The Haiku Foundation Forums

I read a lot from the THF online digital library,  and every printed word that comes my way,  a fast read if it is tiring or trite,  a slow read after the fast to internalize what I am garnering from the work,  I lost the capacity to just read,  after I began to write...
but most of all, it is the watchful mind or mindfulness as they call it ...every moment I am watching my own self,  not judging, mind you,  just watching... and since haiku is mostly an - in the moment thing,  it works ...try it

you have to read a lot to back up the watching, for the examples,the jux, the metaphors,  the parallels,  all have to come, and they cannot emerge without a large database in the mind ...so read anything and everything...

If possible, I will be there, for sure. Thank you

I like the winning work, it intrigues. Congratulations winners!!!  :)

Thank you for sharing. Not bad reading at all,  really fine works in there, and another window into another part of this beautiful world

That is sad news, Alan,  may her soul rest in peace.

She was a big talent and her work always inspiring

http://www.haikuhut.com/Senry%C5%AB-An-Application-to-be-a-human-by-Alan-Summers.pdf

Quote from: Lorraine Pester on October 07, 2017, 08:00:34 PM
I was first introduced to one line poetry about eight years ago. They were said to be patterned after Allen Ginsberg's Howl. They had seventeen syllables, the two parts of phrase and _____, and a jux. Is this still acceptable or old-fashioned?

one other question:
what is old-fashioned?

because is that not how basic haiku are written by beginner's like me?

llllLlllaaaariyo, hmmm

Quote from: Lorraine Pester on October 07, 2017, 08:00:34 PM
I was first introduced to one line poetry about eight years ago. They were said to be patterned after Allen Ginsberg's Howl. They had seventeen syllables, the two parts of phrase and _____, and a jux. Is this still acceptable or old-fashioned?

I only came to the one liner thru haiku, but yes, there seems to be some correlation...and yes, AG's American sentences is often very haiku like,

considering that haiku can be read in one breath length, maybe that is one possible way of looking at AG's American sentences.

Which leads me to further the discussion and ask you: if something is say 17 syllable length, does it qualify to be a one line haiku?
If so, why

If not, why?


hmm m

Hi Maaaaartieeeeeeen,

thank you, I have read it and am now reading it again, simple but a lot to think and learn in there, plus of course
trying to guess where the pauses would fall in this one:

The water-bug is drawing the shadows of evening toward him across the water. (3)

because if any of us were to edit it, golly sometimes I am stupidly foolish but then how else will i learn if I don;t ask...anyways
if I were to edit it , then I would have

waterbug pause drawing shadows of evening pause across water pause towards himself


Which leads me to question:

does every reader read the single line in a different manner,
I ask because:
the accent changes or alters the way we speak an accent ...which may dictate the way a word is pronounced,

then what happens to the one liner?

I have been engrossed with this subject for some time now and would like to research and write an essay initially on the same,

who can guide me, can anyone help me with it,

thankyou

Quote from: flowerfox on October 09, 2017, 11:38:52 AM
Anna, have you read, Allan's post on page 2 - reply 16 . May 21 . 2014
I think this maybe what you are asking about.

aaah, thankyou foxy, I will look it up, pronto

Hi,

thank you for being around,
will you look at these pauses that I register as I read the one liners, and tell me if the pauses I take are how the compositions should be read?

It is said that haiku is read in one breath,  and often I feel that the one liner expresses it the best, but then I go and contradict myself, what can I say, ...

anyways

1. in Fukushima's waves the blue half life


In Fukushima's waves [pause] the blue half life

what a spectacular composition


2.

among the sunlit wrecks caws of Kesennuma

among the sunlit wrecks[pause] caws of Kesennuma

I also seem to want to pause like this after reading it more than once:

among [pause] the sunlit wrecks [pause] caws of Kesenuma

3.

cobbled street passing me the horse-drawn cart

cobbled street passing me [p] the horse-drawn cart

this is where the confusion arises in the one liners for me:

the first read, reads like above, but after reading it and comprehending it, I read it as

cobbled street[p]passing me[p] the horse-drawn cart

and the next read transforms to

cobbled street [p] passing me the horse-drawn cart

One thing I noticed is how very important the hyphen is- in horse-drawn - is, without which, the pause changes, what we do have with the hyphen is a drawn out stretch but not a pause.

I think I will wait for your response before I do the other two, or maybe someone else can attempt them to further the discussion, ...


Thankyou-Martin

Hi Jennifer, 


I too draw from the old, but being in this century and this moment and whatever is the current world,  I would call my haiku( when I do have the good luck of finding myself write haiku and not senryu...as my luck dictates and deems fit...) I think what I write is gendai as do so many others.
That itself is a radical statement, one the purists will balk at, maybe, maybe not...

It also leads me to add, that if we were to stick to the old old old tradition, then we would have to convert english into a tonal language, we would all need to understand a culture other than ours better than we understand our own cultures and then we would have to write and be appraised by the legends of haiku... Would Basho pat my head or jump into the old pool on reading my writes...hmmm


Merry Christmas and a Happy creative new year folks... this has been a good thread,  I have asked myself several of the questions and also felt like I was never involved in the happenings in the haiku land, this thread makes me more of a participant. No offences meant, ...my cultural upbringing makes it difficult for me to state things as they are at an individual level, and I have been pretty honest here. So there goes another brownie point for you Jennifer, cheers

   aaaaaah,  oh-kaaaay. Now I get it Lorraine. But novels are not the same as haiku, gendai haiku is new and therefore there are fewer chances of missing out an imitation or whatever...tell me do you ever feel that you have read a certain haiku elsewhere...why do you think that happens more often when we read haiku magazines and journals than we do in other forms of poetry?

yeah!  which is why haiku literacy is so very important.

Lorraine,

I think I did it by scavenging parts of my own poems... was it mentioned that they have to be poems of others or did people interpret it their own way?  I certainly did scavenge from my own poems and voila! My poem was workshopped ...

I have with me Robin Behn and Chase Twichell's  The Practice of Poetry even as I type this, I also have Prof Robert Pinsky's  The Singing School and of course Robert Hass' Essential Haiku...

But that is all poetry, and poetry prompts...I don't think I ever did even one of the exercises that Robin Behn's book has in there, by obeying it to the T...it just is a trigger.

So, coming back to haiku and gendai haiku,  and trying to make sense of what I just said here are a few things for us to consider before we sit and go on a Miso suppe surprise adventure and write our own haiku or allied forms:

--- gendai haiku is newer of the poetic forms
--- there is really no specific pattern, or format,  though many prefer to have the noun and adjective in the first line

---despite which we write our own kind of stuff... I would recognise your work even when your name is not mentioned, I think many would know mine ...

---does not mean that I may use the same third line or first line or whatever, though never consciously...

---haiku literacy is necessary, we all need to read and read and read. If someone is imitating the Jane Reichhold horse shadow haiku, damn, but I can spot it as can you. If someone is doing a Kacian,  we all can and do know, and not necessarily Jim only, right

--- I would say that I am with Michael Dylan Welch in this, inform the editor, though God knows, I would like the editor to know before the poem is out in print... and then let the sleeping dogs lie... there is only so much that one can do, and most of it is how one composes  one's own work. I assure you, I have done it once and the answer ensured me that it is one place I don't want to see my work published in. Yes.  We need to know what our principles are and never ever compromise on that front.


--- read all the essays in graceguts  on  Deja ku or ever otherwise

---read read read,  write write write, revise revise revise,  ask for an opinion when we can.

--- and may the Gods favour the honest and the brave. Amen

 I was very much taken by Michael Dylan Welch's  essays on deja-ku and I think a certain amount of - haiku literacy - is essential...for everyone, the key word here being - everyone...

the -ma - in my words,  I know will be understood by the better of the gaijin...