January 20, 2008
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
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. -
Frogpond 40.3 • Autumn 2017
frogpond Journal of the Haiku Society of America Volume 40:3 Autumn 2017 SUBSCRIPTION / HSA MEMBERSHIP For adults in the USA, $35; in Canada/Mexico, $37; for seniors (65 or over) and students in the USA, $30; for everyone elsewhere, $47. Pay by check on a USA bank or by international postal money order payable to Haiku Society of America, Inc. All subscriptions/ memberships are annual, expiring on December 31, and include three issues of Frogpond as well as newsletters, the members’ anthology, and voting rights. All correspondence regarding new and renewed memberships, changes of address, back issues, and requests for information should be directed to the HSA secretary, Dianne Garcia: [email protected] (3213 W. Wheeler #4, Seattle WA 98199). You can also subscribe online by PayPal or credit card at: hsa-haiku.org/join.htm FROGPOND SUBMISSIONS Submission periods are one month long: November for the winter issue, March for the spring/summer issue, July for the autumn issue. Send submissions to [email protected] (preferred) or 1036 Guerin Road, Libertyville IL 60048. See our submission guidelines at hsa-haiku.org/frogpond/submissions.html COPYRIGHTS, VIEWS All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Te Haiku Society of America, its officers, and the Frogpond editors assume no responsibility for the views of any contributors whose work appears in the journal, nor for research errors, infringement of copyright, or failure to make proper acknowledgment of previously published material. ISSN 8755156X Listed in the MLA International Bibliography, Humanities International Complete, and Poets & Writers. -
A Brief History of Haiku in the United States.Pdf
A BRIEF HISTORY OF HAIKU IN THE UNITED STATES JIM KACIAN The First Wave America’s first haiku, like nearly everyone else’s, were translations of Japanese originals, and imitations of those translations. Lafcadio Hearn published the earliest of these translations in 1898, and his versions remain fresh even today. This is possibly the first English-language version of Bashō’s famous furuike ya: Old pond—frogs jumping in—sound of water.1 Other early translators included William N. Porter Asleep within the grave The soldiers dream, and overhead The summer grasses wave. And Curtis Hidden Page: All that is left of the dream Of twice ten thousand warriors slain. 1. Lafcadio Hearn, Japanese Lyrics (Boston: Houghton Mifflin, 1915). The first fully realized haiku in English is generally acknowledged to be Ezra Pound’s IN A STATION OF THE METRO The apparition of these faces in the crowd : Petals on a wet, black bough . published in Poetry in 1913. He termed this a “hokku-like sentence.”2 It marks the first true integration of haiku sensibility into Western poetics, content, and techniques. Pound’s word was built upon and expanded by the Imagists, especially Amy Lowell, English-language haiku’s first champion: Last night it rained. Now, in the desolate dawn, Crying of blue jays.3 Other American Imagists who produced haiku included John Gould Fletcher and Yvor Winters. Another early proponent of English-language haiku was Sadakichi Hartmann, a friend of and influence on Pound: White petals afloat On a winding woodland stream— What else is life’s dream!4 As other major figures in American poetry became aware of haiku, they tried their hands at it. -
Decatur Haiku Collection at Millikin University
Haiku & Tanka Books and Journals: a Bibliography of Publications in the Decatur Haiku Collection Last updated: August 25, 2021 © 2021, Randy Brooks These print publications are available to students enrolled in courses at Millikin University for research on haiku, tanka, senryu and related haikai arts. If you have print haiku publications or collections you would like to donate to the Decatur Haiku Collection, please send them to: Dr. Randy Brooks Millikin University 1184 West Main Decatur, Illinois 62522 [email protected] Author, First Name. Title of the Book. Place: Publisher, date. Author, First Name. Translator. Title of the Book. Place: Publisher, date. Abbasi, Saeed. My Haiku. Toronto: Abbasi Studio, 2012. Abe, Ryan. Golden Sunrises . A Narrative in Haiku. San Mateo, CA, 1973. Addiss, Stephen. The Art of Haiku: Its History Through Poems and Paintings of the Japanese Masters. Boston & London: Shambala, 2012. Addiss, Stephen. Cloud Calligraphy. Winchester, VA: Red Moon Press, 2010. Addiss, Stephen. Haiga: Takebe Socho and the Haiku-Painting Tradition. Honolulu, HI: University of Hawaii Press, 1995. Addiss, Stephen. A Haiku Garden: The Four Seasons in Poems and Prints. New York: Weatherhill Press, 1996. Addiss, Stephen. Haiku Humor: Wit and Folly in Japanese Poems and Prints. New York: Weatherhill Press, 2007. Addiss, Stephen. Haiku Landscapes: In Sun, Wind, Rain, and Snow. New York: Weatherhill Press, 2002. Addiss, Stephen. A Haiku Menagerie: Living Creatures in Poems and Prints. New York: Weatherhill Press, 1992. Addiss, Stephen. Haiku People: Big and Small in Poems and Prints. New York: Weatherhill Press, 1998. Addiss, Stephen, Kris Kondo & Lidia Rozmus. Sumi-e Show: July 8-11, 1999 Northwestern University. -
November 2012 HSA Newsletter
Ripples ISSN 2167-146X Haiku Society of America Newsletter Volume 27, Number 3 November 2012 From the President gions. Additionally, we could not have your presi- followed through on our projects or met dent. I have our goals without the efforts of our com- learned so Dear Members: mittee chairs and members, anthology much from editors, and the volunteers who assisted this experi- recently attended the HSA’s national at events. ence, and I quarterly meeting organized by Cliff I I would like to say a special thank you am excited and Brenda Roberts and members of the to the people stepping down from their to see how Fort Worth Haiku Society. I appreciated positions: Second Vice President John the HSA the excellent program and events, and I Stevenson; Ripples Editor Susan Antolin; develops in was even more appreciative of the regional coordinators an’ya, Ellen the future. chance to meet so many wonderful peo- Compton, and Katharine Hawkinson; More than HSA President Ce Rosenow ple. In the past three years during which at the Dodge Poetry Festival and History Committee Chair Charles anything, it I’ve had the privilege to serve as HSA in Newark, New Jersey on Trumbull. As you’ll see on the enclosed has been October 8, 2010 President, I have been fortunate to meet ballot, we are fortunate to have talented gratifying to Photo by Charlie Larsson poets from around the country. I’ve individuals willing to fill some of the see the in- learned first hand how the members in open positions: David Lanoue for presi- creasing number of people volunteering different regions are moving our organi- dent; Sari Grandstaff for second vice for the HSA. -
2015 the Haiku Foundation
juxtaone Research and Scholarship in Haiku 2015 the Haiku foundation JUXTAPOSITIONS 1.1 juxtaone Research and Scholarship in Haiku 2015 The Haiku Foundation 1 JUXTAPOSITIONS 1.1 juxtaone ISBN 978-0-9826951-2-8 Copyright © 2016 by The Haiku Foundation JUXTAONE is the print version of Juxtapositions 1.1. A journal of haiku research and scholarship, Juxtapositions is published by TheHaiku 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 Aubrie Cox Review Editor Ce Rosenow Haiga Editor Stephen Addiss Managing Editor Jim Kacian Technical Manager Dave Russo Proofreader Sandra Simpson 2 JUXTAPOSITIONS 1.1 Contents Jouissance among the Kire: A Lacanian Approach to Haiku . Ian Marshall … 7 Haiga: “the rope” . Guy Beining … 21 Aesthetics of Discipline: Tranströmer’s Prison Haiku . Alexander B. Joy … 23 Haiga: “for a moment” . Ion Codrescu … 43 Shangri-La: James W. Hackett’s Life in Haiku . Charles Trumbull … 45 Haiga: “honeybee alchemy” . Annette Makino … 103 Forgive, But Do Not Forget . An Interview of Itō Yūki by Udo Wenzel … 105 Haiga: “black tulip” . Ron C. Moss … 119 Beyond the Haiku Moment: Bashō, Buson, and Modern Haiku Myths . Haruo Shirane … 121 Haiga: “chaos 2” . Marlene Mountain … 143 Karumi: Matsuo Bashō’s Ultimate Poetical Value, Or was it? . Susumu Takiguchi … 145 Haiga: “Drenched Ants” . Ellen Peckham … 175 The Shape of Things to Come: Haiku Form Past and Present . Jim Kacian … 177 Haiga: “solstice” . Alexis Rotella … 207 This Perfect Rose: The Lasting Legacy of William J. Higginson . Michael Dylan Welch … 209 Richard Wright’s Other World . -
Frogpond at 40
76 fortieth THE SOUND OF WATER: FROGPOND AT Charles Trumbull If there is to be a real “American Haiku” we must — by trial and error — work out our own standards. ~ Harold G. Henderson 1 n his famous letter to James Bull and Don Eulert, editors of the pioneering haiku journal American Haiku, Harold G. Hen- Iderson considered the possibility of writing haiku in English. Although derived from the Japanese, English-language haiku, he believed, would be of no lesser quality. Henderson went on to cofound the Haiku Society of America. It is the HSA and its members, more than any other group, that has concerned itself with establishing standards for American — indeed, English- language — haiku. Frogpond editors have always been in the vanguard in realiz- ing Henderson’s call. Tey have brought different points of view and (pre)conceptions as they sought to define what Frogpond should be and do, for example: t Unlike independent publications such as American Haiku and Modern Haiku, Frogpond is a membership journal. What consti- tutes good service to the members? Is Frogpond obliged to pub- lish the work of all dues-paying members? If not, should mem- bership be a consideration for acceptance at all? Perhaps good service means bringing to the members the best work from all sources, foreign and domestic? Should the journal be analyzing classical Japanese- and/or English-language haiku in depth? Or maybe finding and printing the newest experiments? t Is the HSA membership Frogpond’s only audience? Should it try to find a place for itself on bookshelves and coffee tables FORTIETH 77 alongside mainstream poetry journals? Should issues of Frog- pond be available in school libraries, colleges, and other institu- tions? Should it be sold in bookstores? Is it desirable for Frogpond articles — haiku even — to be indexed among scholarly publica- tions? Te goal of making Frogpond the very best haiku journal possible implies applying stringent standards for the selection of haiku, emphasizing quality over quantity. -
Fall 2009 HSA Newsletter
Haiku Society of America on-line edition September 2009 President’s Letter September 20, 2009 Dear Members, I pen this letter two days before Autumn begins. In my recent traveling, I've already seen signs of Autumn: yellowing leaves, reddening leaves, falling leaves, browning grass, crisp air, football games, acorns, ripening apples, muscadines, scuppernongs and lengthening nights. To that end, Marilyn Hazelton taught a fun and engaging haiku workshop based on the Autumn season on September 12th, at the Tenri Cultural Institute, in New York City. Rita Gray, the Northeast Metro Regional Coordinator, organized a great program for the Haiku Society of America National Meeting. During the Business Meeting, however, I announced the winners of the Mildred Kanterman Memorial Merit Book Awards. I thank you, Mr. Leroy Kanterman, for sponsoring the Mildred Kanterman Memorial Merit Book Awards. The First Place winner also sends thanks to you. I also announced the slate of officers for the 2010 HSA Ballot. There were no additional nominees or candidates from the floor. Perhaps, you're interested in knowing that the HSA Executive Committee has been tackling issues via e-mail on a frequent basis. For example, we've been researching the possibility of working with an online membership management service to streamline the registration process. During the summer, I asked Dave Russo, a former HSA Electronic Media Officer, to research and prepare a document in regards to the advantages and disadvantages of such service. I also asked him to prepare a list of the best companies that could provide the service. I thank Dave for his detailed document. -
Echoes Choes Hoes Oes Es S 2Compiled by Jim Kacian & Julie Warther Echoes 2 Red Moon Press © 2018 Poems Are Copyrighted in the Names of the Individual Poet
echoes choes hoes oes es s 2Compiled by Jim Kacian & Julie Warther echoes 2 Red Moon Press © 2018 Poems are copyrighted in the names of the individual poet. All rights revert to the poet upon publication. Red Moon Press P.O. Box 2461 Winchester VA 22504-1661 USA www.redmoonpress.com ISBN 978-1718615854 This is an interactive pdf. That means where you find text in green you will find active links that will connect to relevant sites. We will try to keep these as current as possible, but things do break. Though extensive, this volume is far from complete. We have tried to contact every poet from every volume of New Res, but as you will discover, we have not always been successful. We could use your help. If you know any of the poets who do not have an updated page here, please contact them and let them know we'd love to hear from them. It is our hope that this book will evolve over time. You can purchase a grayscale print copy of echoes 2 using this link. The price you find there is the minimum price allowed by the printer. ormp Foreword to echoes 1 Somewhere midway through the third of what is now five volumes (and counting) of The New Resonance series it became apparent to us that this was more than just a collection of books showcasing emerging talent. The New Resonance Poets are a community, and we wanted that community to stay in touch with each other and abreast of each other’s work. -
A Bibliography of Online Articles on Haiku, Senryu and Tanka in English
A Bibliography of Online Articles on Haiku, Senryu and Tanka in English Randy M. Brooks, PhD Millikin University Decatur, Illinois Last updated: September 1, 2021 Journals, web sites, databases with haiku articles currently indexed in this bibliography (as of the latest update) include: Africa Haiku Network <https://africahaikunetwork.wordpress.com> AHA Poetry <http://www.ahapoetry.com/> American Haiku Archives <https://www.americanhaikuarchives.org/> Anglo-Japanese Tanka Society <URL no longer functional 7-16-2016> Atlas Poetica <http://atlaspoetica.org/> The Art of Haiku <http://www.geraldengland.co.uk/hk/> The Asiatic Society of Japan <http://www.asjapan.org/> Bamboo Hut <http://thebamboohut.weebly.com/> Blue Willow Haiku World <https://fayaoyagi.wordpress.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 Haiku <http://www.dailyhaiku.org/> Deja-ku Diary <https://dejakudiary.wordpress.com/blog/> Eucalypt <http://www.eucalypt.info/> Failed Haiku <https://failedhaiku.com/> Free Times / Temps Libres <http://tempslibres.org/> Frogpond <https://www.hsa-haiku.org/frogpond/> Gendai Haiku <http://www.gendaihaiku.com/> Graceguts <http://www.graceguts.com/> Haibun Today <http://haibuntoday.com/> Haigaonline <http://www.haigaonline.com/> Haikai Home <http://www.2hweb.net/haikai/main.html> Haiku Canada -
Kacian How to Haiku.Pdf
How to Haiku Jim Kacian How to Haiku © Jim Kacian 2006 This book prepared expressly for electronic transmission. All Rights Reserved. No part of this book may be reproduced in any form with- out expressed written consent from the author. Brief quotations may be excerpted for the pur- poses of reviw or citation. Cover painting: Serpent, Peter Zokosky 1989 Red Moon Press PO Box 2461 Winchester VA 22604-1661 USA www.redmoonpress.com ormp Table of Contents Introduction • 7 What is a Haiku? • 11 Form • 24 Content • 35 Technique • 56 Language • 65 How to Write Haiku • 90 A (Very) Brief History of Haiku • 105 Related Forms • 130 Performance • 167 Haiku: The World’s Longest Poem • 173 Glossary • 176 How to Haiku Introduction freshly fallen snow— opening a new package of typing paper nick avis t has happened to all of us: in the course of our ordinary day, doing something we I have done a hundred times before, we are arrested by something we see, or smell, or feel. For whatever reason, this time it strikes us in a way that it has never done before, and yet it seems as if we have always known it to be this way. It may be deep, it may be transitory, but regardless, we are changed: we can never feel the same about this experience again. We have had a moment of insight, a seeing deeper into the workings of the world. Sometimes these moments are private in nature, springing from deep within us, and so might resist our attempts to verbalize them.