Adventures In Haiku -

Adventures in Haiku, A Western Perspective - by James Fox (word count 950)

Many writers today present Haiku as free verse, covering a myriad of subjects. Although many readers, myself included, enjoy modern Haiku verses, I feel there is greater gentleness and artistic challenge when composing Haiku in a traditional format.

Choosing to compose Haiku in this style has proven successful for me, and I encourage you to try writing examples of traditional Haiku.

Originating in 17th century Japan, traditional Haiku was composed with seventeen syllables in unrhymed verse. While modern Haiku has evolved somewhat from the traditional syllable count, Haiku continues to uphold themes such as nature, moments in time, and juxtaposed subjects.

Steeped in Japanese culture and traditional nuances, Haiku can be formidable for western writers, yet many enjoy this challenge and delight in a finished poem.

Traditional Haiku was written in one line of seventeen On (sound symbols) and not titled. These compositions were intended to be read aloud, using only one or two breaths. Brevity was key.

When written in English in the traditional style, Haiku verse is usually composed in three lines, having five, seven, and five syllables, respectively. The poem usually alludes to nature and Kigo, defined as a word, or words, establishing a season of the year. Although the verses are unrhymed, each line strives to be a complete thought, with one line composed to create a juxtaposition of perception or enlightenment for the reader.

Western writers usually title their poems. However, writers should not structure the title as part of the poem. Also, writers should avoid a title that discloses the moment of enlightenment.

Traditional Japanese Haiku did not limit this inspirational moment to the last line. Instead, Haiku utilized Kireji, a category of words or a symbol that added structural support, or provided a dignified ending. Lacking this specific formatting in English, kireji may be represented by use of a dash or ellipsis as punctuation, or rarely, with an exclamatory participle such as how or so. For example; So refreshing. Or, How stately.

Imagery will help one compose the poem. I like to compare Haiku to a walk through a Japanese tea garden. The tranquil path goes forth until it suddenly turns. There one sees perhaps a waterfall or a pagoda. Maybe a statue hewn from rock. Or a pond, with waters rippled by colorful Koi fish; something that is juxtaposed against the tranquility of the gentle walk.

For me, that sudden turn is much like the use of kireji, where one may pause to reflect upon the perception subtly built into the poetic structure.

Composition of Haiku is indeed hard work, but shouldn't writers take on a challenge once in a while?

Before composing my poem, “Wings,” which was accepted for publication in Potpourri Magazine. I carefully read through the submission guidelines. I noted that the judging panel would include a guest author from Japan. I suggest that one print out and carefully read the submission guidelines in any writing challenge, especially if publication is the goal.

I followed the guidelines, structuring my poem to meet the classical form of Haiku. This, I hoped would ensure selection by the judging panel.

Wings - James Fox

Wings beat forgiveness
White cranes grow one thousand strong
Paper creased - folded

Analyzing the structure, note the beginning line. “Wings beat forgiveness.” In many Eastern cultures, it is the crane, rather than the dove, that is the bird of peace. With that imagery to begin the poem, one can envision the writer perhaps viewing a bird of peace just beyond the window.

“White cranes grow one thousand strong.” In the spring, cranes congregate at their nesting grounds, filling the sky as they wheel about with their majestic wings spread. This line added kigo, the season, usually found in traditional Haiku.

“Paper creased - folded.” This is the juxtaposition of the poem against the reader's perception. I debated inserting a dash, but this use of keriji to create a reflective pause seemed necessary.

While readers may still envision the writer watching cranes beyond the window, I hope they now realize the writer is folding origami cranes having wings outstretched. Is it a child, wishing for health and happiness? Or, perhaps a broken-hearted lover hoping to mend a relationship?

This insertion of the human element also crosses into Senryu, a cousin of Haiku, usually based on presenting the foibles of human nature in one or more of the stanzas.

While working on this Haiku, I relied upon a Japanese legend that folding one thousand paper cranes may grant a wish. First, I needed the readers to envision wings, then the cranes' nesting grounds of early spring. It is in the last line that I created the juxtaposition of the creased and folded paper of an origami sculpture, which hopefully causes readers to ponder this re-creation of nature in the hands of a human.

This poem later was chosen to introduce “The Written Word” exhibits at the Sandhill Crane Festival in Lodi, California. For this author, that was more gratifying than the original publication, as I felt my poem had endured; had lived on, long after the ink had dried.

With several other authors in “The Written Word” exhibits I attended the opening of the festival, where I actually folded several origami cranes at a hands-on exhibit table.

For another Haiku composition selected by Haiku Journal, I again had chosen traditional Haiku styling. When reviewing this poem, think about traditional Haiku. Do you find classical elements? What creates a seasonal element? Is the cutting symbol necessary for creating that moment of reflection? Does the use of the word "footfalls" necessarily convert this poem into Senryu styling?.

Secret Path - James Fox

Secret woodland path
Golden doe and spotted fawn
Hush - Footfalls pass by

For inspiration, one might view works of art, illustrations, or abstract designs. For a breakout session on composing Haiku at a Writers’ Conference, a local artist loaned three of his award-winning paintings.

His city-scape showed the attendees his vision of a pebble-strewn brook in an urban park. A painting from his travels presented a lonely raven cawing on the Alaskan tundra. His third painting was a seascape of rugged cliffs buttressed against the raging sea.

While each writer was viewing the same three paintings, the poetic results were as varied as their imaginative interpretations could be. In less than half an hour some amazing compositions in traditional Haiku, as well as Senryu format, emerged from the group.

Closing your eyes you may likely envision each of those scenes, based on your own experiences. Where do your thoughts of nature lead you? Are you able to create the three lines of a Haiku?

Why not accept this writing challenge? Enjoy the adventures you may find in composing Haiku!





Another version of this essay was published as Traditional Haiku - A Western Perspective
in the poetry section of the Showbear Family Circus