Virals

Viral 6.5

by Scott Metz on March 7, 2010




Virals is a section in which one person choses a haiku by another person and comments on that haiku. Then the author of that haiku is invited to select a haiku by someone else and comment on that poem, and so on. For an introduction to this section, see Virals.








Viral 6.5

From Here On Earth

BY Judith Christian

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                                                        that star
                                                        seems close enough
                                                        to swim to


                                                                   —Diane Gillen Lynch


We are, always have been, and always will be, among the stars. It was natural enough, pleasant enough, to choose this haiku by Diane Gillen Lynch. I first heard the rhythms of language in songs such as “Twinkle, Twinkle, Little Star,” and I am dazzled by the images sent by the Hubble Space Telescope. It is also easy for me to travel off into intellectual musings about our relationship to stars. Why do we travel among them? Why do we want to touch them?

Ancient Buddhist cosmology asserted the existence of multiple, if not infinite, world systems. Then, as now, the light that travels from stars is what defines, what gives us the knowledge of those worlds. Epicurus, about 23 centuries ago, wrote, “There will be nothing to hinder an infinity of worlds.” Is it that the light of our minds knows that the stars will never end, and so to be among them means that we, too, have no beginning and no end? Modern astrophysics edges closer and closer to the ancients’ belief in the coming into being and passing away of an infinite number of universes, the system itself having no beginning and no end.

But wait . . . Basho is shaking his head and warning me away from such musings. Look at the first line of this well-tempered haiku. That star . . . of course. One star, the particular (Venus?), shining in the night sky, and from its light, the coming into existence of the observer. From our position on the Earth, with the naked eye we can look at only one star at a time. We can see many, but to really look, to discern the color and brightness with the naked eye, it’s one at a time. It is that particular star, and this particular poem, we are to look at, with the same intense gaze that is required to look at the night sky.

Where is the star and where is the observer? I see the star on or near the horizon, and between that star and the observer is a lake, or more likely, an ocean; but even if there is no intervening body of water, the night sky has its own horizons, and its own endless black pool. And, yes, the star seems close enough, but to swim to? There is a longing set up by the word seems, and the wistful desire to rejoin our eternal star selves is mediated by that word. We are firmly on terra firma, we are, alas, stuck here on Earth, which is exactly where a haiku should be. There is a beautiful hesitation, a gap between the second and last line, a place of expectation. I’m hooked. I’m there gazing into the distance for a moment, until the wave comes in and wakes me: to swim to. There is a dark danger in the last line. Overcome by longing for the eternal, desperate, or just impulsive—there could be many reasons for a night swim to a star; but like a hand grabbing one’s elbow, “seems” keeps us safe. There will be no swim. There is only the wonder, the inscape, the lapping water, and the lasting light of this poet and this poem.



As featured poet, Diane Gillen Lynch will select a poem and provide commentary on it for Viral 6.6.

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Viral 6.1 (Metz ➝ Robinson)
Viral 6.2 (Robinson ➝ McClintock)
Viral 6.3 (McClintock ➝ LeBlanc)
Viral 6.4 (LeBlanc ➝ Christian)


Viral 6.4

by Scott Metz on February 21, 2010




Virals is a section in which one person choses a haiku by another person and comments on that haiku. Then the author of that haiku is invited to select a haiku by someone else and comment on that poem, and so on. For an introduction to this section, see Virals.








Viral 6.4


What Isn’t There, Is There

BY Jean LeBlanc




                                                      rising from your bed
                                                      remembering
                                                      the train whistle


                                                             —Judith A. Christian


I tell my students in Freshman Composition, “As with any poem, you can write a two to three page analysis of a well-crafted haiku.” Their eyes grow wide with . . . terror? Disbelief? The excitement of a creative and intellectual challenge? Well, terror, then. That is what I feel now, as I try to find the words to describe everything I hear and see and experience in Judith A. Christian’s elegant, simple, complex eight-word, thirteen-syllable haiku, “rising from your bed.” 

I have lived in two places where the sound of a train whistle could be heard late at night, a freight train passing through my nondescript town on its way from someplace wonderful (Montreal?) to someplace else wonderful (Boston? New York City?). Christian’s haiku brings me back to the lonely nights of adolescence, in my third-floor bedroom in our house on a hill above town. Not far below, the train tracks followed the Nashua River through north-central Massachusetts, a north-flowing river meandering its way to the Atlantic, a river that suffered the indignities of everything a hundred little milltowns could throw at it—and into it—before finally reaching the Merrimack and eventually the sea. Everything—train, river—going somewhere, anywhere. “Somewhere, anywhere”—the refrain of one’s teen-aged years. And every night, the train whistle, which made the going sound just as forlorn as the staying. What a first word: “rising.”  The “I will arise, and go now” of Yeats’s “The Lake Isle of Innisfree.” The rising sun. A rising from the grave of one reborn, resurrected. All images of light and hope; not the stuff of this haiku. The words “darkness” and “night” are not present in these lines, and I have risen from bed in broad daylight after many an afternoon nap, but somehow we just know that this poem is set in the wee hours that offer only insomnia and longing to the one rising from bed. 

Or am I wrong? Is this a poem about inspiration? The act of “remembering / the train whistle” making the poet get up immediately to write the poem about the act of “remembering / the train whistle”? And so, it could be a poem about light, after all, the light of an idea pulling into the station of one’s consciousness, initiating that flurry of activity, the gathering of belongings, the disembarking, the looking around for familiar faces or landmarks. 

The train whistle is present in this poem, while being absent from this poem. The whistle is not heard in actual fact, but in memory. Had the actual sound reached the riser’s ears five minutes earlier? Five years earlier? Fifty years and five hundred miles distant from where the bed is now located? Yes, to all of the above? 

I keep coming back to this being a poem set in the dark of night. As I tell my literature students at some point each semester, I am an optimistic pessimist. Each moment, I tell them, can offer an experience of beauty to the aware observer, or to the observer who is open to the possibility of beauty. At the same time, we all know—we all know—how this journey ends. To that ending, and beyond, is where this haiku takes me each time I read it. Someone rising from bed in the middle of the night, made restless or perhaps even momentarily crazed, by the memory of something that has been lost. That something is I. This present-tense haiku is about the future, and the past. Everyone who reads this poem becomes both the rememberer and the remembered. Every barrier established by the laws of physics is meaningless, here within the world created by these eight words, by these thirteen syllables, by this gentle trickster poet. 



As featured poet, Judith Christian will select a poem and provide commentary on it for Viral 6.5.

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Viral 6.1 (Metz ➝ Robinson)
Viral 6.2 (Robinson ➝ McClintock)
Viral 6.3 (McClintock ➝ LeBlanc)




Viral 5.6

by Scott Metz on February 10, 2010




Virals is a section in which one person choses a haiku by another person and comments on that haiku. Then the author of that haiku is invited to select a haiku by someone else and comment on that poem, and so on. For an introduction to this section, see Virals.








Viral 5.6


Beauty in Haiku

BY Michael Dylan Welch





鮟鱇の骨まで凍ててぶちきらる
ankō-no hone-made itete buchikiraru


                                                 the anglerfish frozen
                                                 right down to its very bones
                                                 is hacked to pieces


                                                                                 —Katō Shūson (1905–1993)
                                                                                 (translated by Dhugal J. Lindsay)


This poem may startle readers because of its bluntness and violence. Many readers and writers of haiku prefer that haiku focus on the beautiful, so much so that they may believe that haiku should be limited to the beautiful. In Japan, however, the subjects of many haiku are often merely mundane, and not specifically beautiful. Moreover, subjects also appear that are decidedly unbeautiful, as in the preceding poem. Robert Bly has asserted that American haiku could represent darker content, in the way that Shiki’s haiku, for example, reflected the tensions of dying from tuberculosis, or the way Bashō’s haiku are often directly or contextually tinged with the dangers of travel. Our haiku, too, has plenty of room for duende, as well as dark subjects. Haiku need not dwell entirely on the dark or seemly, but just as too much salt spoils a meal, so does too much sugar. As James W. Hackett has said in his guidelines for writing haiku, “Lifefulness, not beauty, is the real quality of haiku.”


Translation from Rose Mallow #58 (2003), page 46,
by permission from Dhugal J. Lindsay.

Katō Shūson (1905–1993) cannot select the next poem, and so Viral 5 comes to a close.

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Viral 5.1 (Metz ➾ Lyles)
Viral 5.2 (Lyles ➾ Chang)
Viral 5.3 (Chang ➾ Stevenson)
Viral 5.4 (Stevenson ➾ Yarrow)
Viral 5.5 (Yarrow ➾ Welch)


Viral 5.5

by Scott Metz on February 4, 2010




Virals is a section in which one person choses a haiku by another person and comments on that haiku. Then the author of that haiku is invited to select a haiku by someone else and comment on that poem, and so on. For an introduction to this section, see Virals.








Viral 5.5


The Light in the Darkness

by Ruth Yarrow




                                             toll booth lit for Christmas—
                                             from my hand to hers
                                             warm change


                                                                               — Michael Dylan Welch


I find this poem full of contrasts and of hope.  The contrasts include the lighted booth in the early dark of a December evening, the coins warmed by his hand reaching out into cold Christmas weather, and the warmth of the connection in what is a very impersonal fleeting monetary exchange.  The hope I feel in this poem comes from the light in the darkness, the hope of the season, the reach across what may be class and race as well as gender lines, including the smile and thanks I assume are there.  And that last line has so many reverberations. We are all humans, giving us the potential to connect with warmth.  We have the potential to change the global messes we are in if we make those connections.  I admit this is laying a lot on a short poem—maybe far too much.  But the feelings of connection, warmth and hope are all in that moment, and after all, emotions are what makes any poem poetry. Thanks, Michael.


“toll booth” was first published in Frogpond XVIII: 4

As featured poet, Michael Dylan Welch will select a poem
and provide commentary on it for Viral 5.6.

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Viral 5.1 (Metz ➾ Lyles)
Viral 5.2 (Lyles ➾ Chang)
Viral 5.3 (Chang ➾ Stevenson)
Viral 5.4 (Stevenson ➾ Yarrow)




Viral 3.5

by Scott Metz on January 24, 2010




Virals is a section in which one person choses a haiku by another person and comments on that haiku. Then the author of that haiku is invited to select a haiku by someone else and comment on that poem, and so on. For an introduction to this section, see Virals.








Viral 3.5


A Simple Swirl of Water: A John Wills’ Moment

BY Cor van den Heuvel




                                                      rain in gusts
                                                      below the deadhead
                                                      troutswirl


                                                                                   —John Wills




Talk about seeing a world in a grain of sand. Here is the story of life and death revealed in a swirl of water. Though like most good haiku it is about a moment of perception, this poem may take a few seconds to fully appreciate. Although it is basically about the single moment of the “troutswirl,” to experience the haiku’s full resonance one should also be aware of the several states, or conditions, of water that precede and accompany the moment. The three words of the first line call up not only the “rain in gusts” but by implication—suggestion—we are made aware of the steadier fall of rain, or mistiness, or even absence of rain, which comes between the gusts. The second line, with the word “below” tells us not only that we are looking at a stream, or river, but that its water is flowing and swelling above “the deadhead” (a wholly or partially sunken log) as it tries to get around this obstruction. We can also see the smoothness of the quiet water just below the log. We then see the coming together, the meeting, of those three or four kinds of rain on the different kinds of river surface, and finally we see the moment of the troutswirl itself. The many images of water united in one. And out of this elemental world of river, wind, and rain—and death—comes that one sign of life. The mystery is deepened as much by what we don’t see as by what we do, for the trout itself is either unseen, or just barely glimpsed through the water.



John Wills (1921-1993) cannot select the next poem, and so Viral 3 comes to a close.

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Viral 3.1 (Metz ➾ van den Heuvel)
Viral 3.2 (van den Heuvel ➾ Patrick)
Viral 3.3 (Patrick ➾ Forrester)
Viral 3.4 (Forrester ➾ van den Heuvel)