Sails is a section of troutswirl that is devoted to presenting questions for discussion and debate on the nature and possibilities of haiku. Sails will be overseen by Peter Yovu. For an introduction to this section, see Sails.
• 1st Sailing
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2nd Sailing
presented by
Peter Yovu
“What do you read again and again? Why?”
— John Stevenson
Some of you may recall this question having been posed by John Stevenson in Frogpond (Volume XXVII:1, p 81). He was then Jim Kacian’s associate editor, and was shortly to take over as editor on his own. I believe this question, good then and just as good now, is a wonderful follow-up to our first question, “Why do you read?” John has given me permission to reprint here, modified only slightly, his introduction to the question, an introduction in which he elegantly provides his own response. I could not do better, or equal it, so here is what John wrote:
“There are a few books that I find myself reading periodically as a means of renewing my efforts to write true haiku. Some of them were written by poets who are still living and whose company is a great comfort. And some are the works of poets no longer with us and who may have departed before there was any opportunity to express my gratitude to them. This is the case with John Wills, and particularly with his 1987 collection, Reed Shadows. The book contains haiku of a consistently superior order, imbued with extraordinary restraint and uncompromising simplicity and directness. He seems to have faith in his readers and to leave them the task of discovering for themselves what he has experienced. This is a tonic after reading (and writing) so much haiku that tells more than it should. For [many years], I have read Reed Shadows at least once a year and I believe it has steadied me . . .
I would like to hear from [Troutswirl] readers on the subject of which haiku collections serve them in this way. Which individual collections of haiku have proven themselves a continuing influence and inspiration for you? What do you read again and again? Why?”
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Merrill Ann: I like your drawing of vincent tripi on the back of paperweight for nothing. Thanks for the heads-up about a new book of his.
I think time in haiku is a fascinating subject. Maybe Peter will take it up in a future Sails….
Ah water-strider never to have left a track!
–vincent tripi
Allen, I’m so glad you mentioned the “prosaic lesson” re: Jim Kacian’s style. One time I was so frustrated in that I wanted to write a haiku that could capture what I was experiencing with time…time for me is seldom circular…as well as the fact that it was at the time when it first became noticable that the seasons were out of whack… and he told me to just write it. I never could capture it. After reading what you are saying and after reading some of his books, your ” prosaic lesson” may be the key.
It is so helpful to hear what poets “learn” from the books they read! Thanks
*Tired finger correction here too: “he’s working on it now….” at least I think he is.
So many wonderful books to track down…so many to remember to reread!
Allan: Check to see when vincent tripi’s new book comes out I think he’s working on in now…I agree. He’s been a big help to me as he has to so many. There are also books I want to go to again and try to learn from. One of them is one I’ve had in my collection for awhile and have wanted time to really immerse myself in it. “Understanding Haiku: A Pyramid of Meaning” by Kai Falkman – Red Moon Press. I think it’s out of print. Now to get out my trusty pen and copy down some of the titles above …to open my mind a bit. I am so grateful to you all and to all the titles you’ve provided. Thank you.
Aargh, I believe it *be* available.
correction for tired fingers
collection … IS available
An extensive collection of Hackett’s haiku are available on-line (free) at his own website:
http://www.hacketthaiku.com/haiku.html
– Paul
Scott’s comment:
“There is also a stunning collection by Marlene Mountain inside my head that I return to quite often, its title changing each time I revisit it.”
makes me contemplate the gaps in the current literature. There are a number of veterans of the haiku scene whose books are oop and in some cases expensive collectors’ items. We hope THF’s Digital Library will eventually help address this issue. In some cases we could really use new career-retrospective collections. In addition to Marlene Mountain, I think particularly of Cor van den Heuvel and Anita Virgil. A nice selected volume of James W. Hackett’s very best would be welcome too, as those are defining classics of the movement’s inception. Any ambitious haiku publishers listening?
I’ve also thought of three short but challenging collections I’d like to throw out there too for adventurous readers:
Wind the Clock by Bittersweet, Bill Pauly (High/Coo Press, 1977; haiku + concrete poems; probably hard to find, though)
Bird Day Afternoon, Matsuo Allard (High/Coo Press, 1978; some pioneering one-liners; still available last I saw from Brooks Books for something like $3.50; note: I am only affiliated w. BB as a satisfied customer)
waking on the bridge, Martin Shea (Red Moon Press, 2008)
Book shops in India do not store haiku collections. Yet, I have managed to collect a few books, thanks to my haiku friends. When I met Dr Angelee Deodhar in Chandigarh, she gave me a copy of “To Hear the Rain”, a haiku book authored by Peggy Lyles. Every time when I read the book, I am in touch with the extraordinary in the ordinary. There is something universal about these haiku moments. For example, when I read
mother-daughter
small talk
snap beans
I can visualize my mother and my sister sitting in the back yard with a bowl full of beans. I can see the sun lit curtains and other details in the room. Ever since I read this poem, I have been reminded of it, whenever I see a mother and daughter engaged in this manner.
I wish to write about so many other haiku in the book, But I also feel that what I have mentioned here is enough. I like the haiku and I go back to them, to enjoy the moments and also to learn about the art form.
Re: books I come back to– when I have a bit more space I will likely say a few things about Burnell Lippy’s work. And after that about John Stevenson’s, and Ko Un’s… I list to think of the list. So, I expect to revisit this question and others more than once, and like the idea that a year from now I can come back here, or to a Viral, and say the thing that didn’t get said until it was picked up on a distant staircase. (I wrote *starcase* at first, make of that what you will).
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