#216 v15,08:088

SUE LITTLETON : haiku 128 [en] [es]
SUE LITTLETON : On Writing Classical Haiku: The Disciplined Charm of Poetic Brevity

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haiku 128 [en] [es]

128 en patagonia trees afire with autumn flames winter stockpiles snow 128 es patagonia árboles encendidos con llamas otoñales invierno apila nieve

from ">poetryrepairs #201 v14.06: 064 Sueku/Haiku: Mimimalist Poems by SUE LITTLETON
POETRYREPAIRS #216 v15,08:088

On Writing Classical Haiku: The Disciplined Charm of Poetic Brevity

"The mission of the haiku is to produce a lively, but fleeting impression.
To take control of one instant or flicker at its climax in our heart and express
it immediately in a very brief and condensed way." --Shisuo Kasai

Frankly, for many years I was not at all attracted by haiku, nor did I consider them poetry. Then, in 20I0 I had a revelation,
without explanation, and began finding the delicate beauty that could be expressed in this verse form. The following haiku by
one of the great Japanese masters, Moritake, is one of the loveliest poems I have ever read:

       fallen flower returns to bough
       a butterfly

So few words, but the image is incredible

The Haiku is a Japanese poetic form, a kind of poetry that is perhaps the most expressive with the least words or syllables.
In accord with the original criteria established by the Japanese for writing haiku in other languages, a haiku consists of 17
syllables in three lines of 5, 7 and 5 syllables. In addition, a haiku in another language should not have a title, capital letters,
punctuation, metaphors or rhyme; the first two lines are related, but the last line should stand alone without reference to the first
two lines.

It is tempting to find a needed syllable with an article; however, the Japanese language does not have articles, so try to avoid them.
The idea is to express satiety with a minimum number of words. Originally created as the beginning of a longer poem, the haiku won
distinction in the 17th century when the great poet Basho (1644-1694) elevated it to a refined art. A haiku is the shortest literary form
accepted as poetry -- or not accepted, because there are those poets and critics who refuse to define the haiku as poetry.

I have had several poets comment that English is not Japanese, therefore a poet writing haiku is not obliged to follow all of the above
indications. There are other poets who write minimalist poems and refer to those poems as haiku. Jack Kerouac invented his own haiku
form, titled it "American Haiku," and copyrighted the name. As a poet who enjoys writing haiku, I have found that the demands and discipline
required to create haiku as the Japanese indicated over a hundred years ago satisfies me.

Since I cling adamantly to the original form, and since there is so much discussion and debate about the whys and wherefores of haiku,
and since "Sue" sounds oriental, I refer to my haiku as "Sueku." No copyright, if you follow the rules above you have composed a classical
haiku, no matter what I call it! My first book of haiku is titled Sueku/Suku, referring to the haiku and their translations to Spanish ("Sueku")
which are not haiku, but minimalist poems.

May your cup of haiku runneth over!

Buenos Aires, 2014

POETRYREPAIRS #216 v15,08:088

John Horvath Jr

Readers have long been exposed to prose on poetry --scholarly essays on favorite poems and poets, books, dissertations, thesis are familiar academic tools to analysis of poetry; likewise, criticism and theory. Prose on poetry is a world unto itself, but an important world that informs the reader who then is likely a more mature reader with deeper understanding of poets and their efforts.

Outside of academia, the world of prose on poetry includes the autobiographical and biographical. Memoirs, local color articles and memorable scenes from the poet's life are readily available in most journals and magazines. Comparison between and among poems and poets are also useful. These may appear alongside critical responses and readers' comments which aide interpretation.

Many readers enjoy essays on "how to" write or read a certain kind of poem or a given poet. The how/why essay of the poet enlightens the reader and hones perspective and point of view.

In addition to prose on poetry that is specific or general to a poet or a poem or kind of poem, the reader who shares his world with a poet is often interested in how that poet understands her world. In this case, the subject may be as varied as writers and/or readers. So, a travel essay or essays on social issues may help to broaden the tastes and interests of a mature reader. Or, rants and diatribes are also useful in the world of prose on poetry, as are manifestoes of certain movements and schools of thought.

Of special interest to the reader and the poet are reviews. We're accustomed to reading book reviews (indeed some magazines are dedicated solely to book reviews). Many know of and diligently read the [London] Times Literary Supplement and the New York Times Review of Books. But reviews are not limited to books of poetry; there are also reviews of literary readings, small groups of poets, and even the classrooms and college programs where poetry is made and discussed. POETRYREPAIRS is interested in all these forms of prose on poetry, and interested in most subjects related to poetry, poets and their lives. And we welcome submissions in prose. SO, when you next think about an experience you have had with poetry, wherever it may be, take a moment and write down what and how the experience has changed you.

The only thing we don't publish is pure reader response - 'I liked the poem because it made me want to dance' kind of thing. Avoid anything that does not aide analysis.

POETRYREPAIRS #216 v15,08:088

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from ">poetryrepairs #201 v14.06: 064 Sueku/Haiku: Mimimalist Poems by SUE LITTLETON
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