News:

If you click the "Log In" button and get an error, use this URL to display the forum home page: https://thehaikufoundation.org/forum_sm/

Update any bookmarks you have for the forum to use this URL--not a similar URL that includes "www."
___________
Welcome to The Haiku Foundation forum! Some features and boards are available only to registered members who are logged in. To register, click Register in the main menu below. Click Login to login. Please use a Report to Moderator link to report any problems with a board or a topic.

Main Menu

Two Line Ku every once in a while,

Started by Jan Benson, September 12, 2015, 03:52:30 AM

Previous topic - Next topic

Jan Benson

Every once in a while I read a haiku journal that publishes two line haiku.

In our more conservative training here in the States, we're tought haiku are best written in three lines, or monostich (one line haiku).

A seasoned haiku writer once explained that if a writer can get a ku to two lines, the writer should be able to get it down to a monostich. My own experience is that a one-line haiku is more complex than pushing two lines into one.

Besides the "Chrystaline" (form), 17 syllable, two line haiku, is there considered opinion regarding two line haiku?

Jan in Texas
---1st Prize_The Italian Matsuo Basho Award 2016 (Int'l Foreign Language)
---A Pushcart Nominated Poet, (haiku "adobe walls").
---"The poet is accessible, the poet is for everyone." Maya Angelou

AlanSummers

Hi Jan

Quote from: Jan Benson on September 12, 2015, 03:52:30 AM
Every once in a while I read a haiku journal that publishes two line haiku.

In our more conservative training here in the States, we're tought haiku are best written in three lines, or monostich (one line haiku).

Over the decades there has been different conservatisms and it seemed almost always that haiku should be in three lines, despite the fact that the first and original haiku from Japan followed the same pattern as hokku, that they would be one vertical poems.

Sometimes hokku and haiku from Japan are put over into three lines for spacing and perhaps emphasising the three rhythm patterns.

In the West writers like Tito aka Stephen Gill have long been writing predominantly in four lines, as were Yuasa's translations of Basho's work.

Art is elastic, and up to the author where they decide their line breaks occur, and if they desire and can create unusually strong enjambment.

The one line/monostich/monoku has gained popularity which is healthy as it can bring in different dynamics.

I've written quite a few back in the last century because they just felt right for the poem.

Quote
A seasoned haiku writer once explained that if a writer can get a ku to two lines, the writer should be able to get it down to a monostich. My own experience is that a one-line haiku is more complex than pushing two lines into one.

I would expect a seasoned writer in any poetry genre to be able to choose a line number of a stanza successfully.   

There is various reasons why a haiku writer will decide on a three line haiku with fragment one line or phrase two line starting it off; a four line poem; a multiple line haiku; two line and one line.

There are many descriptions of how and why one line haiku work different, from Bill Higginson to Jim Kacian, and myself.   I'm publishing examples and samples in a forthcoming anthology out later this year that touches on monoku, and the anthology tackles multiple approaches to haiku.


Quote

Besides the "Chrystaline" (form), 17 syllable, two line haiku, is there considered opinion regarding two line haiku?

Jan in Texas

I don't know too much about  "Chrystaline" (form) e.g.

The dust of summer covers the shelf
where in spring you last left your ring.

Judi Van Gorder

resources on the haiku family tree - Pearl Pirie (June 2015)

I do write a lot of different approaches to haiku from core classic techniques of kigo/seasonal reference and a cut, often a strong cut, to 5-7-5 haiku; monoku and two line haiku etc...

Here's some examples of my work utilising two line stanza stances in haiku or haikai influenced work:



scattered leaves on a pond
goldfish surfacing


Alan Summers
Publications credits: Albatross, The Constanza Haiku Society, Romania
Vol. III No.1 Spring-Summer/No.2 Autumn-Winter 1994


disembodied voices, darkness, light
              express train jolts

Alan Summers
Publications credits: Point Judith Light (1994 & 1995)


into the evening a tractor harvests
                            willywagtail song

Alan Summers
Publications credits: Azami Special Edition (Japan, 1998)




Angel Beach
phytoplankton for the great whale

Alan Summers
Publication Credits: Does Fish-God Know (YTBN Press 2012)



rattle of rain
the crumbs in giants' pockets

Alan Summers
Publication Credits: Does Fish-God Know (YTBN Press 2012)



Blood Moon
my Rhesus positive rising

Alan Summers
Publication Credits: Does Fish-God Know (YTBN Press 2012)


aberrations of rain
epipubic bone retracts the lever

Alan Summers
Publication Credits: Does Fish-God Know (YTBN Press 2012)


Sakurafubuki
you come to me

Alan Summers
Publication Credits: Does Fish-God Know (YTBN Press 2012)

girl in an owl

a human gun for yellow


Alan Summers
c.2.2. Anthology of short-verse ed. Brendan Slater & Alan Summers
(Yet To Be Named Free Press 2013)


The old man of built-in cabinets

fits nests of pigeonholes

Alan Summers
Publication Credits:  c.2.2. Anthology of short-verse ed. Brendan Slater & Alan Summers
(Yet To Be Named Free Press 2013)


six-year-olds who work out past┓
└tense forms of imaginary verb

Alan Summers
Publication Credits: c.2.2. Anthology of short-verse ed. Brendan Slater & Alan Summers
(Yet To Be Named Free Press 2013)



Os Sacrum
this pear on Plato's diaphragm

Alan Summers
Publications credits: Bones - a journal for contemporary haiku Issue 0.1 2012 reissued 2013; Does Fish-God Know (Yet To Be Named Free Press 2012)


Previously unpublished two-line haiku being featured in a forthcoming anthology:


the shadows that don't belong
daffodil trail

Alan Summers


leaf drop
a shrew journeys its path

Alan Summers


occluded moon
I remember odd socks

Alan Summers


temple steps
the five sunflowers Van Gogh

Alan Summers


this feeling of guilt
neglected moon

Alan Summers


everyone went to the moon
a softness of morning stars

Alan Summers


Haiku can be very robust and coupled, as it was, right from the very beginning in Japan with Western aesthetics in art and writing.

warm regards,

Alan


QUOTE IN FULL

Quote from: Jan Benson on September 12, 2015, 03:52:30 AM
Every once in a while I read a haiku journal that publishes two line haiku.

In our more conservative training here in the States, we're tought haiku are best written in three lines, or monostich (one line haiku).

A seasoned haiku writer once explained that if a writer can get a ku to two lines, the writer should be able to get it down to a monostich. My own experience is that a one-line haiku is more complex than pushing two lines into one.

Besides the "Chrystaline" (form), 17 syllable, two line haiku, is there considered opinion regarding two line haiku?

Jan in Texas
Alan Summers,
founder, Call of the Page
https://www.callofthepage.org

Jan Benson

Alan, Thank you for you several examples of published two line haiku.
Jan in Texas
---1st Prize_The Italian Matsuo Basho Award 2016 (Int'l Foreign Language)
---A Pushcart Nominated Poet, (haiku "adobe walls").
---"The poet is accessible, the poet is for everyone." Maya Angelou

AlanSummers

Hi Jan,

Quote from: Jan Benson on September 12, 2015, 10:26:34 PM
Alan, Thank you for you several examples of published two line haiku.
Jan in Texas

Thank you.  I hope others post comments and examples too.

warm regards,

Alan
Alan Summers,
founder, Call of the Page
https://www.callofthepage.org

SMF spam blocked by CleanTalk