The Haiku Foundation Forums

Many thanks Sergio.

I hope you enjoy the series throughout March.  These 31 haiku have both a chronological order and other themes running through them.

kindest regards,

Alan

Quote from: saore on March 01, 2013, 05:30:59 AM
This is great news, congratulations Alan.

Sergio

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Haiku poetry showcase by Alan Summers at Cornell University USA
http://tinyurl.com/CornellUniversityAlanSummers

Cornell University, Mann Library
Supporting learning and research in the life sciences, agriculture, human ecology and applied social sciences: http://mannlib.cornell.edu/

A month through March 2013 of haiku poems by Alan Summers
at Cornell University USA

Daily Haiku series created by Tom Clausen
http://haiku.mannlib.cornell.edu/



woodfire
flickering in the silence
corralled horses

Alan Summers



Publications credits:
Modern Haiku vol. xxvi  no. 3 (1995); Moonlighting  (Intimations Pamphlet Series British Haiku Society Profile, 1996); sundog haiku journal: an australian year  (sunfast press 1997 reprinted 1998); California State Library - 1997; First Australian Haiku online Anthology (1999); First Australian Anthology (Paper Wasp 2000); haiku dreaming australia the best haiku & senryu relevant in and to australia (Australia 2006); The Crow Walk haibun (HAIKU HIKE, World Walks, Crossover UK 'Renewability' project 2006)); Stepping Stones:  a way into haiku  (British Haiku Society 2007)

Note by Tom Clausen about haiku:

"Haiku has consistently appealed to me as a means of centering, focusing, sharing, and responding to a life and world bent on excess.

As the layers of my own life have accumulated, I've often felt overwhelmed by both personal changes and the mass of news, information, and survival requirements that come with being human today.

Haiku are for me a way of honoring and celebrating simple yet profound relationships that awaken in us, with a gentle and silent inner touch, a spiritual relevance that adds meaning to our lives."
http://haiku.mannlib.cornell.edu/about/


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Due to the incredible response of haiku/haikai submissions to Lakeview Journal the haiku section of the journal is now closed.

If you have any queries please do not hesitate to contact me at:
"Alan Summers, Lakeview Journal" <haiku@dircon.co.uk>

kindest regards,

Alan Summers
Haiku Editor, Lakeview International Journal of Literature and Arts


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DEADLINE:
I have just been informed that the deadline for submissions across all literary genres is:
May 31st (2013)

NON-HAIKAI
For anyone wishing to submit non-haikai literature genres e.g. short fiction, and the other genres covered in the journal, please use this email address: lakeviewjournal@gmail.com

Please note the above weblinks for updates over the next few days.

For haikai-related work,
please continue to submit to me at the email address given in the first post above.

Alan Summers



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It is so gratifying to read what you say here, and at the webpage you have quoted.

I have seen so many haiku books, collections and anthologies, ruined by some often basic oversight.

I'm very very pleased with my own collection of gendai haiku (Does Fish-God Know) but feel drawn towards publishing my traditional haiku myself.

Your books are definitely on my wishlist, and once my budget is clear, I'll come calling for a book or two.

Wonderful wonderful website!

Alan

p.s.

I've watched that Gregory Peck.  He didn't look bad, even with that awful outfit. :-)

Quote from: Diane of RosenberryBooks on February 11, 2013, 08:21:55 AM
Alan, thank you for visiting our blog, and for your reflections on the first posting of "Typography Tips for Poets" !

We've just posted a continuation: "Part 2 Large Repercussions of the Small."
http://rosenberrybooks.com/part-2-large-repercussions-of-the-small/

I'm so glad to hear of your agreement ... and the results in Bones Journal. E-books have certain challenges, with less ability to shape how the reader sees the page. I see why you put the authors in the back for safe-keeping.

In a printed and bound book there are other options. For instance, The shape of the curving page offers a nice place to add info, like an authors name -- towards the gutter. As the page curves inward the text is there at hand, but less apparent.

Every different setting calls for different priorities and solutions. A lovely challenge!

Just about everyone is typing these days, every day, as fast as possible. Anyone can print, anyone can make a book. Isn't that amazing!

But I've seen some mighty fine writing essentially trashed by lack of typographical awareness. It's like taking a beauty like Gregory Peck (he used to do something like this, by-the-way, in order to walk about), and dressing him in a soup-slopped sweater and a slouch hat with fishing hooks. You might tend to look away....

Thanks Diane.


On the blog entry you refer to, it said:
"Here is another story. Somewhere I saw an anthology of haiku. The editors had the problem of identifying the author of each haiku. They chose to follow each poem closely with the author's name, and in order to separate the name from the body of the poem, the author's name was in bold. Typographically speaking, this amounted to shouting the author's name. It emphasized the name. The name became more important than the poem.

To me, this design said that the editors encouraged readers to skim for the names of authors they knew. And for me, with the poet's name shouting beneath each poem, I had a difficult time reading each haiku in peace. I know, I know, I'm just too sensitive. (But I know you are sensitive too, or you wouldn't be writing all those marvelously tiny poems!)"


You are singing what I've been saying for a long time, that the poetry should come first.   As a haiku is so brief, having the name hanging over it feels like an adult shouting at a child.

Thankfully I found like-minded editors, and the new/gendai haiku magazine I'm involved with, called Bones Journal,  simply has the names at the back of the eMagazine.  We took some flack over that, but we also got a lot of praise.   The magazine was seen to put the poetry first, for the poetry to stand on its own two feet, and for the reader free to read the poetry for itself. 

Some readers are relatively new to haiku, and whatever type of poem it is, it's not a pre-requisite for them to have the label or brand all over the poem.   If the poem speaks for itself, and the reader is interested in knowing more, an index proves to be a useful resource.

Your books are like exquisite gifts for a reader of poetry.

Alan

Quote from: Diane of RosenberryBooks on February 10, 2013, 04:39:02 PM
Alan, thank you for the praise for Elliot's love-story of a book -- and for the creative publishing we do at Rosenberry Books!

When Haiku Foundation folks come for a visit to see Tangled Shadows and other haiku titles, you might also like to take a look at a new series of articles on our blog, titled "Typography Tips for Poets" (particularly for haijin).

So much attention to subtle detail goes into the creation of haiku and other short forms. The articles are meant to help poets (and publishers) see that awareness is maintained via the typographical presentation of the poems.

http://rosenberrybooks.com/typography-tips-for-poets-pt-1/

The book, and publishers, look fantastic.  Definitely on my wishlist.

Alan

Quote from: elliotnicely on February 09, 2013, 10:13:37 AM
Rosenberry Books is excited to announce this year's latest release entitled Tangled Shadows by Elliot Nicely. Nicely's debut collection of senryu and haiku will prove to be a wonderful addition to any haijin's library. For a preview or ordering information, please click on the link below:

http://rosenberrybooks.com/hand-bound-editions/haiku/tangled-shadows/

Hi Chase,

The February issue has an article on gendai haiku:
February issue: http://issuu.com/lijla/docs/feb2013#download

The August issue will have 15-20 pages of haiku, to subscribe for announcements:
http://issuu.com/lijla/docs/feb2013

The 2014 issue will also feature haiku, but we might be getting ahead of ourselves as it's only early 2013. :-)

But it's always good to think ahead, and I'm delighted you are excited, as the August issue is already shaping up to be a terrific haiku section.

kindest regards,

Alan

Quote from: Chase Fire on February 06, 2013, 06:54:54 PM
Hi Alan. So is Lakeview going to be publishing haiku from now on? or is this a one time thing??

either way, I'm really excited for it :)

Chase

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I am pleased to announce that the 20 page Special Feature on haiku and other haikai has been increased to 30 pages, so there are a few more spaces.

Please send me your best work, and again these spaces will fill incredibly fast once the announcements via social media are released.

Alan


Great news, my Special Feature on Haiku has been increased from its original 20 pages to 30 pages, so please do send some work.


=======================
HAIKU SUBMISSION DETAILS
=======================

A maxiumum of six haiku.

Haiku submission address:
"Alan Summers, Lakeview Journal" <haiku@dircon.co.uk>

Please put into the subject line of your email:
"Lakeview Journal haiku submission"


Alan Summers
Haiku Editor, Lakeview International Journal of Literature and Arts

o   website: http://lijla.weebly.com/index.html
o   subscribe: http://issuu.com/lijla/docs/feb2013
o   February issue: http://issuu.com/lijla/docs/feb2013#download



Due to the incredible response of haiku/haikai submissions to Lakeview Journal the haiku section of the journal is now closed.

If you have any queries please do not hesitate to contact me at:
"Alan Summers, Lakeview Journal" <haiku@dircon.co.uk>

kindest regards,

Alan Summers
Haiku Editor, Lakeview International Journal of Literature and Arts




Lakeview International Journal of Literature and Arts

I am fortunate to be able to offer a section within the journal to showcase haiku.

The next issue will be out in August 2013, and I look forward to submissions from February 16th.

A maxiumum of six haiku.

Haiku submission address:
"Alan Summers, Lakeview Journal" <haiku@dircon.co.uk>

Please put into the subject line of your email:
Lakeview Journal haiku submission


What I am looking for:
Previously unpublished haiku that lend a fresh and original approach to haikai literature.

I like haiku that are strong on place and identity, and mostly haiku that are not formulaic.

I am open to various approaches whether traditional (your definition); experimental; experiential; gendai; haiku with kigo and without seasonal reference.

The Kigo Lab Project
I am also interested in submissions to The Kigo Lab Project where fresh new approaches may be made in the experiment of certain well-known words and phrases within, or used by, the English language, which have potential into being utilised, even evolving, into kigo over time.  This is a long term personal project, and I'm aware that kigo outside Japan could take anything from decades to hundreds of years. If it's not started we will never find out if such a thing as a modern source of local/regional/national/global kigo can be made available for writers within the haikai genre.

I am not looking necessarily for nature poems, but haiku that successfully embrace today's culture and an awareness of where we come from.

Season words, and the Japanese kigo system, are not only derived from observations of nature, they can allude to a country's historical, cultural and literary past.

Kisetsu: The seasonal aspect of the vocabulary (kigo) and subject matter (kidai) of traditional tanka, renga, and haiku; a deep feeling for the passage of time, as known through the objects and events of the seasonal cycle.
William J. Higginson with Penny Harter, The Haiku Handbook: How to Write, Share, and Teach Haiku, published by Kodansha International. Copyright (C) 1989 by William J. Higginson.

The current issue is now out, with an essay on gendai haiku by myself:
http://issuu.com/lijla/docs/feb2013#download

The next issue will be out in August 2013, and I look forward to submissions from February 16th

Alan Summers
Haiku Editor, Lakeview International Journal of Literature and Arts

The Feburary issue contains poems, short fiction, photography, essays, interviews and paintings by the following writers/artists – Hanif Kureishi, George Szirtes, Sudeep Sen, K Satchidanandan, Meena Alexander, Antonio Casella, Alan Summers, Michelle Cohen Corasanti, C.S. Jayaram, Jose Varghese, Ampat Koshy, Mohammad Zahid, Mariam Henna Naushad, Jude Lopez, Collins Justin Peter, Jesto Thankachan, Kirpal Gordon, Gerrard Williams, Bijay Biswal, Balbir Krishen, Abdul Salim, Ananya S Guha, Mike Keville, Indran Amirthanayagam, Sofiul Azam, Sunandan Roy Chowdhury, Michelle D'costa, Kulpreet Yadav, Nepa Noyal, Krishna Girish, Kalpana, Maria Issac, Hari Krishnan, Kalpana N.S., Reshma G.S., Sethu John, Naina Dey, Archana Kurup, Minu Varghese, Markus Sailor, Glenn Andrew Barr, Barry Charrman, Aishwarya and Rosemary Tom.

The editorial board consists of:
Jose Varghese (Chief Editor - SH College), Aravind R Nair (Associate Editor – SH College), Mariam Henna (Student Editor – SH College), Collins J Peter (Student Editor - SH College), Alan Summers (Advisory Board - London), Bill Ashcroft (Advisory Board - University of New South Wales, Australia), George Szirtes (Advisory Board - University of East Anglia, Norwich), Mel Ulm (Advisory Board - Canada), Rana Nayar (Advisory Board - Punjab University), Sanjukta Dasgupta (Advisory Board - University of Kolkata) and Sudeep Sen (Advisory Board - London).

Our editorial board members and contributors were either born or brought up in countries like India, United Kingdom, Pakistan, Hungary, Australia, United States of America, Israel, Palestine, Saudi Arabia, France, Sri Lanka, Peru, Bangladesh, Bahrain and Germany.

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EDIT REASON: The Summer issue is now due out in August.  This is because the first issue was originally planned for January 2013, but was delayed until Feburary 3rd due to the good problem of receiving a lot of good work in various genres.

I'm one of those poets (and as a haiku poet) who often gets filmed, or regularly does performances, not just a reading.   I see haiku as transmedia which I promoted when I ran Naked Haijin Productions back in the early 2000s before I founded With Words.

I just thought I'd share this image of what's behind the scenes:

Learning my lines:
http://news.yahoo.com/photos/reuters-international-news-photos-1314895172-slideshow/haiku-poet-alan-summers-rehearses-reading-jane-austens-photo-142741576.html

The live reading, streamed to America and Europe:
http://www.trust.org/alertnet/multimedia/pictures/detail.dot?mediaInode=cf0b8751-ba45-48e3-861e-1fc82c21de6a

What's actually behind the scenes:
http://www.trust.org/dotAsset/8410e0b7-a8a5-49bd-a58b-b30997c4225e.jpg

photos by SUZANNE PLUNKETT/REUTERS


So when you see my presentation of Amazement of the Ordinary: Life through a haiku lens, there's a lot more going on then some of you would guess:
http://www.ted.com/tedx/events/5181

I'm a communicator because haiku poetry opens up vistas for people for all different reasons, be it self-belief, literacy, or enjoying a fine literature that can enrapture you, and continue to be a healthy challenge, for the rest of a person's life.

Alan

Alan

I see this post has lain dormant, which is a shame as one-line haiku has become more and more popular.

There are various and different methods about one-line haiku in English.  I use a few including my own interpretations including abruptive methods which are deliberate "subvert techniques."

Some of my one-line haiku, various approaches:


train sitting:facingpeoplei'drathernot   

Publications credits: Raw NerVz (Summer 1995)



gliding four sulphur-crested cockatoos a green tinged sundown

Publications credits:
paperwasp (winter 1996); sundog haiku journal: an australian year, sunfast press (1997 reprinted 1998): California State Library - Main Catalog Call Number : HAIKU S852su 1997



moviescreenflickerfullolifecanvasthin 

Publications credits: Paper Wasp (mid-1990s)




the camp fire burns the misty moon halved by thin cloud

Publications credits:
Presence # 4   (May 1997) ISSN 1366-5367; Stepping Stones:  a way into haiku  ISBN 978-0-9522397-9-6   (2007)




snowfall she takes her daffodils Underground

Publications credits:
Blithe Spirit vol. 19  no. 1 (2009); Does Fish-God Know (YTBN Press 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 (Woodsmoke Press 2012)

re the sick train one-line haiku:

Melissa Allen:
"speaking of (more or less) experimental haiku I really loved your "handful of stones" entry the other day -- wonderful work with the sounds of words, I kept reading it over and over aloud to myself, and most haiku do not tempt me to read them aloud ..."



Originally composed as a one-line and due to be accepted at a highly-respected haiku site:

snowing through the blizzard particles of me


Anthologised: The Humours of Haiku (Iron Press 2012)




Pharmakós the name you scratch inside

Publications credits: Does Fish-God Know (YTBN Press 2012)




Seven Sisters the call of owls either side

Publications credits: Blithe Spirit March 2012




recurringdream#16.333iso/overbreakfast

Publications credits: fox dreams (April 2012)


this small ache and all the rain too robinsong

Publications credits: Modern Haiku




all those red apples amongst the blue tit

Publications credits: 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)




h=k=l=0 each love number sleeps

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)





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:  Blithe Spirit (2013)




chestnut moon shifting in my memory ghost floors

Publication Credits: Roadrunner 12.3 (December 2012)


Just a few, and there are many styles within the growing canon of English-language one-line haiku.


Alan

Further replies, confirmations etc... I've heard have gone out in the last few hours.

We must remember that this is an unpaid post, and that if family, health or work pressures come to the fore, more than usual, that those priorities have to come first.   

Once the January issue arrives under Curtis's editorship, I'm sure future issues will be fine.  It's only the 23rd in my timezone, around 9am, plenty of time for everything to fall into place.

Alan

Many thanks Marion.

It's been quite a while since I've been filmed, and I hope to continue this side of things for various projects, haiku and otherwise in 2013.

Alan

Quote from: Seaview on January 16, 2013, 04:17:04 PM
Brilliant, Alan!!!  ;) Just started watching...

It makes up for other times when I didn't say enough, and it was brief, I didn't enclose the 3,300 renga verses! :-)

Hee hee hee!

Looking forward to responses from others, as we know a few miss discussions, and there's plenty here to respond to, both at this post, and open up to other posts.

Alan

Quote from: Don Baird on January 07, 2013, 08:16:13 AM
Alan ...

I think he said a "brief rationale"  . . . hahahahahaaaaa!!!  Love it!  Hope all is well.  :)

Purely from my own direct experience running live events over twenty years, I'd say yes.

I've organised many live projects for haiku or renga/renku interacting with the general public, and both these genres have been liberating for many reasons, to people who have feared poetry most of their life.

Also my second renga city-wide project was a huge catalyst for people, including one I'll never forget, who had kept an awful secret about abuse during WWII, and opened up for the first time ever in over 60 years.

I gathered over 3,000 verses from mostly the general public, including a former Home Secretary (British Politician), and saw the effect on even more people.

People get put off poetry because of various reasons: it's elitist to them; not relevant; their teachers ridiculed them at school; or they didn't think they could be writers or creative, ever.

Other than Victorian poetry, most people cannot access modern or contemporary poetry, or have no interest.

Often haiku/renga projects provide a gateway into appreciating wider poetries, and act as an ambassador.

Unfortunately there is so much spam haiku, and doggerel labelled as haiku, and bad teachers regarding haiku, that it's an uphill struggle to persuade more people that haiku is a literary art worth pursuing.

There isn't the magnitude of people writing bad sonnets, spam sonnets for example, but the vast majority feel they can pen a haiku as it's only seventeen syllables and nothing else.

A lot of people like the Victorianesque translations of classic Japanese haikai verse, but would soon stop liking the classics if we got nearer to an approximation of how dense in meanings a haikai verse by Basho really was, and no one would bother to read a transliterated version at all.

Over the many thousands of the general public I've worked with over the years, and quite a few writers, the majority have been greatly moved by the haiku I've offered, whether Classic or Modern Japanese Haikai in translation, or Non-Japanese modern or contemporary.

On a literary level there is a problem as we've all read in anthologies by the big publishing houses, because other than perhaps Bill Higginson, hardly any modern or contemporary haiku sources are cited from the haiku world of people and publications we inhabit.

This is surprising considering we also have The Haiku Anthology tomes, and The Essential Haiku etc...

So re the general public, it's been a great success via my experiences over two decades, but re the senior literary scene, there is something missing, and it's the same problem.

What problem?  Well, in just speaking to one U.K. nationally famous poet, she said she was under peer pressure to write seventeen syllable ditties, and had bowed to that pressure.  Actually Tito did get her to provide a sound bite on one of his BBC Radio programmes, but time permitting, it was a very short sound bite.  Most radio shows, from Stephen Fry, to a recent one I was contacted about, only want shallow verse posing as haiku, over the airwaves.

Many mainstream poets who attempt haiku, fail abysmally, and that may be the main cause why haiku isn't socially relevant amongst the mainstream literary scene.   They fail to see the form because it's not a thing to do by the numbers as they presumed it would be, and we see some really bad poetry being provided by poetry experts, and so it shouts out that haiku must be bad.

More mainstream poets are jumping on the bandwagon on teaching haiku, badly of course, in most cases, and providing childish, not childlike, verses, and the same in some areas for renga, but oddly enough not to the same extent. 

As you'll know, globally famous artist Jeff Koons, and highly respected poet, and performance poet, Bob Holman amongst others, created American Renga, alongside a senior Pentagon military officer, who penned verses after the 911 attack which included the Pentagon building itself. The project was a huge success with big trucks trundling across America.

So yes, haikai verses are extremely relevant to the public, and certain mainstream poets, and the ways haiku and renga have taken off have never been healthier.  Sure, some of it is seventeen syllable poor poetry, but amongst that, there are diamonds, and not just from the haiku world we inhabit.

Alan

Quote from: Scott Metz on January 06, 2013, 12:27:52 AM
Pop Quiz (single question):

Is haiku in English a socially relevant poetics in the 21st century?

instructions:

Please answer "yes/no" to this question, and please provide a brief rationale and haiku examples to support your (yes/no) answer and statements.