in Poetry: Global Haiku Tradition
Global Haiku Tradition
PACE (Tuesdays 6-10pm) · tba
download syllabus for November 2012 (doc file)
Send them to: email@example.com
Kukai Favorite Selections & Matching Contests:
General Weekly Course Structure & Procedures
The course schedule is merely a guideline. The professor reserves the right to alter course content, class assignments/activities, and/or dates, as deemed necessary. The professor will announce assignments and due dates in class, via email, or course web site. The student is responsible for attending class to know what assignments will be required and when. Announcements in class or via email will take precedence over the written schedule.
Required Books Week One (in class reading - these books will be brought to class by Dr. Brooks)
Required Books Week Two to bring to class:
Required Books Week Three:
Required Books Week Four:
Required Books Week Five:
1. Sharing and discussing haiku from Mayfly & Lyles' To Hear the Rain.
2. Introduction to the history of haiku and haiku poetics.
3. Haiku writing and editing workshop.
in class reading: Lyles' To Hear the Rain
in class response writing: select 4 favorite haiku from each poet and briefly write your imagined, felt response to 2 favorites by Lyles. Be ready to discuss why you like them.
in class haiku writing (with Dr. Brooks' help): go into more depth describing a memory from your own life (one page) and write 2-3 haiku which captures some moments from within that memory
assignments for week two:
email your in class response writing: we wrote 1 paragraph response to a Lyles haiku. send it to me
email your in class haiku writing where you went into more depth describing a memory from your own life (one page) and wrote 2-3 haiku which captures some moments from within that memory. send it to me
haiku writing for next week: write 6 additional haiku based on memories rising up in your mind from reading haiku. send me at least 6 new haiku.
reading for next week: The Haiku Anthology and prose introductions from Peggy Lyles and the Millikin University Haiku Anthology writers (note your questions about haiku from the introduction), and read the handout sample of haiku by George Swede.
response writing for next week: write imagined response paragraphs for 3 favorite haiku from The Haiku Anthology and 2 favorites from George Swede (get the handout from the web site or Moodle) and 2 from the Millikin University Haiku Anthology.
EMAIL your paragraphs & haiku by midnight Sunday to me at: firstname.lastname@example.org
1. Sharing and discussing favorite haiku from The Haiku Anthology & Millikin University Haiku Anthology.
2. Critical reading discussion on haiku poetics from The Haiku Anthology, MU Haiku, Swede & Lyles.
3. Kukai 1 selection of favorites by each other.
4. Haiku editing workshop from attempts. (email due midnight two days before class)
5. Brief introduction to tan-renga and rengay.
assignments for week three:
reading for next week: Matsuo Basho (chapters 1-3) and handout essay by Huruo Shirane "Haiku Myths"
(1) response writing for next week: select 3 favorite haiku by Basho (from Ueda's or Shirane's book) and write your imagined response to each of those 3.
(2) response writing: write a short response to one of the renga in the Basho book. write short paragraph responses to 1 of the most interesting links from the renga
(3) response writing: write short response paragraphs to two of your favorite haiku from Kukai 1
(4) tan-renga writing: writing a capping verse to 2 favorite haiku from Kukai 1. (add 2 lines to make a new 5 line poem)
(5) haiku to edit: send me 2 alternative versions for at least 2 haiku from Haiku to Edit 1
(6) haiku writing for next class: write 10 or more seasonal based haiku (deliberately include nature or an image that places us in a seasonal context). write about the autumn chill, bonfires, Thanksgiving, first snow, etc. try some from childhood memories and some from now .
EMAIL your writings to me by midnight Sunday November 18 at: email@example.com
1. Sharing and discussing favorite haiku from Matsuo Bashô.
2. Critical discussion on history of haiku and haiku poetics from Traces of Dreams.
3. Download and read: How to Rengay (handout).
ninjô verses—people or emotion verses (self, other or both) (I, you, us, he or she, they perspectives)
ninjô -nashi—non-people or place verses
We will look at a 36 link kasen renga (mixing ninjô and ninjô-nashi verses with no more than three links being ninjô and ninjô-nashi verses in a row):
4. Kukai selection of favorites by each other.
assignments for week four:
reading: Matsuo Basho (chapters 4-5) and Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Basho (handout chapters 1 & 4) and Love Haiku: A Lifetime of Love
(1) response writing for next week: select 3 favorite haiku by Masajo and write your imagined, felt response to these three.
(2) response writing: write short response paragraphs to one of your favorite haiku from Matching Contest 1
(3) Kukai 2 response writing: write a reader's response to 1 favorite from Kukai 2
(4) response writing: find an example of a favorite haiku in English by fellow student or from anthologies that demonstrate each of the following three types of linking:
(5) rengay writing for next week: write 2 rengay (one with family or friends) and (one with an email partner from this class or previous haiku students) follow the principle of no more than three links being ninjo or ninjo-nashi verses in a row.
(6) haiku writing for next week: 5-25 haiku attempts writing about things that are better because they are not perfect, are somewhat worn out, are broken but still valued, etc. (the Japanese aesthetic of wabi-sabi)
(7) email me your plans for the contemporary haiku reader response essay. I will bring books for your to borrow if possible next week, if you send me your plans or idea for this study.
EMAIL your writings to me by midnight Sunday December 2 at: firstname.lastname@example.org
1. Sharing and discussing favorite haiku from Love Haiku
2. Critical reading discussion on history of haiku from Basho & Shirane.
3. Send/give me the name of the author you are studying for your contemporary author study, unless your name and author are listed below:
4. Favorite rengay & matching contest kukai selection of favorites by each other.
assignments for week five:
reading: reading and response on your author for your essay
reading: The Wordless Poem (handout)
(1) response writing: write short response paragraphs to one of your favorite haiku from Matching Contest 2.
(2) response writing for next week: find 3 matching pairs of haiku from any of your sources (6 haiku) and write a comparison of 1 pair (write about 1 match)
EMAIL these two assignments to me by midnight Sunday December 9 at: email@example.com
1. Sharing and discussing favorite haiku from comparisons of Japanese and American authors (emailed responses due midnight the day before the class).
2. Critical reading discussion on history of haiku and haiku poetics from The Wordless Poem (see Moodle download).
3. Sharing final collections and essays.
for week five--haiku projects due for class presentations
(1) haiku author study: an essay on a particular contemporary author, discussing their approach to writing haiku, including response-discussion of 5-10 examples. this can focus on one book by the author in the form of a book review essay.
(2) haiku writing for next week: Ginko or haiku project--a haiku walk by a group of friends in which everyone just enjoys the walk together, stopping to notice things and to write haiku from shared experience. write at least 10 on-the-spot Ginko walk haiku by you and your friends. (It can take the form of rengay if you'd like.)
Questions about the haiku project? The haiku project can be a series or sequence or rengay of haiku on a single topic (snow, divorce, marriage, school, civil war, etc.). OR you may do a Ginko (haiku walk with friends where you write haiku that come from perceptions and feelings from the walk). OR you may write 2 more rengay or a Kasen-no-renga with friends or classmates or family.
(3) haiku collection: your best haiku and renga from the course, collected with a preface about your understanding or approach to writing haiku. Download the guidelines for the final haiku collections.
(4) signature haiku gift: (usually a bookmark, signed, with one of your best haiku) please bring a copy for each fellow student and the teacher (23 copies)
(5) submission ready haiku: five of your best haiku typed on a page with your name & address in upper left-hand corner, folded and inserted in a number 10 envelope, with another number ten envelope folded in third inside, two first class stamps included loose in the envelope
• • •
BRING your physical booklet, your essay, MY BOOKS YOU BORROWED, your haiku project, your signature bookmarks for exchange, and your submission ready haiku. Books won in kukai are yours to keep! Return books I loaned you for your haiku author study.