Quicksilver
Hg3
Learning About Seasonal Words
By Laura Sherman
One of the first things I learned about haiku is that each poem must contain a seasonal word. Sounded easy enough. I assumed that this was open to interpretation and that I could pick words that evoked different seasons for me.
As I studied further, I ran across the term “kigo.” Kigo is a Japanese seasonal word. These are set in stone. Students of haiku in Japan study a kigo dictionary, called a “saijiki,” to learn which words represent which seasons.
As I continued to explore this area I saw that some haiku poets branched from the kigo concept and sought seasonal words appropriate for their area. In a different discussion on Young Leaf #2 (here on troutswirl), I was intrigued by how seasonal words could vary depending on where you live in this world.
Lorin Ford pointed out that July is winter in Australia. I couldn’t believe that I hadn’t considered that before. Since I live in Florida, I never thought of it as anything but a summer word (a very hot, humid, sticky seasonal word).
I see there is a debate between the traditional kigo approach and the seasonal word concept (which is a bit more open to interpretation). I plan to study both approaches more and learn from each.
I do have trouble sometimes finding an appropriate kigo or seasonal word for my haiku. I know it isn’t a haiku without one.
I have been working on two haiku that have stumped me. For me “sandy” speaks of summer, but I know it isn’t a kigo. Does it work as a seasonal word?
returning—
my sandy footprints erased
webbed ones remain
Then the other has been with me for a while. I love going to the beach and watching the sun touch the horizon. It’s a special moment for me. It is also a little sad when the moment is gone and the sun has set.
red sun touches
distant aqua line—
deflating
So, for me both haiku speak of summer, but I suspect neither has a seasonal word. How does one “insert” a seasonal word without losing the poetry? I could make Line 1 of the second haiku: “red summer sun touches.” Or perhaps, “august sun touches,” which might infer that summer vacation is over as well. I prefer the original, but suspect it isn’t a haiku.
Can you help me sort this out?
What do you do when you write a haiku, which doesn’t contain a seasonal word?
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Quicksilver is a column on troutswirl, the blog for The Haiku Foundation, devoted to showcasing the questions, ideas, and evolution of a beginner to the art of haiku, Laura Sherman. Each installment will feature some of Laura’s new work as well as her ideas and thought-processes concerning them. It is hoped that readers will respond with reactions, ideas, and advice on her work and provide feedback on how she might develop and improve her craft.




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Thank you, Gabi! It sounds lovely!
seems the long link is broken …
another try
http://www.lulu.com/product/paperback/san-francisco-bay-area-nature-guide-and-saijiki/12458163?productTrackingContext=search_results/search_shelf/center/1
otherwise check lulu and google with the title
http://www.lulu.com/de/services/index.php?cid=de_tab_services
.
Hi Laura,
here is a new saijiki you might enjoy:
San Francisco Bay Area Nature Guide and Saijiki
Patrick Gallagher , Anne M. Homan, Patricia J. Machmiller
A combination of field guide and haiku;
beautiful photographs and art accompany descriptions of seasonal occurances of natural phenomena and human activities in the San
Francisco Bay Area. Each element is accompanied by haiku that evoke an emotional or spiritual aspect of the human interaction with the natural world.
More is HERE, and you can browse through many pages
http://www.lulu.com/product/paperback/san-francisco-bay-area-nature-guide-and-sa\
ijiki/12458163?productTrackingContext=search_results/search_shelf/center/1
Young Leaves
web presence of the Yuki Teikei Haiku Society
http://www.youngleaves.org/
.
Not at all, Jack. Your posts here at THF are a constant source of interest to me.
And I understand your reluctance to become embroiled in argument / argumentative debate. I don’t much enjoy it either!
I also look forward to exchanging ideas in the not too distant future.
Chris
Thank you so much, Chris. Your words mean a lot to me. I’m deeply touched. I’m always a bit reluctant to communicate my views, as I retract from argumentative exchanges. I’m always willing to engage in dialogue; that’s something different. Yes, I recall some time back your offer to engage in dialogue together and I look forward to exchanging ideas with you.
Best,
Jack
Jack, what a fantastic series of comments you have posted here. Perhaps the best comments posted thus far in the Quicksilver experiment.
You offer a vital and clear reminder of the varying views on haiku, and of how these are often borne out of opinion as much as either knowledge / study or actual practice.
Wonderful also to hear a bit more about your background with Ban’ya too. And also insightful to hear of your approach and movement from ‘traditional’ into a freer style.
By the way, you may have forgotten this by now, but a while ago on here we exchanged a comment or two and agreed to discuss our ideas further at some point. I just wanted to let you know that I haven’t forgotten, and that when the time is right I’d love to converse further with you on our shared ideas.
All the best,
Chris
Thank you, Mariu. It was influenced slightly by a poem of Ezra Pound’s where he narrates as a young girl experiencing a tree and the confusion of identity that a young girl has in distinguishing herself from all things around her. Pound’s poem, of course, is unspeakably beautiful, as are all his poems.
I looked up your blog and found the poems brilliant: you were right, though, the translation is not adequate. It would be wonderful if you could translate some of them for me, so I can have them posted for all to experience. You can find my email address at the registry here; just go to Resources above and you’ll find it.
Thanks Jack, I’ll follow your advice and look up Richard Gilbert’s work. I found some of your extensive your work. Your haiku are breathtaking.
I felt specially sensitive to this one:
I am a tree
catching the first snowflakes
of this evening
You’re quite welcome Maria. I meant every word, of course. I don’t often give any advice, but in your case I think your strength comes from the Spanish poetry tradition, rich in love and surrealism. Stick to it. As for “kigo” and “seasonal references,” these are only necessities for those who believe they are; all haiku poets do not share this view and it is becoming less and less manifest in modern Japanese haiku. I would suggest you search Richard Gilbert haiku online (if your English is up to it); he is demonstrably a true scholar of modern haiku and should be required reading. Some others positions were gained in the American tradition over decades, but don’t reach the level of understanding you will find in Prof. Gilbert’s essays. Then, again, Spanish poetry is yours and it is an esteemed poetry that should always inform your work, regardless of what form you write in.
Well… I’m speechless! Jack your critic is overwhelming! Thanks a lot for the detail with which you explain your point of view and I can’t tell you enough how happy I am that you liked my poem.
I wrote it the first day I started with haiku, it describes the feeling I had that night, waiting for my boyfriend to come back home from a journey.
Frankly the translation I made is not accurate. “Te espero llena como un cazo vacío” is precisely “I wait for you full like an empty bowl” but “plena” de sueños is not precisely “filled” with dreams. Plena is more than full, is radiant, more than complete, like rich. I’m sorry, I could only think of “filled” to translate it.
My name is Maria Eugenia, which spoken quickly sounds like Mariugenia, that’s why Mariu, or Mariuqui, that’s how they call me.
My literary work is on http://elultimoversohamuerto.blogspot,com
“el último verso ha muerto” means “the last verse is dead”, meaning no verse is ever the last. Everything there is in Spanish… you can put it all under google translator but I cannot assure you read the same I wrote… :S
Thanks again!
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