The Haiku Foundation Forums

Call Mother a Lonely Field though a memoir, is as rich as the best haibun.  I highly recommend this book to anyone serious about haibun, and also serious about place and tone, and internal worlds staying on beyond the shelf life of the external world of and its own time.

Call Mother a Lonely Field mines the emotional archaeology of family, home and language, our attempts to break their tethers, and the refuge we take within them. In this memoir, Liam Carson confronts the complex relationship between a son thinking in English, a father dreaming in Irish 'in a room just off the reality I knew', and a mother who, after raising five children through Irish, is no longer comfortable speaking it in the violent reality of 1970s Belfast.

We experience the author's childhood through still-present echoes of the Second World War, dystopian science fiction, American comic books and punk. At the same time he explores how language, literature and stories are transmitted ó bhéal go béal, from mouth to mouth. Only after years in London and Dublin and the deaths of his parents will he begin to heal his own fractured relationship with Irish through literature.

Against this background, Carson's rediscovery of Irish as a tearmann or sanctuary is a haunting testament to the potency of our own vanishing worlds, with implications reaching far beyond the experiences of one family or city.

Liam Carson is the director of the IMRAM Irish Language Literature Festival. His father, the late Liam Mac Carráin, was well known in Belfast as a postman, Irish-language activist, writer and much-loved storyteller.

weblinks:
http://www.hagsheadpress.com/ourtitles.html
http://www.serenbooks.com/book/call-mother-a-lonely-field/9781854115881


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Dear Martin,

There is a skill in using what have become clichés, so they can become fresh again, and your examples suggest that. April chill and old man sound  right, rather than forced, for example, to add a superficial depth.

kind regards,

Alan

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Laughing To Myself

A collection of haiku and senryu by Tom Clausen, a favorite poet of many readers of haiku. Tom has been writing haiku for over twenty years and has enchanted readers with his very personal outlook on family, nature and living in this modern world. Tom opens his heart so that those who read his poems not only feel like they know him, but because his poems touch a universal chord readers also feel like they know themselves a bit better too.

before sleep
laughing to myself
           at myself

Since 1989, when Tom Clausen first came onto the haiku scene, he has been in the forefront of English language haiku, senryu, haibun and tanka.  Tom was a pioneer in the haiku movement that let haiku not only roam through the natural world, but let it into our cities, homes, and all other aspects of our modern world. No other haiku poet has so openly let the reader into his life and into his heart.  Tom, while retaining his individual voice,  manages to convey the aspiration and angst of all of us who live in this modern world and does so with a wry and whimsical smile. This collection which spans the entire 24 years of Tom's insightful, honest and often humorous poetry will give those who know Tom's work a chance to revisit old favorites and find gems they might haves missed and give those less familiar with Tom's work a chance to see why he is one of the most influential haiku and senryu poets of his generation.

bitter wind-
we circle our candles
for peace

Laughing To Myself
http://www.freefoodpress.com/page12.html

Checks:
http://www.freefoodpress.com/page4.html

Paypal:
http://www.freefoodpress.com/page13.html

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I'm envious Chase, you are going to meet a lot of nice people who also write fine haiku and tanka etc...

Leave a comment here?
http://nc-haiku.org/haiku-holiday-2013/

More details:
http://nc-haiku.org/haiku-holiday/

You'll love Roberta Beary, a good friend of mine who pops over to Bath and London regularly so we can meet up. A delicious sense of humor and a top haiku writer, as well as haibun etc...

Let her know you are a friend of mine.  :)

Also, I've never met Lenard Moore so I'm really jealous, I'm a huge admirer of the man and his work: http://en.wikipedia.org/wiki/Lenard_Moore

You'll also meet the man behind this very site (blog and forum), Dave Russo.

Gosh, you are going to have such an amazing time!

Alan

Quote from: Chase Fire on April 13, 2013, 07:05:59 PM
I am, I'm really excited  ;D

I'm certainly looking forward to the contest administrator sending me the collated entries.

Please do wander around some of the natural and urban monuments the organisation seeks to protect:
http://www.wmf.org/our-projects/project-map

You can also create a page just for your country or another country that piques your interest, and write about either.

kindest regards,

Alan Summers

I believe the new url in development is:
http://simplyhaikujournal.com/

Quote from: Gabi Greve on April 12, 2013, 01:16:17 AM
The issue seems to be unavailable.
Any new HTML for it ? ???

Gabi
(chasing after Basho)

Quote from: Grace on April 04, 2013, 12:35:16 PM
Can someone tell me exactly what constitutes a one line haiku.

A lot has been said, and will continue to be said about one line haiku.

Here are some things said, and I hope others step in with thoughts, techniques, devices, and examples.


One of many devices I employ is the abrupt method: It's a deliberate subvert technique.

It's also been said that if it's a 1-line haiku you are aiming for they work best when they cannot be remade into three line haiku.  I'm not sure that's always the case, but it's a useful guideline.

I'd suggest introducing "abruptions" as one method which is my term for breaking up normal syntax/semantics.

abruptive techniques, my term for sharp changes in directing the reader, and I often subvert the adjective 'abruptive' into a noun i.e. look for abruptives in your haiku.

*
Abruptive: suddenly disruptive
Urban Dictionary
*

merriam-webster.com:
abruptive (adjective) : showing a tendency to be abrupt

abruptitude (noun) : the quality of extreme suddenness
Ryan Muller
*

Embrace the abruptitude!

Sometimes one-line haiku are, or appear to be, a little subversive in order to tell a greater truth.

If it's too smooth it could be just a line of poetry, or a statement.
Alan Summers

Jim Kacian says this:


• "Multiple stops yield subtle, rich, often ambiguous texts which generate alternative readings, and subsequent variable meanings.
  
  Each poem can be several poems, and the more the different readings cohere and reinforce each other, the larger the field occupied by the poem, the greater its weight in the mind."
  
  The Way of One by Jim Kacian
  Roadrunner X:2

More will be forthcoming in my book-in-progress.

For now, here are some of my own haiku.



snowing through the blizzard particles of me


Publications credits: 
The Haiku Calendar 2012 (Snapshot Press); The Humours of Haiku (Iron Press 2012); The In-Between Season (With Words Haiku Pamphlet Series 2012); Mann Library (as originally written as a one line haiku, March 2013)

Award credits:
Winner, The Haiku Calendar Competition 2011 (Snapshot Press)



chestnut moon shifting in my memory ghost floors

Publication Credits: Roadrunner 12.3 (December 2012)



sick train the night heron shifts silt for all of us

Publications credits:
a handful of stones (2nd March 2011); A Blackbird Sings, a small stone anthology ISBN 978-0-9571584-2-9 ed.  Fiona Robyn & Kaspalita Thompson (Woodsmoke Press 2012)



long grass nights star systems in the Big Dipper

Publications credits: Haiku News (2012)



this small ache and all the rain too robinsong

Publications credits: Modern Haiku vol. 44.1 winter/spring 2013


ground zero into the new friend's story

Publications credits:  Roadunner Masks 4


all those red apples amongst the blue tit

Publications credits:
Does Fish-God Know (Yet To Be Named Free Press 2012); roadrunner MASKS 4


giallo this restricted area my birthplace

Publications credits:
bones journal Pre issue - Single haiku & Sequences (2012); Does Fish-God Know (Yet To Be Named Free Press 2012)


Hirst's butterflies disturbing the exhibits people

Publication Credits: Roadrunner 12.3 (December 2012)


sloe-eyed horses in Lichtenstein bubble gum wrappers

Publication Credits: Roadrunner 12.3 MASKS 4


long hard rain my compass your true north

Publications credits: Frogpond 36.1 • 2013


rain on the river the jesus star shifting

Publications credits: Janice M Bostok Haiku Prize 2012 Anthology Evening Breeze


pull of stars turning cold the snail's navigation

Publications credits:
Does Fish-God Know (YTBN Press 2012); Blithe Spirit (February 2013)


night-entangled moons treading judas floors

Publication Credits:
Dark Pens, a journal of moon haiku (1.1. 2013)


Red Sea beat my heart still hydrozoa

Publication Credits: Does Fish-God Know


voodoo rain this new light year
Publication Credits: Does Fish-God Know


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The World Monuments Fund Haiku Contest

World Monuments Fund invites entries for the second annual haiku contest.

FREE TO ENTER haiku contest: http://www.wmf.org/national-poetry-month


Submission

Submissions are accepted April 1-30, 2013. All haiku must be submitted through our online submission form.


Awards

First Prize, $100; Second Prize, $75; Third Prize, $50; and three semi-finalists.

All six winning haiku will be published on WMF's website.


Adjudication

Alan Summers runs With Words, a nonprofit that provides literature, education, and literacy projects, often based around Japanese literary genres. He is a recipient of the Japan Times Award and the Ritsumeikan University of Kyoto Peace Museum Award for haiku.

He is a founding haiku editor for Bones, and serves as editor of haiku/haibun for the Lakeview International Journal of Literature and Arts. He has four haiku collections, the most recent being Does Fish-God Know, and has also co-edited haiku-based anthologies.

His haiku has appeared in 75 anthologies in fifteen languages, including Japanese, and has been printed in Japanese newspapers including Yomiuri Shimbun, Asahi Shimbun, Mainichi Shimbun, The Japan Times, and The Mie Times. A forthcoming work is Writing Poetry: the haiku way.


Submission details weblink:

There is an online submission to click onto:
http://www.wmf.org/get-involved/haiku-contest

online submission form:
http://www.wmf.org/get-involved/2013-haiku-contest






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Some of these haiku may or may not contain personification and anthropomorphism.  My concern is that if haiku writing becomes too proscriptive with certain writing techniques we may lose out as readers, and constrain our writers.

If we narrow the writer's choice do we narrow our readers and their choices, and do we not also narrow haiku and haikai literature itself?



february moon
not one single flying fox snared
on its horns

Alan Summers
Haiku World: An International Poetry Almanac, Kodansha International (William Higginson and Penny Harter, Japan 1996)



bright breeze
the kettle warms up
a cloudless day

Alan Summers
Presence #44 (2011)



snowing
through the blizzard
particles of me

Alan Summers
The Haiku Calendar 2012 (Snapshot Press); The Humours of Haiku (Iron Press 2012); The In-Between Season (With Words Haiku Pamphlet Series 2012)

Award credit:
Winner, The Haiku Calendar Competition 2011 (Snapshot Press)



Published as a one-line haiku as originally intended:


snowing through the blizzard particles of me


Cornell Library, Mann Library Selection (Selection by Tom Clausen for March 2013)




this delicate rain
the petal makes a typo
of a gravestone date

Alan Summers
tinywords, haiku & other small poems ( July 2011)




dandelion wind
mending bridges
in the mist

Alan Summers
Blithe Spirit (British Haiku Society journal Vol 22 No. 3 2012); Does Fish-God Know (YTBN Press 2012)




this small ache and all the rain too robinsong

Alan Summers
Modern Haiku vol. 44.1 winter/spring 2013




lullaby of rain
another pinch of saffron
in the pumpkin soup

Award Credit: Editors' Choices, Heron's Nest (Volume XIV, Number 4: Dec. 2012)




pull of stars turning cold the snail's navigation

Alan Summers
Does Fish-God Know (YTBN Press 2012); Blithe Spirit (British Haiku Society journal February 2013)






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Haiku & Western Poetry By Peggy Willis Lyles

Haiku along with other poems deserve more than one reading. If possible, they should be read aloud. While they often spark immediate recognition and appreciation, they give up their full meanings more slowly. They are, in fact, the most compressed of all poems. I like to think that means they are charged with extra energy and vitality. Certainly, they engage the reader as a co-creator.

All good poetry is selective, leaving much unsaid. As Yoko Sugawa tells us: "In order to say ten things a haiku presents only two". Those two, though, are so carefully selected, simply and clearly presented and so interwoven with rich textures of suggestion and association that the receptive reader, willing to enter the poem and do his part, has what he needs to find the other eight things and possibly even more!
Western poetry often introduces additional sense imagery through figurative language. In his valuable essay "Toward a Definition of the English Haiku" George Swede examines various criteria or "rules" governing haiku and concludes that the one which insists it "usually avoids poetic devices such as metaphor, rhyme, etc." is unnecessary. 1

Why, then, are newcomers to haiku writing urged to avoid simile, metaphor, personification and other traditional tropes? There are many good answers, I think, but the most important is that haiku poets place high value on the creatures and things of this world just as they are, each unique in its essential nature and worthy of unobscured attention. Comparing one thing to another often seems to diminish both.

Consider Speculation 813 by Robert Spiess 2: "Although simile occasionally occurs in Japanese masters' haiku, it is rather rare. Perhaps for us the main reason that good haiku seldom use simile is exemplified by the proverb 'Comparisons are odious'. Haiku is the comparison-less poetry of Suchness."

Writing on the subject of poetics and personification in haiku in 2001, Christopher Herold said: "The haiku is capable of taking us to a place of simplicity and thusness that cannot be even closely approached with the use of flowery Western poetic devices. For the most part I find that those devices, used as lavishly as we tend to use them, block our reaching to the very crux of an experience. Simile, personification, overt metaphor, personal pronouns, narrative constructions, all tend to be jewelled fingers. We gaze at them rather than the moon towards which they point."

Please don't get carried away, though, and start drafting a strict rule prohibiting figurative language. Instead, let's look at a delightful haiku:

night rain
the small serrated song
of a frog
             - Ferris Gilli 3

The nine words tell me enough that I can recreate the essence of the experience. Can you? I can imagine it as either an inside or outside moment. I am conscious of darkness and of the sound of rain, and perhaps the sight, touch, and smell of it, too. Then the frog song starts - small in the context of night and the rain, but this is not a weak sound. Not a smooth one either. I would like the haiku if it read "night rain/the small song/of a frog". But I like it ever so much better because Ferris has included the figurative adjective "serrated".

How can a song be serrated? It is not a thing with saw-like teeth or sharp projections. A frog doesn't even sound much like a saw. Besides, don't we usually trim adjectives from haiku whenever we can? I happen to know that Ferris counts this among her personal favourites. Both the experience and the words to record it came simply, clearly, and naturally as true haiku gifts. How do you "see" the haiku? How do you "hear" it? Thoughts of patterned roughness, and of ability to cut slowly, expand sensation and meaning. What other associations do? What does the haiku say about nature and the poet's response to it? How do you enter the poem and participate? What do you find there?

As you are considering "night rain" and collecting your thoughts, please have a look at this award winner which also suggests more than it says:

June breeze
a hole in the cloud
mends itself
              - an'ya 4

(It might help Southern Hemisphere readers to be reminded that June is a summer month in the author's American home.)

Ferris' essay about it might help you decide how to approach an appreciation of "night rain". Even if you don't need that sort of model, reading an'ya's haiku and Ferris' commentary side by side will be a fine experience. You will find them here.

Now let's think a little more carefully about the figures of speech we would want to use sparingly, if at all, in haiku. Laurence Perrine describes them clearly and well: "Metaphor and simile are both used as a means of comparing things that are essentially unlike. The distinction between them is only that in simile the comparison is expressed by the use of some word or phrase, such as like, as, than, similar to, resembles, or seems; in metaphor the comparison is implied - that is the figurative term is substituted for or identified with the literal term". 5

Personification gives "the attitudes of a human being to an animal, object, or concept". An apostrophe "consists in addressing someone absent or dead or something non-human as if that person or thing were present and alive and could reply to what is being said". Probably you are already thinking that you would not want to waste valuable words setting up a formal simile in a haiku. 6

Maybe you are thinking, too, that juxtaposition in haiku sometimes calls attention to similarities between two essentially dissimilar things. That is a much more compressed and efficient way of doing so, isn't it? It seems to show more respect for the reader, too, letting her draw her own conclusions instead of directing or spelling things out.

Are you also thinking about Issa's use of personification and apostrophe? Maybe you have some specific examples in mind from other haiku masters, too. There are many of them. Such tropes are seldom used in contemporary English-language poetry, though, except perhaps to create humour. Most of us would feel awkward and a bit silly using them. That's probably just as well because our readers would be likely to find direct address to an owl, lily, or moose pretty far out.

Perrine says, "a symbol may be roughly defined as something that means more than what it is".. Then he goes on to clarify various figures of speech in a passage that I find especially relevant to haiku: "Image, metaphor, and symbol shade into each other and are sometimes difficult to distinguish. In general, however, an image means only what it is; the figurative term in a metaphor means something other than what it is; and a symbol means what it is and something more, too. A symbol, that is, functions literally and figuratively at the same time. . . . Images, of course, do not cease to be images when they are incorporated in metaphor or symbol." 7

We know the importance of sensory experience to the perception of haiku and the value of concrete images in presenting those perceptions to readers so that they can recreate the experience and share the feelings it evoked. We know too that words and images stir associations in perceptive readers and suggest more than the haiku says. Some simple words, "home", for instance, or "forest", or "snake" may call up deep images with associations that touch the universal or archetypal. Colours often mean more to us than we can explain. Tastes and smells are powerful in raising memories.

Some haiku mean what they say and nothing more. If they recreate a given time and place in clear sensory detail so that readers can go there again and again - and continue to find value in doing so - that is certainly enough. I don't think good haiku mean something different from what they say. Haiku have a way of being honest and true. They don't mislead us. Most, though, mean what they say and more as well.

Let me say that again: Most good haiku mean what they say and more as well. Take season words, for example. Frogs, herons, chrysanthemums, and snowstorms mean what they are in haiku, but they also enrich the poems with a whole context of the season they represent and whatever the poet and reader may associate with that season. Spring suggests youth and beginnings; autumn ripeness and completion - and we could write pages and pages about the connotative, suggestive, associative, and symbolic possibilities of each season.

We often hear comments about the metaphorical qualities of kigo. According to Perrine's definition we would do better to think of them in terms of symbol. For those who know traditional Japanese literature, season words stir memories of earlier haiku, too. Sometimes a haiku alludes to a well-known earlier one that uses the same kigo. Image, metaphor symbol, allusion? There is little to be gained by quibbling over definitions and distinctions. What matters is that season words can expand the meaning of a haiku and deepen its emotional resonance. Please have a close look at another exceptional haiku:

a curtain billows
before the rain
scent of roses
            - Ferris Gilli 8

Beautiful, isn't it? I feel the motion, sense the coming rain, smell the roses. If there were nothing more to the haiku than that, it would be a gift and a pleasure. The specific details create a strong sense of anticipation, too. Pleasant anticipation. "a curtain blows" means what it says . . . and much more. Christopher Herold's appreciative Heron's Nest Award essay presents a fine reading of it. You will find it here. For enjoyment and to learn more about good haiku, I recommend all The Heron's Nest essays. The haiku discussed are of high quality and are varied in subject matter and technique. The essays underscore many ways that haiku can succeed and excel.

Susumu Takiguchi has posted an especially fine discussion of Yamaguchi Seishi's superb 1944 haiku about winter wind blown out over the sea and unable to return, a poem of deep imagery and profound sadness. That universal, perhaps archetypal, sadness of winter and loss deepens almost unbearably as we realise the poet was thinking of young Japanese airmen flying toward their deaths at sea. They were given enough fuel to reach their targets but none for return or escape. I agree with Susumu that this may be one of the best haiku ever written.

blowing itself over the sea,
there's no place for winter wind
to go back

Haiku thrives world-wide. It can be both accessible and profound. It celebrates moments of human life and establishes bonds among poets and between poets and readers. For many, it is at least as much a way of life as a form of literature. There is every reason to believe it will become even more popular in the 21st century and that among the millions of haiku composed and shared there will be many that should be recognised as great literature.

Is it safe, then, for haiku poets to remember some of what they know about Western poetry and even, perhaps, to have a fresh look at its characteristics? I think so. If haiku poets keep the basic criteria firmly in mind, they are not likely to go astray as they consider the many ways that haiku communicate experience and the many levels on which some of them can be read. It won't hurt us either to review ways we can make sound reinforce meaning. But that is a topic for another time.

For now let me go on record as one who will continue to use overt figurative language and other poetic devices sparingly, if at all, while concentrating on openness, participation, and discovery. At the same time, I believe that genuine haiku are likely to be multileveled and not easily exhausted. I would expect perceptive observation, deep feeling, and fresh insight to result in images that mean what they say - and much more. English-language haiku is a valuable part of world literature with an audience capable of nurturing great poets.

Footnotes:
1: Global Haiku: Twenty-five Poets World-wide, edited by George Swede and Randy Brooks (Mosaic Press 2000).
2: Modern Haiku, Vol. XXXII, No 2, page 89.
3: The Heron's Nest, Vol. II, No. 1, January, 2000.
4: The Heron's Nest, Valentine's Awards 2001
5: Literature: Structure, Sound, and Sense, fifth edition, Laurence Perrine with Thomas R. Arp, (Harcourt Brace Jovanovich 1988).
6: Ibid.
7: Ibid.
8: The Heron's Nest Award, Volume II, No. 8, August 2000

Peggy Willis Lyles (Sept. 17, 1939 - Sept. 3, 2010)

To Hear the Rain: Selected Haiku was published in 2002 (Brooks Books www.brooksbookshaiku.com/brooksbooks/selectedlyles.html).
http://www.ajc.com/news/news/local/peggy-willis-lyles-70-revered-haiku-poet/nQkCn/

Alan's Extra note:

umi ni dete kogarashi kaeru tokoro nashi

Yamaguchi Seishi

blowing itself over the sea,
there's no place for winter wind
to go back

(version by Susumu Takiguchi)

Yamaguchi Seishi, Susumu Takiguchi, World Haiku Review, Volume 1, Issue 2, August 2001.


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This will be a place where published haiku can be posted, where personification and anthropomorphism can have been considered as successfully incorporated into a haiku poem.

I hope this will become a useful resource to newcomers coming to learn about haiku.

Alan Summers

Thanks to all the buyers who have been excited by this book.

Does Fish-God Know [Paperback]
Alan Summers (Author)

Publisher: Yet To Be Named Free Press (October 15, 2012)
158 Pages
ISBN-10: 1479211044
ISBN-13: 978-1479211043


Amazon.co.uk review extract:
"This tantalizing collection, from leading light of haiku Alan Summers, is stuffed full of unique and evocative gems. Straddling the heady border between reality and surreality are pieces such as "Toy Suns" and "Ghost Knifefish", while "Curse Her" and "Cherry Moon" throw the battle of the sexes into abrupt relief. 

A must-have book for any haiku fan."

Reviewer: Chicago-born musician, and novelist, Tracey Kelly who composes music for film and media.
http://area17.blogspot.co.uk/2012/10/does-fish-god-know-haiku-collection-by.html
http://www.amazon.co.uk/Does-Fish-God-Know-Alan-Summers/dp/1479211044/ref=sr_1_1?ie=UTF8&qid=1359120118&sr=8-1


"[Y]our ability to use language to create abstract imagery is downright enviable. Thank you for writing such a vital work." Paul David Mena
http://area17.blogspot.co.uk/2013/02/new-book-review-of-does-fish-god-know.html

"The book is dynamite, Alan. Again, I simply love it!"
Pris Campbell

"Alan Summers is one of Britain's top haiku writers."
Brendan Slater
Owner/Publisher, Yet To Be Named Free Press

"Alan Summers makes use of the Western mind  and a Japanese tradition to show that haiku has a place in the modern world, and will still have one if we are ready to keep our minds open to every experience and influence that befalls a human. A manifestation of gendai haiku that shows it's not a dream..."

Johannes S. H. Bjerg
Managing Editor, Bones Journal
http://area17.blogspot.co.uk/2012/10/does-fish-god-know-haiku-collection-by.html

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Hi Stewart,

That's the problem with a big landmass like the Americas, with even the USA being a large country, as a lot of Americans would love me to come over, but which area or city is close to anyone?

But watch this space as I'd like to do a mini-tour sometime. :-)

Alan

Sorry about that Stewart, although I did have someone from Washington State want to come over for one of my week-long residential courses, alas a serious family health issue came up.

I'd love to do some workshops and readings in the USA, although as I know from previous experience it's a big place. :-)

Alan

Quote from: Stewart Baker on March 18, 2013, 11:23:44 PM
Sounds like a great opportunity!  Wrong continent for me, alas.

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HAIKU - the holistic approach
The Week-end Residential Haiku Course with Alan Summers
http://area17.blogspot.co.uk/2013/03/haiku-holistic-approach-week-end.html

South East England, U.K.

Claridge House, Dormans Road, Lingfield, Surrey, RH7 6QH
Registered Charity no. 228102.

Telephone: 0845 345 7281 or 01342 832 150

www.claridgehousequaker.org.uk
http://www.claridgehousequaker.org.uk/breaks.php

The course has been filling up really nicely!

There's space for a few more cool people to come though!

Find out how haiku can do so much more for you than you know. 



HAIKU - the holistic approach
The Week-end Residential Haiku Course
with Alan Summers

Friday to Sunday April 5th - 7th 2013

A friendly inclusive course to find out what makes a haiku poem.

We'll look at how our experiences, both external and spiritual, can become haiku, and act as important records of our life.

Alongside learning about haiku, we'll also have a go at a new type of short poetry derived from Chinese puzzle-poems for fun.  Then we'll finish the course with the ever popular linked group verse renga as a memento of our weekend.

This weekend course will be held at Claridge House, a Victorian building with disabled access set in two acres of gardens in the Surrey countryside (England, U.K.).

Cost £190 per person
non residential option £109 for course and meals

Booking: 0845 345 7281 or 01342 832 150

Email: welcome@claridgehousequaker.org.uk

Finding Claridge House:
http://www.claridgehousequaker.org.uk/find.php


Claridge House, Dormans Road, Lingfield, Surrey, RH7 6QH
Registered Charity no. 228102.

Telephone enquiries and booking:
0845 345 7281 or 01342 832 150

www.claridgehousequaker.org.uk
http://www.claridgehousequaker.org.uk/breaks.php


Previous courses at Claridge house:

    http://area17.blogspot.co.uk/2012/02/purely-haiku-residential-course-at.html
    http://area17.blogspot.co.uk/2011/02/purely-haiku-unique-uk-based.html
    http://area17.blogspot.co.uk/2010/02/unique-residential-course-monday-friday.html
    http://area17.blogspot.co.uk/2009/07/check-out-raku-firing-haiku-haibun.html

The very first course:
http://area17.blogspot.co.uk/2008/11/new-residential-haiku-course.html


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