What is Haiku? – Week 3

Katherine Gallagher (UK)

(1) “Haiku is a brief season-oriented poem of Japanese origin but
increasingly adapted to Western usage and local tastes. A haiku mirrors
a moment’s experience often shown via contrasting images – the so-called
‘haiku moment’ bringing about a. sudden illumination to dramatic
effect.”

(2) and Katherine’s short description:
“Haiku is a brief poem about the sensory vibrancy of the planet.”

Maureen Sexton (Perth, WA)
“Haiku exalts nature by recording, in as few words as possible,
something from the natural world that creates an insight which
resonates with the reader.”

What is Haiku – Week 2

Dhugal Lindsay (Yokosuka, Japan) believes English language haiku should aspire to be:

“Short poem of rhythmical structure, usually between 7 and 17 syllables in length. It contains a reference to a seasonal or otherwise natural entity, is concrete, and illuminates some aspect of the existence of one or more of the elements or entities within the poem.”

Dhugal and John Bird collaborated for this short description:

“A haiku is a brief poem, built on sensory images from the environment. It evokes an insight into Our world and The world.”

Cynthia Ludlow (Brisbane, Qld)

“Haiku are small nature poems that I don’t understand but know to be true.”

What is Haiku? – Week 1

What is Haiku?

Today we begin a weekly display of members’ responses to the question:
What is haiku? Our hope is that by sharing our responses (definitions,
descriptions, comments, or quotations of wise words by others) we will
achieve a broader and more sympathetic understanding of this poetry we
love.

Quendryth Young (Alstonville, NSW)

‘A haiku is a short poem of traditional Japanese origin which
captures the essence of a moment, finds the extraordinary in the
ordinary, and links nature to human nature.’

Kevin Sharpe (Blue Mountains, NSW) responds:

‘haiku, senryu : of the moment’

Nicholas Barwell (Perth, WA) endorses Harold Stewarts’s definition:

“Haiku try to express what Japanese call Mono No Aware, the
ah!ness of things: a feeling for natural loveliness tinged with a
sadness at its transience.”

Thanks to Quendryth, Kevin and Nicholas for sharing these.
Can you answer THE question in less than forty words.? Then please tell
John Bird at  link removed He is is editing this feature for us.

Defining haiku

In 2007 the Australian Haiku Society committee requested John Bird to advise the Society on haiku definition(s) and to try to formulate one that we could adopt, officially, as meaningful for our members and helpful to those new to the genre.

John reports that he has considered many descriptions and definitions of haiku by overseas writers and now wants to understand how Australian poets, at all levels of experience, think about haiku.

He hopes to include some examples of the latter in his published report and would like to share a subset of these on the Australian Haiku Society [HaikuOz] site, if this is agreed to by their authors. If you would like your views to remain anonymous, please say so at the time you submit them. This will be respected.

Haiku are elusive to define. But in attempting to describe them we may come to understand them better. Please don’t feel intimidated that your definition must be academic, or even wise. It’s simply what you think haiku are about that counts. Please send John your personal definition of haiku, whether long-standing or written for this exercise, at: link removed

Please try to restrict your thoughts to 40 words, preferably no more than 25. If you have adopted a published definition written by somebody else, please include all details.

Below are two personal definitions of haiku. You are warmly invited to share yours.

Beverley George
President
Australian Haiku Society
www.haikuoz.org

Continue reading “Defining haiku”

Haiku and the Seasons: an exploration

Beverley George

Beverley George is president of the Australian Haiku Society


The entire Japanese poetic tradition is grounded in the observance of the passing of the seasons, and it is quite simply second nature for Japanese to view human emotions through seasonal metaphors. Liza Dalby

The link between seasonal awareness and the writing of Japanese haiku is apparent. What is not so clear and causes much debate is whether this essential aspect of Japanese haiku can be successfully adopted into other cultural sensibilities and linguistic frameworks, including the English language.

In this article I would like to discuss the situation in Japan as I have observed it directly, rather than relying on readily accessible texts such as those by William J Higginson and Donald Keene and the pioneering work of RH Blyth, Harold G Henderson and James W Hackett, with which readers interested in haiku will already be familiar. I would then like to offer some thoughts about the importation of haiku into Australian writing and how it might be more widely understood and better incorporated. Three visits to Japan in the past two years and ten years of studying haiku do not an expert make, and I hope the tone of this paper is discursive and exploratory rather than in any way prescriptive. Writing haiku is a journey, not a destination, and it has many pilgrims.

Read the entire article by Beverley George as a PDF file

seasons

Haiku, Zen and the Eternal Now

Understanding or embracing Zen is not a prerequisite for writing wonderful haiku but even a little contact can expand horizons and help writers take haiku beyond simple commentaries on nature. Sometimes it is useful in any art form to look back to what came before and to look at beginnings for fresh inspiration. That was the workshop’s objective. Not to provide a guided tour of Zen Buddhism. Rather, the objective was to take participants on a journey to extend and stretch minds and our approaches to writing haiku.

To read the complete article by Jacqui Murray click on the following link to download it in Adobe Acrobat PDF format.

Zen and haiku jacqui murray

 

An Australian Voice?

Recent discussions with some of HaikuOz’s ‘greats’ – notably patron Janice M Bostok and co-founder John Bird – have revealed a common thread of concern. Namely, that some writing of haiku in Australia has, unfortunately, slipped away into the phenomenon of the pretty postcard. In other words, that the spirit and subtlety, that once placed Australian haiku apart from that so frequently written elsewhere, has been submerged to a more mundane, more prosaic form of writing which, in one of my darker moods, I see as:

three ducks
in perfect formation
across a cloud wall

(or to be more strictly ‘correct’: three autumnal ducks/in quite perfect formation/ across a cloud wall)

This opinion is bound to be greeted by indignation, offence and, perhaps, horror. That I accept. I also apologize. I beg, however, that my discussion be accepted in that spirit. As a starting point for further discussion. What I am advocating, is a rethink, a re-examination, of how we are writing haiku in Australia. A move away from the formulae that accept phrasing such as ‘autumn evening’, ‘winter day’, ‘summer afternoon’. In other words, that we look again at the craft of our writing and the spirit of haiku – particularly as it applies to Australia.

Continue reading “An Australian Voice?”

3rd Pacific Rim Haiku Conference, Matsuyama, Japan, April 2007

Report: Beverley George

President
Australian Haiku Society (HaikuOz)

Through haiku composing, you can exchange your way of thinking and deepen your understanding about the people beyond the borders, isms and religions. Kanda Sosuke.

It is impossible to imagine a more idyllic and appropriate setting for a haiku conference than in cherry blossom season at Matsuyama, the birthplace of the poet, Masaoka Shiki where this year marked the 140th anniversary of his birth.

Matsuyama is a castle city on the island of Shikoku and it is also famous for its ancient onsen (hot springs). It was in this city that the Matsuyama Declaration was signed in 1999 to establish the Masaoka Shiki International Haiku Research Center. The Declaration signifies the generous intent of Japanese people to share haiku internationally.

Continue reading “3rd Pacific Rim Haiku Conference, Matsuyama, Japan, April 2007”