Comments on: Viral 3.4 http://www.thehaikufoundation.org/2009/09/30/viral-3-4/ Mon, 06 Feb 2012 14:47:07 +0000 hourly 1 http://wordpress.org/?v=3.3 By: Tom D'Evelyn http://www.thehaikufoundation.org/2009/09/30/viral-3-4/comment-page-1/#comment-1022 Tom D'Evelyn Sat, 03 Oct 2009 20:22:28 +0000 http://thehaikufoundation.org/?p=4192#comment-1022 Just one thing to add: I think the sound dimension is neatly set up by the kigo. "Deep" snow has a semantic aura: deep silence. This suggestion helps leads us to the haunting absence of hubbub in the base. Poetry often fuses the senses. In this case, a weak, snowy light from the single bulb emphasizes the absence of sound. It should also be noted how unliteral the base is, but it works -- works not as "description" but as poetry. Put it this way: It's common to say that haiku avoids figures of speech, but what do you call that single bulb lighting up a whole amusement park? Hyperbole? In any event, it creates a tension in the base, and a surprise: these structuring principles are basic to haiku, it seems. Just one thing to add: I think the sound dimension is neatly set up by the kigo. “Deep” snow has a semantic aura: deep silence. This suggestion helps leads us to the haunting absence of hubbub in the base. Poetry often fuses the senses. In this case, a weak, snowy light from the single bulb emphasizes the absence of sound. It should also be noted how unliteral the base is, but it works — works not as “description” but as poetry. Put it this way: It’s common to say that haiku avoids figures of speech, but what do you call that single bulb lighting up a whole amusement park? Hyperbole? In any event, it creates a tension in the base, and a surprise: these structuring principles are basic to haiku, it seems.

]]> By: Alan Summers http://www.thehaikufoundation.org/2009/09/30/viral-3-4/comment-page-1/#comment-1019 Alan Summers Fri, 02 Oct 2009 12:22:16 +0000 http://thehaikufoundation.org/?p=4192#comment-1019 What an excellent commentary on Cor's haiku. It's also an open series of comments to the person new to haiku, and for that I commend it. This is one of my favourite haiku of all time. Stanford, without mentioning it, shows how well "negative space" as a technique works within haiku. This haiku is indeed like Dr Who's Tardis travelling machine, because it captures space and time, and is much larger inside than its apparent mere ten words. Not only is this a straightforward account of Cor's haiku, open to everyone, but is a delight to read. I feel really spoiled having Cor's haiku and this warming exposition by Stanford. Thank you! Alan http://www.withwords.org.uk/results.html . What an excellent commentary on Cor’s haiku. It’s also an open series of comments to the person new to haiku, and for that I commend it.

This is one of my favourite haiku of all time.

Stanford, without mentioning it, shows how well “negative space” as a technique works within haiku.

This haiku is indeed like Dr Who’s Tardis travelling machine, because it captures space and time, and is much larger inside than its apparent mere ten words.

Not only is this a straightforward account of Cor’s haiku, open to everyone, but is a delight to read. I feel really spoiled having Cor’s haiku and this warming exposition by Stanford.

Thank you!

Alan
http://www.withwords.org.uk/results.html
.

]]> By: Merrill Ann Gonzales http://www.thehaikufoundation.org/2009/09/30/viral-3-4/comment-page-1/#comment-1018 Merrill Ann Gonzales Fri, 02 Oct 2009 01:14:28 +0000 http://thehaikufoundation.org/?p=4192#comment-1018 This kind of selection is truly why I don't like to miss a single presentation at this site. The haiku here always open up something for us and the comments give us so many ways to go with what we've learned. For Stan to say this is the "most memorable" haiku he's read in 15 years is saying something when you realize just how much haiku he reads every day. This kind of selection is truly why I don’t like to miss a single presentation at this site. The haiku here always open up something for us and the comments give us so many ways to go with what we’ve learned. For Stan to say this is the “most memorable” haiku he’s read in 15 years is saying something when you realize just how much haiku he reads every day.

]]> By: Allan Burns http://www.thehaikufoundation.org/2009/09/30/viral-3-4/comment-page-1/#comment-1017 Allan Burns Thu, 01 Oct 2009 18:31:02 +0000 http://thehaikufoundation.org/?p=4192#comment-1017 Neat pick and appreciation, Stan. I like the way your meditation on "temporality and memory" teases out the absences implied by this haiku. There's a really compelling wabi-sabi feeling captured here. Amusement parks and baseball parks have, of course, long been inspirations for some of Cor van den Heuvel's most memorable work. In his first haiku book, Sun in Skull from 1961 (2 yrs before American Haiku began publication!), there are already exs. such as: in the toy pail at low tide floats the still ferris wheel Neat pick and appreciation, Stan. I like the way your meditation on “temporality and memory” teases out the absences implied by this haiku. There’s a really compelling wabi-sabi feeling captured here.

Amusement parks and baseball parks have, of course, long been inspirations for some of Cor van den Heuvel’s most memorable work. In his first haiku book, Sun in Skull from 1961 (2 yrs before American Haiku began publication!), there are already exs. such as:

in the toy pail
at low tide floats
the still ferris wheel

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