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Messages - Mary Stevens

I'm thinking probably not b/c the poem doesn't describe the visual artwork, but rather links to it. What say you all?
Nice one! Reminds me of the ancient poems in which the rain is washing the autumn leaves with color.
Had a nice exchange with Patrick Sweeney when I requested permission to discuss his haiku in my blog. Here's what I did with his poem, along with Issa's measuring-the-peony-with-a-fan haiku:
Found it! That was good advice, Alan. Charlie found it right away.

all morning
the demands
of the blue hydrangea

by Patrick Sweeney

Frogpond 28:1 (2005), 22
Inside the Mirror (Red Moon Anthology 2005), 70
Lee Gurga and Scott Metz, eds., Haiku 21 (2011), 168
Thanks, Alan.

Wow! *That's* a cool thing! Too bad it's not a searchable thing online. I can't tell you how many times I have wondered where I saw a modern poem, who wrote it, and how, exactly, it went!
Some great poems on hydrangeas, Alan!

The one I am thinking of likely was published in Frogpond, maybe Modern Haiku, in the past 10 years or so.
Does anyone know the name of the poet who wrote something like this?

all day long
the demands
of the blue hydrangea

Does anyone know the exact wording of the poem?

Thank you!

Sea Shell Game / Re: Sea Shell Game 3
December 21, 2011, 02:55:33 AM
Hi, John.

This is a fun game!

I like both of these poems, but prefer John Stevenson's; it stays a while and takes me somewhere else.

I had to work my way backwards into the poem. I started thinking about the disparate characters inside myself. All the different internal voices and goals and needs—many times attempting to make themselves known all at the same time. How often I find decision-making difficult because I have to choose which need to satisfy first or to the exclusion of another. The internal tapes of what others might think of me and how I should act in a given situation. One can feel lonely in a crowd. But one is never really alone, even when no one else is physically present. I often wish I could be alone in my own mind! In the poem I see a man standing in a crowd with his own crowd of selves inside him. Stevenson doesn't say it linearly, like I just did. He makes me work for it. That feels satisfying. More meanings will probably surface as I (and my many selves!) toy with the poem.
Carter, Steven. Traditional Japanese Poetry

Gurga, Lee. Haiku: A Poet's Guide

Strand, Clark: Seeds from a Birch Tree
In-Depth Haiku: Free Discussion Area / Re: kireji
May 04, 2011, 01:13:29 PM
Quotefolded umbrellas
   a swan tucks itself
   in the rain

Oh, I love this version monstrously, Paul!

I'm still puzzling about the use of any punctuation anywhere but at the end of a line, though. Let me put it another way: it seems that the most common structure for EL haiku these days is three lines, two of which form a contained and fluid syntactical unit. (Stanford M. Forrester very cleverly used three toy blocks of two colors to demonstrate this in a workshop I attended with him a few years ago). I have only recently come across the idea that, in cases in which the "2/3 unit" comes first, a poet might start the image of the "1/3 unit" in the "2/3 unit" by using a semicolon (or comma)—and call it kireji. Does this pretty much only happen in poems in the 5/7/5 format? Alan, is this why you say
QuoteThere used to be a lot of haiku writers that used mid-line punctuation
In-Depth Haiku: Free Discussion Area / Re: kireji
May 01, 2011, 02:16:29 PM
Thanks, Paul, for the examples. I was wondering, though, about the use of the semicolon just before the last word or two of the long line, as in your

Quoteresort umbrellas
folded in the rain; a swan
slips beak under wing

What was puzzling me was that it was appearing elsewhere than at the very end of the line.

Re: your question about why the semicolon is no longer used very much: I'm guessing that the line break does the job when the two images are clearly different. No punctuation is really necessary. Since haiku are about spareness, an unnecessary piece of punctuation creates visual clutter. When punctuation is necessary to separate the two images, the colon, dash, or ellipses offer a lighter touch than the semicolon. The semicolon separates two independent clauses; the other three only require one independent clause. I'm thinking that this might be why the semicolon has gone the way of the appendix.
Quote"I've wondered if a spider eats a firefly where the glow goes?"~chibi

In-Depth Haiku: Free Discussion Area / Re: kireji
April 24, 2011, 11:59:12 PM
Whoa, Gael! Thanks for the video! It seems that the kireji, "ya" signals to readers/listeners that the two parts of the poem are separate. I missed that entirely, not knowing Japanese and the English translation I tend to read containing no em dash or colon. I kind of read that poem as a sentence, and therefore, that pleasurable tension I usually experience when attempting to bridge the gap between the two parts of haiku was missing for me. I can see how people new to haiku so easily slip into aphorisms and prose in their poems, even having been exposed to Basho's classic poem.

Paul, you touch upon my question. Is that semicolon necessary b/c you were writing in 5/7/5? It seems that would not be necessary in the flexible-syllable format of modern haiku in English b/c line breaks tend to occur where the phrasing is natural. In other words, the line break does the job, nowadays, right? Can anyone point me to other quality haiku in English that use the semicolon that way?

In-Depth Haiku: Free Discussion Area / kireji
April 23, 2011, 03:11:07 PM
Can anyone point me to more info re: kireji? I've already looked at WJH's Haiku Handbook, Gurga's Haiku: A Poet's Guide, and the WKD.

English pretty much uses colons, em dashes, and ellipses instead of words, right? And commas are not used, correct?
Thanks for posting the haiga, Gabi. I had pretty much pictured the firefly where it is depicted in the picture, but instead of on its leg, further up on on the wolf's side, as if it had picked it up when lying down in a meadow.
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