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16
New to Haiku: Free Discussion Area / Re: All aboard, for the Haiku Train ....
« on: February 01, 2012, 07:12:22 PM »
toe testing
his sudden look and sly smile
says yes
daysleeper
What happened to the posts that came after this one? There was mine and one or two others.
Adelaide
his sudden look and sly smile
says yes
daysleeper
What happened to the posts that came after this one? There was mine and one or two others.
Adelaide
17
New to Haiku: Free Discussion Area / Re: All aboard, for the Haiku Train ....
« on: January 24, 2012, 06:15:50 PM »
Sorry Don. I didn't know that it had to be the last word. I thought it was any word in the last line. I guess my other contributions were not correct, either.
I'll try another one:
blue morning
fragrant notes pulling me
inside the cafe
Adelaide
I'll try another one:
blue morning
fragrant notes pulling me
inside the cafe
Adelaide
18
New to Haiku: Free Discussion Area / Re: All aboard, for the Haiku Train ....
« on: January 23, 2012, 08:19:42 PM »
I deleted this link because it was not done correctly. (See Don's post following this)
Adelaide
Adelaide
19
New to Haiku: Free Discussion Area / Re: All aboard, for the Haiku Train ....
« on: January 17, 2012, 05:22:24 PM »
company lunch
my boss measures
his sandwich
John
sandwiched between
a Kindle and the Times
on the underground
Sue
Underground
the first note probes
my Balkan bones
Vida
bone marrow
the wag of ancestral tongues
war to war to war
pat
the game of War
we slap the cards down hard
following thunder
Adelaide
my boss measures
his sandwich
John
sandwiched between
a Kindle and the Times
on the underground
Sue
Underground
the first note probes
my Balkan bones
Vida
bone marrow
the wag of ancestral tongues
war to war to war
pat
the game of War
we slap the cards down hard
following thunder
Adelaide
20
New to Haiku: Free Discussion Area / Re: All aboard, for the Haiku Train ....
« on: January 13, 2012, 07:27:17 PM »
a chill in the air
we discuss new wills
in the autumn dusk
Adelaide
we discuss new wills
in the autumn dusk
Adelaide
21
New to Haiku: Free Discussion Area / Re: All aboard, for the Haiku Train ....
« on: January 12, 2012, 05:50:48 PM »
pond clouds
and cattail fluff
white on blue
- Pat
blue ribbons
amongst the debris
New Year
- Sue
the New Year
adding fresh vegetables
to yesterday's soup
-Adelaide
soup stones?
they sell them now
in bookshops
-Vida
used bookshop
immersed in genarations
of old dust
Adelaide
and cattail fluff
white on blue
- Pat
blue ribbons
amongst the debris
New Year
- Sue
the New Year
adding fresh vegetables
to yesterday's soup
-Adelaide
soup stones?
they sell them now
in bookshops
-Vida
used bookshop
immersed in genarations
of old dust
Adelaide
22
New to Haiku: Free Discussion Area / Re: All aboard, for the Haiku Train ....
« on: January 09, 2012, 05:04:03 PM »
the New Year
adding fresh vegetables
to yesterday's soup
Adelaide
adding fresh vegetables
to yesterday's soup
Adelaide
23
Sea Shell Game / Re: Sea Shell Game 1
« on: November 05, 2011, 08:09:48 AM »
Osiris
reconstructed
buttercups
Peggy Willis Lyles
wild roses
tarrying beside one
touched by time
Robert Spiess
Robert’s haiku gets my vote. I don’t find “tarrying” archaic, possibly because I am used to visiting a village in Westchester County, NY called Tarrytown. It’s a charming village and a place in which one wants to tarry.
I also identify personally with Robert’s poem. My take is this: The poet, seeing wild roses, tarries beside one wild rose which has been touched by time, that is, not as fresh as the others. It also can mean that the poet is the one touched by time, that is not as fresh as he used to be. The roses are new and fresh and he is getting older, or perhaps Robert meant that both he and the roses are getting older and no longer young. When you reach my age you think of things like this.
I don’t know if I would agree with Alan and refer to 1997 as another era. 14 years seems a bit too short to be an era, but then, that’s probably because I think of 14 years as just happening yesterday.
Adelaide
reconstructed
buttercups
Peggy Willis Lyles
wild roses
tarrying beside one
touched by time
Robert Spiess
Robert’s haiku gets my vote. I don’t find “tarrying” archaic, possibly because I am used to visiting a village in Westchester County, NY called Tarrytown. It’s a charming village and a place in which one wants to tarry.
I also identify personally with Robert’s poem. My take is this: The poet, seeing wild roses, tarries beside one wild rose which has been touched by time, that is, not as fresh as the others. It also can mean that the poet is the one touched by time, that is not as fresh as he used to be. The roses are new and fresh and he is getting older, or perhaps Robert meant that both he and the roses are getting older and no longer young. When you reach my age you think of things like this.
I don’t know if I would agree with Alan and refer to 1997 as another era. 14 years seems a bit too short to be an era, but then, that’s probably because I think of 14 years as just happening yesterday.
Adelaide
24
In-Depth Haiku: Free Discussion Area / Re: Do we know what we mean when we ku?
« on: September 29, 2011, 08:09:20 AM »
Can we ever fathom a ku? By fathom I assume you mean: to penetrate to the truth of; to comprehend; to understand: (all meanings found in any dictionary)
When a poet writes a haiku we assume he knows and understands what he means; he is aware of the experience he wants to express and tries to express it in words following the haiku format. The difficulty is in finding just the exact words which will give the reader the same experience. That in itself is an impossibility, since no two people are exactly alike. The same experience will be filtered differently through different people. So then the poet hopes his words will give the reader a similar experience, an experience to which he can relate. If a reader does not fathom a haiku, the fault could be in either the reader or the poet: the poet is not clear enough in his choice of words or the reader is too removed from the time and place or has never had an experience remotely similar.
That being said, what if the poet himself doesn’t quite know what he has experienced in regards to his emotions? Often, from personal experience, an incident, an image, a sensation occurs which I feel I must capture, but I’m not sure of what it is I want to capture. The feeling is so elusive that it defies words. However, words are all I have, so I try to find the right ones. The resulting haiku may or not be clear, even to myself. The shortness of haiku creates this challenge.
Scraping old paint–
through the open window,
spring dampness
A few years ago the above haiku of mine was published in MAYFLY. To this day I’m not sure what I wanted to capture–the ordinariness of the activity, the sound of the scrapper, the sounds from outside muffled by the fog (which I didn’t mention but perhaps should have) the old paint chipped away, the new green just appearing on the trees, the energy I felt (it was early and I wasn’t tired of the job as of yet) all of that and more. I don’t know what Randy and Shirley Brooks saw in this haiku when they accepted it. They must have seen and understood something, perhaps not exactly what I saw, but something that, for them, made it a haiku worthy enough to be published.
To get back to your question: Can we ever fathom a haiku? My answer is yes, to a certain degree. Only the poet can really understand what he means; the reader can only make a stab at it.
Adelaide
When a poet writes a haiku we assume he knows and understands what he means; he is aware of the experience he wants to express and tries to express it in words following the haiku format. The difficulty is in finding just the exact words which will give the reader the same experience. That in itself is an impossibility, since no two people are exactly alike. The same experience will be filtered differently through different people. So then the poet hopes his words will give the reader a similar experience, an experience to which he can relate. If a reader does not fathom a haiku, the fault could be in either the reader or the poet: the poet is not clear enough in his choice of words or the reader is too removed from the time and place or has never had an experience remotely similar.
That being said, what if the poet himself doesn’t quite know what he has experienced in regards to his emotions? Often, from personal experience, an incident, an image, a sensation occurs which I feel I must capture, but I’m not sure of what it is I want to capture. The feeling is so elusive that it defies words. However, words are all I have, so I try to find the right ones. The resulting haiku may or not be clear, even to myself. The shortness of haiku creates this challenge.
Scraping old paint–
through the open window,
spring dampness
A few years ago the above haiku of mine was published in MAYFLY. To this day I’m not sure what I wanted to capture–the ordinariness of the activity, the sound of the scrapper, the sounds from outside muffled by the fog (which I didn’t mention but perhaps should have) the old paint chipped away, the new green just appearing on the trees, the energy I felt (it was early and I wasn’t tired of the job as of yet) all of that and more. I don’t know what Randy and Shirley Brooks saw in this haiku when they accepted it. They must have seen and understood something, perhaps not exactly what I saw, but something that, for them, made it a haiku worthy enough to be published.
To get back to your question: Can we ever fathom a haiku? My answer is yes, to a certain degree. Only the poet can really understand what he means; the reader can only make a stab at it.
Adelaide
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