponds and marshes, spectacular This reserve is one of a glob- granite outcroppings, and a gla- al network of UNESCO desig- cier-carved lake. nated reserves, unique natural The hosts serve bountiful regions populated with people meals, featuring local and organ- committed to sustainable com- ic ingredients, much of which is munity living and development. grown in gardens on site. There Located in the Township of are always vegetarian, gluten- South Frontenac, Wintergreen free, and vegan options, and is near the town of Westport, Wintergreen serves responsibly Ontario. sourced fish, and local poultry, Workshops in the arts, educa- pork, goat, and beef. tion, and environmental studies Wintergreen is a not-for- are held in an inviting solar- profit charitable organization, powered lodge. The building incorporated in 2007. The straw- serves both as a demonstration bale lodge was built in 2008 site and a research site for off- and workshops began that fall. -
The Parthenon Cabin Guide
www.wintergreenstudios.com | 613.273.8745 | [email protected] THE PARTHENON CABIN GUIDELINES www.wintergreenstudios.com | 613.273.8745 | [email protected] ABOUT THE PARTHENON The Parthenon is exquisitely primitive, located about 25 minutes from the main parking lot at Wintergreen. By 25 minutes we mean by foot! The hike is rugged in places, so pack as lightly as possible. There is no electricity or running water—but it is warm and cozy and the views of the marsh are lovely. Why is it called the Parthenon, you might be asking? Well, it started as a joke when someone quipped that since we were carrying in beautiful architectural salvage for the porch, along with bags and bags of concrete for the foundation, why not just carry in marble and make it out of stone? And so the “Parthenon” was born. (When the founder’s daughter was 4 years old, she asked why everyone laughed when they learned the cabin was called the Parthenon. When she was shown a photo of the Parthenon in Greece, she responded with, “My Mama’s Parthenon is better. It has a roof.”) The Parthenon is well-equipped with everything you should need for a few days/nights of “glamping”: a futon double bed (with fresh sheets), a table, a kitchen station with cooking essentials, and plenty of sanitizing wipes. There is a chamber pot in the cabin as well as a thunderbox overlooking the lake (well stocked with toilet paper), and a cooler for outdoor food storage (no ice). We recommend bringing ice packs to keep your food cool in the warmer months. -
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.