Quicksilver Hg3: Learning About Seasonal Words

‘Kai Hasekawa [Hasegawa] in Japan calls most of today’s English haiku “junk poetry.”’ It might be helpful to add that he was speaking also, or primarily, of Japanese haiku. Hasegawa: “In a nutshell, modern haiku after Masaoka Shiki (circa 1900) has been influenced by Western realism, and as a result haiku has become an art of realism. And the outcome of haiku compositions based only upon those things you have directly seen has been – can I coin the term, “junk haiku (garakuta-haiku). Haiku that contain only objective material have created a nearly stagnant situation.” – Gilbert, Poems of Consciousness, p. 71. It may also be worth noting that in the passage below, from your own interview with Hasegawa, he’s quoting your comments on Western, English-language haiku:

‘It seems to me that the current state in which “a lot of haiku written today in the English language by Western practitioners fall short of memorability and depth, and appear to be formula based” has occurred just because they have become the “victim of realism.” I think that there are deeper underlying problems even before that, for example, the problem of the fundamental understanding of what a haiku is [which has to do with cutting (kire) and ma, and "for the working of ma to convey feeling (kokoro)"].’ http://www.simplyhaiku.com/SHv6n3/features/Kai.html

It seems, from Hasegawa’s comments in that interview, that he’s more open-minded about Western adaptation of haiku than you are (in your post):

“However, it is interesting that not only correct understandings of one’s counterpart bear good fruit, but a mistaken understanding can also bear splendid fruit. … In any case, various cultures each have their own soil, and only meaningful seeds will survive in the counterpart’s soil. By “meaningful” seed, I do not mean those limited only to correct understandings. Misunderstandings also can be meaningful seeds. … Therefore, when we think about the problems of haiku in the West, I think that the important thing is to consider what within haiku will be meaningful seeds in Western soil.”

Robert, you say: “Some so-called haiku theorist and editors are inadvertently bastardizing Japanese haiku to suit their personal writing styles and theories.” It could be helpful if you told us which theories and editorial or writing styles you are referring to, and if you discussed them more specifically. Or if you could point to a place online where you do so…

Everybody has a definition for haiku but are their opinions based on fact. Some so-called haiku theorist and editors are inadvertently bastardizing Japanese haiku to suit their personal writing styles and theories. Are they qualified to do so. Kigo is essential to haiku, regardless of nationality. One doesn’t call hip hop music classical. Haiku in English is in a state of confusion without any given guidelines. The public school systems teaches haiku without knowing what they are talking about. I should know, I am a retired American public school teacher. Those editing journals,e-zines, and chairing haiku committees are a minority in North America in regards to those writing haiku on this continent.

Some say:

1. no metaphors
2. no personification
3. no S/L/S schemata
4. Kigo references aren’t necessary
5. one, two, even three word poems are acceptable
6. We are not Japanese and use a different meter

I have yet to see agreement on any of the above theories, especially based upon sound academic study and references by recognized authorities with decades of experience.

Kai Hasekawa in Japan calls most of today’s English haiku “junk poetry.” Why?

I see everyday exquisite haiku making use of aesthetics, quality minimalism, room for interpretation, S/L/S metric schemata, kigo, and oops, the big no no’s that even Basho, Buson, and Issa made use of in some of their haiku: personification, metaphors, and emotion.

English language haiku is evolving into a genre more closely related to Amy Lowell’s free verse.by another name since it is becoming less and less like what Basho wrote. It that a sin? When we dissemble and rearrange haiku has defined and originated by the Japanese we change the genre and by who’s authority? And we must not forget that English language haiku as written by Eastern Europeans have a different sense of metric poetic history and conceptualization. North America cannot speak for the international haiku community. Show me academically why the Japanese way of writing haiku other than syllable length is not appropriate for English language haiku and then explain to me why there are so many exquisite haiku written by English language haiku poets that follow the Japanese way of understanding and writing haiku? And please, Site more than one expert. What does Donald Keene have to say? Makoto Ueda, Steven D. Carter, Etc. Or are they considered has beens?

Mark, I like the approach you took. I am curious about the comma in the middle and hope you don’t mind my asking. Doesn’t that break create almost another line? There are times when I’d like to add a comma, but I couldn’t figure out how to do that.

Lorin, ah, thank you! Yes, the footprint would be the absence of sand, wouldn’t it? Your examples really make perfect sense.

Interesting poem! It seems that we are in winter, longing for the days of lazy sandy afternoons.

OK, here is another attempt at my first haiku:

beach day –
my footprints vanish
web-prints remain

my footprints vanish
into sand, web-prints left
by sea gulls

Hi Laura, Hi Julia,

There are quite a large number of Japanese haiku poets who don’t use ‘kigo’ or even seasonal references.

I think using kigo where possible adds a dimension to haiku, even in our non-Japanese models.

re:

returning—
my sandy footprints erased
webbed ones remain

red sun touches
distant aqua line—
deflating

These don’t feel they have natural syntax yet.

Could you explode the haiku into prose as an exercise?

all my best,

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