The Haiku Foundation Forums

Thanks Seanan, I think there might be a couple of hours or so to send poems yet. :-)

warm regards,

Alan

Hi Seanan,

Couldn't find the contact details on the websites.  Could you post it here?

warm regards,

Alan

Quote from: Seanan on February 13, 2014, 04:23:21 AM
This doesn't precisely fit haiku, and it isn't about journals, but I feel impelled to post it here. Nature and poetry and all . . .

For poets who'd like to put poems to work beyond the pixel and the page, this came to me from the talented people at Leaf Press (www.leafpress.ca):

Here is a quick call for poems about trees. Wendy Morton intends to laminate them and to hang them from trees in a park she is trying to protect.

Wendy said: Please send me a short poem about trees or forests( it can be an old poem) be sure to put your name on it. I need it by February 14. Check out this website: www.jdflandtrust.ca which will give you more information about the project. We want to save this forest, and you can help. Please feel free to send this out to anybody on your list.

.


Dear Billie,

I have been recommending this competition to my students, but the idea of record cards in triplicate and finding a post office, even in America, is a bit of a nightmare.

Most but not all of my students are American.  It's another nightmare for students from various European countries, inside and outside the European Union, as well as Australian and New Zealand, and Indian students.

Is there any chance at all that for next year online submissions and payments might be possible?

I try my best to recommend this competition, but so many good competitions are easy in their submission and payment methods nowadays.

warm regards,

Alan in a part of S.W. England not cut off completely from the rest of Britain. :-)

Quote from: Billie Wilson on January 03, 2014, 12:52:54 PM
Robert Spiess Memorial Haiku Award Competition for 2014

Modern Haiku is pleased to announce the Robert Spiess Memorial Haiku Award Competition for 2014. The purpose of this competition is to honor the life and work of Bob Spiess, editor of Modern Haiku from 1978 to his death on March 13, 2002.

Theme: Haiku are to be written in the spirit of the following "Speculation" (Robert Spiess, A Year's Speculations on Haiku, Modern Haiku Press, 1995):

After the awareness of a haiku moment, the poet must select and arrange the words of the haiku in such a manner that when the haiku is read or heard, the words arouse or evoke in the reader/hearer those immediate feelings that the poet had. The art of haiku is that of the haiku poet's feel for words, the selection of the absolutely appropriate words and the exact positioning of them.

Deadline: In hand no later than March 13, 2014.

Rules: The competition is open to everyone but the staff of Modern Haiku, the competition coordinator, and the judges. Entries must be in English. Each entry must be the original, unpublished work of the author, and should not be under consideration in a contest or for publication elsewhere. For purposes of this competition, appearance of a haiku in print, in an Internet journal, a Web site, or a blog is considered publication, but posting haiku on a private e-mail list is not. Of course, entries should not be submitted elsewhere for publication, or shared in an Internet journal, Web site, blog, or haiku list during the term of the competition.

Submission guidelines: Poets may submit a maximum of five haiku written in the spirit of the above Speculation. Entries should be typed or printed legibly. Submit three copies of each haiku on plain white 3˝x5˝ cards (or 3˝x5˝ slips of paper). The haiku (one haiku per card) should appear on the face of each card. The poet's name, mailing address, telephone number, and e-mail address (if any) should appear on one of the three cards, in the upper left-hand corner above the haiku; the other two copies should contain only the haiku. Please keep a copy of your submission; entries will not be returned. Please follow the instructions carefully: entries that are incomplete or that do not comply with the instructions will be discarded.

Entry fee: $1 per haiku, cash or check (U.S. funds); make checks payable to Modern Haiku.

Send submissions to: Billie Wilson, 1170 Fritz Cove Road, Juneau, AK 99801-8501 USA.

Adjudication: Two judges will be selected by Modern Haiku; their names will be announced at the time of the awards. Judging will be double-blind, and the judges will not know the identity of the entrants. Judges' decisions are final.

Selection criteria: The judges will look for entries that hew to Western norms for haiku as published in Modern Haiku and other leading English-language haiku journals and that best capture the spirit of the theme Speculation above. There are no rules as to syllable or line count.

Awards: First Prize: $100 plus a previously-loved copy of The Turtle's Ears (1971, out of print, inscribed to M.L. Harrison Mackie). Second Prize: $50 plus a copy of Bob's The Shape of Water (1982); Third Prize: $25 plus a copy of Bob's Some Sticks and Pebbles (2001). Up to five poets will be awarded Honorable Mentions and each will receive a copy of Bob's A Year's Speculations on Haiku (1995).

Notification: Winners will be notified by e-mail or phone before the general announcement. Winning entries will be published in the summer 2014 issue of Modern Haiku and posted on the Modern Haiku Web site, http://www.modernhaiku.org/, on or before July 1, 2014. If you would like a list of the winners, please enclose a stamped, self-addressed envelope (SASE) with your entries. Overseas entrants should provide one U.S. dollar in cash with a self-addressed envelope. These will be mailed when the summer issue of Modern Haiku is released.

.

.

paper cut
I kiss the finger holding
The Wasp Factory

i.m. Iain Banks
http://en.wikipedia.org/wiki/The_Wasp_Factory

Alan Summers


factory floor
a spider and a machine
join forces

John McManus


forces or fate
either way   
it is written

devora


...ten times
a butterfly finds
the big O

Alan Summers



.

deer tracks
under the window...
I sign the prenup

Vida

prenup –
the hummingbird guards
her nest

Don

nest in a pine tree
abandoned half-way complete--
so many promises

Adelaide

the promises of God...
she adjusts the IV drip
and turns a page

Vida

paper cut
I kiss the finger holding
The Wasp Factory

i.m. Iain Banks
http://en.wikipedia.org/wiki/The_Wasp_Factory

Alan Summers

Dear Gene,

I'm giving the whole haiku and the weblink so that THF readers may consider:

snowflakes falling
on the child's upturned face
the stillness of stars

john hawkhead

http://www.thehaikufoundation.org/haikunow-awards-for-2013/

What is considered traditional haiku by HaikuNow! is here:
http://www.thehaikufoundation.org/haikunow-traditional-haiku/#trad_examples

Quote from: H. Gene Murtha on February 04, 2014, 11:37:02 PM
Traditional category:

John Hawkhead's poem "snowflakes falling,"
is this an example of a 5-7-5 haiku?   

This verse is, in actual fact, written by Shiki, not Buson:

R.H. Blyth, Haiku, 1952

Yuku ware ni todomaru nare ni aki futatsu - Shiki (vol.2, p. 97)

I going, / You remaining,-- / Two autumns.

Quote from: William Seltzer on January 21, 2014, 02:04:44 AM

SNIP

2. Did Buson or Shiki write?

yuku ware ni/ todo maru nare ni/ aki futatsu
going I for/ staying you for/ autumns two

for I who go
for you who stay
two autumns

Henderson (1958, p. 111) includes this among Buson's work as does the online collection "Haiku of Yosa Buson Organized by Rōmaji, in alphabetical order; translated into English, French, Spanish," available on line from Terebess Asia Online (TAO) at http://terebess.hu/english/haiku/buson.doc, citing Henderson and French and Spanish translations.

On the other hand, the on-line Shiki collection, "Shiki Masaoka - Shiki Haiku Translation by Kim," (posted at http://www.cc.matsuyama-u.ac.jp/~shiki/kim/shikihaiku.html ) includes this "two autumns" haiku as an autumn haiku among Shiki's work. This website provides both a specific translator (Kim [Kimiyo Tanaka, see http://www.cc.matsuyama-u.ac.jp/~shiki/kim/introduction.html]) and in addition to the translation the text both in romaji and kanji (although the latter appears garbled on my machine).  This haiku is also included in Masaoka Shiki: Selected Poems, translated by Burton Watson, New York, Columbia University Press, 1997, p. 44 as haiku # 54.  Watson provides a specific date of composition (1895) and occasion for its writing (Shiki's departure from his friend and fellow writer Natsu Sōseki when Shiki left Matsuyama for Tokyo).

In the case of the authorship of the "two autumns" haiku, I am at a loss.  Both Buson and Shiki are each cited by authoritative scholars as the author. Did Shiki just quote Buson's haiku when he parted from Sōseki and some editor (perhaps going right back to Masaoka Chūsaburō) credit Shiki with a new haiku, or is there some subtle difference in the kanji between Buson's and Shiki's version of this haiku? 

In any event, could someone more knowledgeable about the original sources help resolve this apparent mystery?

Thank you to all responders.

Bill

I agree with Mary, and it reminds me of Bill Higginson's comment, years ago, about toughening up book reviews.

It ties in with what I said above also, and a conversation with George Szirtes I've held since.  He's not the only one wondering where the poetry is going in haiku.   Syllablic haiku is a strong factor amongst poets outside the haiku movement that we know: There are also proponents of this approach that feature Jim Wilson, who does deal in cogent arguments. 

I always feel we have something to learn from those outside the haiku community, and even from outside the poetry groups.

What do others feel about the link that Mary gave us, and whether we need to, should do, keep in touch with the larger world of poetry?   Perhaps we don't, but I'm not sure about isolation. 

We do have a number of haiku writers who are poets at large outside haikai literature.  Is it a break from writing the "other poetry"?

Alan

Quote from: MarySquier on January 28, 2014, 04:06:50 PM
Hello, Peter - I am new to haiku and perhaps naive, but this article felt quite timely to current haiku criticism.  Maybe our poems and souls are too gentle for all that fierceness?  however intelligent and provocative.
Mary

Original haiku by Shiki:

行く我にとゞまる汝に秋二つ

Shiki
子規


Romanised (romaji):

yuku ware ni todomaru nare ni aki futatsu


I going, / You remaining,-- / Two autumns.

R.H. Blyth, Haiku, 1952
- Shiki (vol.2, p. 97)


re: tethered horse haikai verse by Buson:

繋
馬
雪
一
雙
の
鐙
か
な

haikai verse by Buson (Japanese 'script')


transliteration:


tethered horse
snow pair of
stirrups ...


Alas, the internet is full of mistakes.   I often feel we really need to know our 'stuff' beforehand so we can cross-reference ALL sources.

I have numerous print books as well as files, documents, and other word-processing document formats on classic haiku.

A nice book to have, as a companion to The Haiku Handbook:
http://www.amazon.com/Haiku-Handbook-25th-Anniversary-Edition/dp/4770031130
http://www.amazon.com/Haiku-Handbook-Write-Share-Teach/dp/4770014309/ref=la_B000APMKLC_1_1?s=books&ie=UTF8&qid=1390299157&sr=1-1

is:

The Essential Haiku: Versions of Basho, Buson, & Issa (Essential Poets)
http://www.amazon.com/The-Essential-Haiku-Versions-Basho/dp/0880013516
https://www.harpercollins.com/9780880013512/essential-haiku-volume-20

It is frustrating that even how there are mistakes over Basho, Buson and Shiki in particular.  Shiki was a big fan of Buson's work, and I'm guessing someone misread some account into this and attributed Shiki to Buson's work. 

Thankfully re Issa, we have the amazing David Lanoue who has collated all of his work:
http://haikuguy.com/
http://haikuguy.com/issa/

warm regards,

Alan

Quote from: William Seltzer on January 21, 2014, 02:04:44 AM
1. Did Basho or Buson write?

tsunagiuma/ yuki issou no/ abumi kana

a tethered horse
snow
in both stirrups

The Terebess Asia Online (TAO) online collection "Haiku of Yosa Buson Organized by Rōmaji, in alphabetical order; translated into English, French, Spanish," available on line at http://terebess.hu/english/haiku/buson.doc attributes this haiku to Buson, citing William R. Nelson & Takafumi Saito, 1020 Haiku in Translation: The Heart of Basho, Buson and Issa, 2006 and Yuki Sawa & Edith Marcombe Shiffert  Haiku Master Buson, 2007.

On the other hand, this haiku is included in the on-line collection, " A Selection of Matsuo Basho's Haiku," available at http://thegreenleaf.co.uk/hp/basho/00bashohaiku.htm although this site only provides an English translation and no romaji or kanji, or information about the translator.

I assume the correct answer to my question is Buson, since the other sources I could find attributing this haiku to Basho appeared to be derivative of the UK Greenleaf website.  Moreover, neither Reichhold (Reichhold, Jane.  Basho: The Complete Haiku.  Tokyo and New York: Kodansha International, 2008) nor Ueda (Ueda, Makoto.  Basho and His Interpreters: Selected Hokku with Commentary.  Stanford: Stanford University Press, 1992) included the "stirrup" haiku among Basho's work.  But is my assumption correct?  Can someone more knowledgeable provide a more definitive answer?


2. Did Buson or Shiki write?

yuku ware ni/ todo maru nare ni/ aki futatsu
going I for/ staying you for/ autumns two

for I who go
for you who stay
two autumns

Henderson (1958, p. 111) includes this among Buson's work as does the online collection "Haiku of Yosa Buson Organized by Rōmaji, in alphabetical order; translated into English, French, Spanish," available on line from Terebess Asia Online (TAO) at http://terebess.hu/english/haiku/buson.doc, citing Henderson and French and Spanish translations.

On the other hand, the on-line Shiki collection, "Shiki Masaoka - Shiki Haiku Translation by Kim," (posted at http://www.cc.matsuyama-u.ac.jp/~shiki/kim/shikihaiku.html ) includes this "two autumns" haiku as an autumn haiku among Shiki's work. This website provides both a specific translator (Kim [Kimiyo Tanaka, see http://www.cc.matsuyama-u.ac.jp/~shiki/kim/introduction.html]) and in addition to the translation the text both in romaji and kanji (although the latter appears garbled on my machine).  This haiku is also included in Masaoka Shiki: Selected Poems, translated by Burton Watson, New York, Columbia University Press, 1997, p. 44 as haiku # 54.  Watson provides a specific date of composition (1895) and occasion for its writing (Shiki's departure from his friend and fellow writer Natsu Sōseki when Shiki left Matsuyama for Tokyo).

In the case of the authorship of the "two autumns" haiku, I am at a loss.  Both Buson and Shiki are each cited by authoritative scholars as the author. Did Shiki just quote Buson's haiku when he parted from Sōseki and some editor (perhaps going right back to Masaoka Chūsaburō) credit Shiki with a new haiku, or is there some subtle difference in the kanji between Buson's and Shiki's version of this haiku? 

In any event, could someone more knowledgeable about the original sources help resolve this apparent mystery?

Thank you to all responders.

Bill

Edit reason:  updating the Harper Collins weblink

.

The Holistic Approach to haiku:
self-development through poetry
with Alan Summers

Residential Week-end Course just outside London
Friday to Sunday 21st- 23rd February 2014
http://area17.blogspot.co.uk/2014/01/residential-week-end-course-just.html

A friendly inclusive course that finds out just what makes a haiku poem really tick.  We'll look at how our experiences, both external and spiritual, can become haiku, and act as important records of our life.


.

Hi Lorin, and all others seeking a copy of the book. 

In fact, the book format/pdf copyright for "Nothing but the Wind" still remains with Colin Stewart Jones as owner of the Gean Tree Press that was, and editor/publisher of the book. 

I do not have the rights to pass on the book without his permission, but for those who want a download, I suggest contacting Colin.  He's still registered with the Haiku Foundation, and even if he's not checking in to the site at the moment, I believe he will receive an email notification of the message.

Logged in Haiku Foundation registered members can click here to send a message:
http://www.thehaikufoundation.org/forum_sm/index.php?topic=2548.0

If people don't manage to get hold of Colin through the above, or other means, can we review the situation in three or four weeks?  Then there's a case for asking John's family's permission in lieu, having seriously tried to get hold of the collection copyright owner.

(Individual poems - outside the book order of poems in Nothing but the Wind - are of course owned by the Estate of John Carley).

I'm sure John Carley's family will be glad to hear of people's interest in his work.  I would love the book to be available to everybody, but I think we have to go through the proper permissions.  I don't know for instance, whether Colin Stewart Jones and the family have already been in touch over his poetic legacy and discussing plans for its availability.

Sorry not to be of immediate help, but I feel sure it will work out.

Here's a bit more info for those who are keen to find out about John and his work:

John Carley, 1955-2013
John Carley died on New Year's Eve, December 31st 2013, and his funeral was at Rawtenstall, Lancashire, England, on Friday 10th January 2014.

There is a forthcoming book about John Carley's work:

Renku Reckoner by John Carley
http://www.darlingtonrichards.com/index.php/updates/renku-reckoner-by-john-carley/

I believe that once the book is published work will also start on a website [ http://www.thehaikufoundation.org/forum_sm/index.php?topic=2548.0 ] dedicated to John Carley's poetry, and that all participants will be contacted regarding copyrights.  Official announcements will be made some time after the Renku Reckoner book is published.

-end-

Quote from: Lorin Ford on January 12, 2014, 11:38:46 PM
Hi Alan,
             I have contacted Carole. As I understand the situation, you also have the pdf of 'Nothing but the Wind'.

I did read through it on Calemeo (and it explained the batch of postcards John sent me with the Hiroshige print & the ku " if this were the desert/ you would be a camel/ Master Horse!")

It is a great shame that this work, which John had expected to be free to the public for quite some time, has been withdrawn without proper notice. If Gean Tree Press has been dissolved, then there is no reason I can see why the pdf of a book the author intended to be read freely cannot be shared.

- Lorin

Well done Steven and Lorin, looks like you made available many of the archives.

warm regards,

Alan

Hi Sandra,

Gean Tree Press has ceased trading, so that means both the magazine Notes from the Gean, and the Gean Tree Press books are now unavailable.

There is a website in progress that will record all collaborations with John Carley in various linked verse formats.   It's possible that Nothing but the Wind could eventually be included.  That would be a great additional delight.

That's a lot of work behind the scenes, so I doubt there will be any official announcements yet, until permissions are granted with all authors who collaborated with John Carley on renku, rengay, etc...

warm regards,

Alan

Quote from: sandra on January 07, 2014, 09:03:43 PM
Hi Alan,

I tried to find John Carley's free ebook that Gean Tree Press published (Nothing but the Wind), but the link no longer works. Do you know if there's an archive somewhere or if the book lives on elsewhere? It seems a shame for it to have disappeared.

Thanks,
Sandra

Hi guys,

I see this has had some views.  Anyone let me know about haiku writers, or who can contact me at: alan@withwords.org.uk

I'll give them more details and put them in contact with a lovely award-winning haiku poet who lives over there. :-)

warm regards,

Alan

p.s.

After the Polar Vortex has gone of course. ;-)

.

Gean Tree Press has sadly ceased to run. Its creator is concentrating on other pursuits.

As a former editor (for the linked verse section) in the past, may I thank all readers, writers, subscribers, and previous editors, and Colin Stewart Jones, who helped this magazine become a highly respected publication.

warm regards,

Alan