From Bob Spiess' A Year's Speculations on Haiku, here is the entry from November 7th:
"As it is generally accepted that in haiku creation 'ego per se' should not intrude itself, lest the nature of the now-moment of awareness be marred, it may be of interest for haiku poets to be cognizant that for some Sufis there is the view that Iblis (Satan, the Devil) was the first being to say 'I.'"
I think it is not so much the use of the word "I" but rather how the word is used, and the motive behind it, that is important. Sometimes the use of the first person form does not "mar" the moment but actually makes it more immediate and accessible—as in these poems by Sue Antolin and Fay Aoyagi:
and so I agree
not to die before she does—
the sound of crickets
- Sue Antolin (1)
long night
I distort the globe
with Photoshop
- Fay Aoyagi (2)
Both haiku are rooted in the first person experience and perspective, and their power derives from it. The presence of the ego is pronounced in both haiku—and is used to move beyond it.
Notes:
(1) Sue Antolin, Artichoke Season, pg 4.
(2) Fay Aoyagi, Moonlight Changing Direction (Two Autumns), pg. 13.
The only alternative to Fay's would be to use an "ing":
long night
I distort the globe (distorting the globe)
with Photoshop
- Fay Aoyagi
This "ing" thing is used a lot and, yet, necessary. However, this haiku is so much more powerful with "I". Of course we know the poet is present. But, in this case, besides being present, the poet is the center of the activity of the phrase. "Long night" sets the stage nicely. And when you punch in L2/3, it comes together perfectly - with "I" as the centerpiece.
While "I" is strong, it does not overwhelm the haiku. That is the key. It's a balance of powers and how they interact in the haiku that makes the use of "I" more acceptable or less.
Just thinking out loud a bit .....
"D"
It might also be the case that to anguish over the use of the 'I' might actually strengthen the sense of ego?
I agree. :)