A haiku in English is a very short poem in the English language, following to a greater or lesser extent the form and style of the Japanese haiku. A typical haiku is a three-line observation about a fleeting moment involving nature.
The first haiku written in English date from the early 20th century, influenced by English translations of traditional Japanese haiku, and the form has grown in popularity ever since. Many well-known English-language poets have written some haiku, though--perhaps because of their brevity--they are not often considered an important part of their work. Haiku has also proven popular in English-language schools as a way to encourage the appreciation and writing of poetry.
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Typical characteristics
"Haiku" is a term sometimes loosely applied to any short, impressionistic poem, but there are certain characteristics that are commonly associated with the genre:
- a focus on some aspect of nature or the seasons
- division into two asymmetrical sections, usually with a cut at the end of the first or second section, creating a juxtaposition of two subjects (e.g. something large and something small, something natural and something human-made, two unexpectedly similar things, etc.)
- a contemplative or wistful tone and an impressionistic brevity
- elliptical "telegram style" syntax and no superfluous words
- imagery predominates over ideas and statements, so that meaning is typically suggestive, requiring reader participation
- avoidance of metaphor and similes
- non-rhyming lines
Some additional traits are especially associated with English-language haiku (as opposed to Japanese-language haiku):
- a three-line format with 17 syllables arranged in a 5-7-5 pattern; or about 10 to 14 syllables, which more nearly approximates the duration of a Japanese haiku with the second line usually the longest. Some poets want their haiku to be expressed in one breath
- little or no punctuation or capitalization, except that cuts are sometimes marked with dashes or ellipses and proper nouns are usually capitalized
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Haiku movement in North America
History
Arguably, the first successful haiku in English was "In a Station of the Metro" by Ezra Pound, published in 1913. During the Imagist period, a number of mainstream poets, including Pound, wrote what they called hokku, usually in a five-six-four syllable pattern. American poet Amy Lowell published several hokku in her book "What's O'Clock" (1925; winner of the Pulitzer Prize). Individualistic haiku-like verses by the innovative Buddhist poet and artist Paul Reps (1895-1990) appeared in print as early as 1939 (More Power to You--Poems everyone Can Make, Preview Publications, Montrose CA.). Inspired by R. H. Blyth's translations, other Westerners, including those of the Beat period, such as Gary Snyder, Jack Kerouac, Richard Wright and James W. Hackett, wrote original haiku in English.
African-American novelist Richard Wright, in his final years, composed some 4,000 haiku, 817 of which are collected in the volume Haiku: This Other World. Wright hewed to a 5-7-5 syllabic structure for most of these pieces.
In 1966 Helen Stiles Chenoweth compiled Borrowed Water, an early anthology of American haiku featuring the work by the Los Altos Roundtable. The experimental work of Beat and minority haiku poets expanded the popularity of haiku in English. Despite claims that haiku has not had much impact on the literary scene, a number of mainstream poets, such as W. H. Auden, Richard Wilbur, James Merrill, Etheridge Knight, William Stafford, W. S. Merwin, John Ashbery, Donald Hall, Ruth Stone, Sonia Sanchez, Billy Collins, (as well as Seamus Heaney, Wendy Cope, and Paul Muldoon in Ireland and Britain) and others have tried their hand at haiku.
In 1963 the journal American Haiku was founded in Platteville, Wisconsin, edited by the European-Americans James Bull and Donald Eulert. Among contributors to the first issue were poets James W. Hackett, O Mabson Southard (1911-2000), and Nick Virgilio. In the second issue of American Haiku Virgilio published his "lily" and "bass" haiku, which became models of brevity, breaking down the traditional 5-7-5 syllabic form, and pointing toward the leaner conception of haiku that would take hold in subsequent decades.
American Haiku ended publication in 1968 and was succeeded by Modern Haiku in 1969, which remains an important English-language haiku journal. Other early journals included Haiku Highlights (founded 1965 by European-American writer Jean Calkins and later taken over by the European-American writer Lorraine Ellis Harr who changed the name to Dragonfly), Eric Amann's Haiku (founded 1967), and Haiku West (founded 1967).
The first English-language haiku society in America, founded in 1956, was the Writers' Roundtable of Los Altos, California, under the direction of Helen Stiles Chenoweth. The Haiku Society of America was founded in 1968 and began publishing its journal Frogpond in 1978. Important resources for poets and scholars attempting to understand English-language haiku aesthetics and history include William J. Higginson's Haiku Handbook (McGraw-Hill, 1985) and Lee Gurga's Haiku: A Poet's Guide (Modern Haiku Press, 2003).
Significant contributors to American haiku include Hackett, Virgilio, Charles B. Dickson (1915-1991), Elizabeth Searle Lamb (1917-2005), Raymond Roseliep (1917-1983), Robert Spiess (1921-2002), John Wills (1921-1993), Anita Virgil (b. 1931), and Peggy Willis Lyles (1939-2010).
Other major figures still active in the American haiku community include Lee Gurga, Christopher Herold, Gary Hotham, Jim Kacian, Michael McClintock, Marlene Mountain, Marian Olson, Alan Pizzarelli, Alexis Rotella, John Stevenson, George Swede, vincent tripi, Michael Dylan Welch, and Ruth Yarrow. Examples:
Pioneering haiku poet Cor van den Heuvel has edited the standard Haiku Anthology (1st ed., 1974; 2nd ed., 1986; 3rd ed. 1999). Since its most recent edition, another generation of American haiku poets has come to prominence. Among the most widely published and honored of these poets are John Barlow, Cherie Hunter Day, Carolyn Hall, paul m., John Martone, Chad Lee Robinson, Billie Wilson, and Peter Yovu. Newer poets exemplify divergent tendencies, from self-effacing nature-oriented haiku (Allan Burns) to Zen themes perpetuating the concepts of Blyth and Hackett (Stanford M. Forrester), poignant haiku-senry? hybrids in the manner of Rotella and Swede (Roberta Beary), the use of subjective, surreal, and mythic elements (Fay Aoyagi), emergent social and political consciousness (John J. Dunphy), and genre-bending structural and linguistic experimentation as well as "found haiku" (Scott Metz).
The American Haiku Archives, the largest public archive of haiku-related material outside Japan, was founded in 1996. It is housed at the California State Library in Sacramento, California, and includes the official archives of the Haiku Society of America, along with significant donations from the libraries of Lorraine Ellis Harr, Jerry Kilbride, Elizabeth Searle Lamb, Francine Porad, Jane Reichhold, and many others.
Variant forms
Although the vast majority of haiku published in English are three lines long, variants also occur.
One line (monoku)
The most common variation from the three-line standard is one line, sometimes called a monoku. It emerged from being more than an occasional exception during the late 1970s. The one-line form, based on an analogy with the one-line vertical column in which Japanese haiku are often printed, was lent legitimacy principally by three people:
- Marlene Mountain was one of the first English-language haiku poets to write haiku regularly in a single horizontal line
- Hiroaki Sato translated Japanese haiku into one line in English
- Matsuo Allard wrote essays in its favor and published several magazines and chapbooks devoted to the form, in addition to practicing it Himyarites
The single-line haiku usually contains fewer than seventeen syllables. A caesura (pause) may be appropriate, dictated by sense or speech rhythm (following the traditional Japanese tradition of a break, marked by the Kireji), and usually little or no punctuation. This form was used by John Wills and, more recently, has been practiced by poets such as M. Kettner, Janice Bostok, Jim Kacian, Chris Gordon, Scott Metz, Stuart Quine, John Barlow, and many others.
As the last two examples in particular illustrate, the one-line form can create a variety of ambiguities involving the perceived placement of cuts and the grammatical status of individual words, thereby allowing for multiple readings of the same haiku. A variation of the format breaks the line at the caesura or pause.
One word
At its most minimal, a single word may occasionally be claimed to be a haiku:
The first was printed alone on an otherwise blank page and arguably only "works" in that context. The second example is an allusion to the first and also depends on its placement at the center of a haiku collection.
Four or more lines
Haiku of four lines (sometimes known as haiqua) or longer have been written, some of them "vertical haiku" with only a word or two per line. These poems mimic the vertical printed form of Japanese haiku.
The translator Nobuyuki Yuasa considered four lines more appropriate in his translations, being closest to the natural conversational rhythm of the colloquial language of haiku, also that three lines did not carry the weight of hokku and found it impossible to use 'three lines' consistently for his translations.
The contemporary poet John Martone has written a vast number of vertical haiku.
Circle
Haiku have also appeared in circular form (sometimes known as cirku) whereby the poem has no fixed start or end point.
Fixed form
In the "zip" form developed by John Carley, a haiku of 15 syllables is presented over two lines, each of which contains one internal caesura represented by a double space.
A fixed-form 5-3-5 syllable (or 3-5-3 word) haiku is sometimes known as a lune.
Publications in North America
The leading English-language haiku journals published in the U.S. include Modern Haiku, Frogpond (published by the Haiku Society of America), Mayfly (founded by Randy and Shirley Brooks in 1986), Acorn (founded by A. C. Missias in 1998), Bottle Rockets (founded by Stanford M. Forrester), The Heron's Nest (founded by Christopher Herold in 1999, published online with a print annual), and Tinywords (founded by Dylan F. Tweney in 2001). Some significant defunct publications include Brussels Sprout (edited from 1988 to 1995 by Francine Porad), Woodnotes (edited from 1989 to 1997 by Michael Dylan Welch), Hal Roth's Wind Chimes, Wisteria, and Moonset (edited from 2005 to 2009 by an'ya (Andja Petrovi?)). The largest publisher of haiku books in North America is Jim Kacian's Red Moon Press. Other notable American publishers of haiku books include Press Here, Bottle Rockets Press, Brooks Books, and Turtle Light Press.
Publications in other English-speaking countries
In the UK, the British Haiku Society publishes Blithe Spirit, and the World Haiku Club publishes The World Haiku Review. Another leading haiku magazine in the UK is Presence (formerly Haiku Presence), which was edited for many years by Martin Lucas (1962-2014). In Ireland, twenty issues of Haiku Spirit edited by Jim Norton were published between 1995 and 2000. Shamrock, the online journal of the Irish Haiku Society edited by Anatoly Kudryavitsky, has been publishing international haiku in English since 2007. In Australia, twenty issues of Yellow Moon, a literary magazine for writers of haiku and other verse, were published between 1997 and 2006 (issues 1-8 were edited by Patricia Kelsall; issues 9-20 by Beverley George). Nowadays Paper Wasp is published in Australia, Kokako in New Zealand and Chrysanthemum (bilingual German/English) in Germany and Austria. Two other online English-language haiku journals founded outside North America, A Hundred Gourds and Notes from the Gean, are now defunct. John Barlow's Snapshot Press is a notable UK-based publisher of haiku books.
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Notable English-language haiku poets
Source of the article : Wikipedia
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