Advanced Studies in Poetry: Global Haiku Tradition
IN203 Humanities Honors Seminar - Spring 2012
Dr. Randy Brooks

Millikin University
Shilling 209
rbrooks@millikin.edu

Global Haiku Tradition Assignments Blog

All writing assignments are to be submitted by email.
Send them to: rbrooks@millikin.edu

Final Exam: May 15 - 10:30am-12:30pm - RTUC Fireplace Room


Haiku Community Links:

Several blogs provide updates on events & news in the contemporary haiku community. The links:

Aubrie Cox - http://yaywords.wordpress.com/
Curtis Dunlap - http://tobaccoroadpoet.blogspot.com/
Melissa Allen - http://haikuproject.wordpress.com/

Also, additional excellent sources of learning more about the contemporary haiku community is through the following links:

Haiku Society of America • http://www.hsa-haiku.org/
American Haiku Archives • http://www.americanhaikuarchives.org/
Haiku Chronicles • http://www.haikuchronicles.com/
The Haiku Foundation • http://www.thehaikufoundation.org/
Simply Haiku • http://www.simplyhaiku.com
Heron's Nest • http://www.theheronsnest.com/
Modern Haiku • http://www.modernhaiku.org/
World Kigo Database • http://worldkigodatabase.blogspot.com/
Haibun Today • http://haibuntoday.com/


Extra Credit Opportunities:

We are delighted to announce that tea ceremonies will now be offered to the public on the third Saturday of each month at 3:00 p.m. Tea ceremonies will continue to be offered every Thursday at 2:00 and 3:00 but due to many requests we are adding these monthly Saturday teas to accommodate those that aren't able to attend during the week.  Please join us and find a moment of peace as you experience the Way of Tea.

Reservations are required. The ceremony begins with a brief tour of Japan House and will last approximately an hour. There are plenty of opportunities to ask questions and photographs are allowed. The fee of $8 will cover your participation in the ceremony, your bowl of matcha tea and a traditional Japanese sweet. Tea ceremonies are limited to only 20 participants so don't hesitate to make your reservation at 217-244-9934 or japanhouse@illinois.edu!

Celebration of Scholarship Event:
Haiku Versus Tanka - A Poetry Slam Tournament
3:30pm in Pilling Chapel, April 27, 2012


Kukai Favorite Selections

Kukai 1Kukai 1 favorites

Haiku to Edit 1Haiku to Edit 1 Results

Memoir Haibun 1

Matching Contest 1 - Holding Hands
Matching Contest 1 - Results

Matching Contest 2 - Childhood
Matching Contest 2 - Results

Kukai 2Kukai 2 favorites

Tan-RengaTan-Renga favorites

Mad Verse Renku

Spring Break KukaiFavorites

Matching Contest 3 - Awkward Moments
Matching Contest 3 - Results

Edited Haibun

Kukai 5Kukai 5 Favorites

Spring 2012 Kasen Renga:

Flash of Light

Seasons of Love

Summer Rain

Tattered Purity

Through the Oak Tree

Yummy Goodies

Matching Contest 4
Matching Contest 4 - Results

Matching Contest 5 - Karumi
Matching Contest 5 - Results

Matching Contest 6- Wabi
Matching Contest 6 - Results

Matching Contest 7 - Yugen
Matching Contest 7 - Results

Final KukaiFavorites

 


Reading & Writing Assignments by Dates:

for 1/24

reading: Mayfly magazine sample issue 48 (Winter 2009)

writing response: send me an email copy of your in-class response to a favorite haiku in MAYFLY 48 and select 2 favorite haiku (from MAYFLY or Peggy Lyles) and briefly write your imagined, felt response to them. be ready to discuss why you like them

haiku writing: write your first 3-5 haiku attempts on transition times—lulls of dawn, of dusk, of relationships, of states of consciousness, of between semesters). (email your 3 responses & 3-5 haiku by midnight Wednesday, January 25)


for 1/31

reading: To Hear the Rain, pages 1-64, introductions, prose (and the interview in the back of the book)

writing response: find 3 favorite Lyles haiku—write your imagined felt responses to them (one paragraph each)

writing extended memory & memory haiku: then go into more depth with a fourth haiku that especially triggered memories from your childhood or past (about a one page memoir) describing a memory from your own life. THEN write 3-5 haiku which capture different moments or feelings from within that longer memory from your experience. You may want to especially explore a childhood memory as well as more recent memories.

writing response to Kukai 1: write your imagined felt responses to your favorite haiku from kukai 1 (one paragraph)

haiku write: 4-5 haiku on the coldness (not ABOUT the cold but about a moment of encountering the cold—cold wind, cold walk, cold hands, cold car, chill).

(email your 3 short responses & one 1-page memior & 7-10 new haiku by midnight Sunday, January 29)


for 2/2

haiku to edit workshop

editing haiku: based on the haiku editing workshop in class on Tuesday, send me variations and edit suggestions for at least two haiku from the HAIKU TO EDIT 1 handout.

reading: To Hear the Rain, pages 65-end (read the interview at the back)

haiku reading responses: select 3 more favorite haiku by Peggy Lyles and briefly write your imagined, felt response to them. be ready to discuss why you like them.

REMEMBER to cite each haiku fully (do not add capital letters or punctuation) like this:

cucumbers
soaked in vinegar—
the heat

          Lyles, THTR, 48

haiku write: 5-10 haiku from childhood memories or other memories that come out of reading Peggy Lyles

(email your 3 responses & 2 edits & 5-10 new haiku attempts by midnight Wednesday, February 1) And have someone from your group email me your list of characteristics of the best haiku.


for 2/7

reading: handout of haiku from Almost Unseen by George Swede (available from Moodle)

writing response 1: find two favorite haiku from the handout and write a short response paragraph to one of them AND write a longer memory response with 3-5 new haiku to your other favorite haiku by George Swede. (email your 1 response paragraph and 1 memory response with 3-5 new haiku to me by midnight, Sunday, February 5)

reading response 2: find an interesting "matched pair" of haiku (one from George Swede and one from Peggy Lyles or a Mayfly 47 author) to read side by side. write a short analysis of the writing strategies and techniquse used in these haiku. (not reader response but analysis of writing techniques such as line break, word choice, arrangement, rhythm, sounds, emphasis, break, voice, tone, attitude, etc.). one page maximum for your analysis (half a page is fine).

team editing: read each other's memory writing & resulting haiku. select your favorite one by the team member and offer a couple of edits or variations of another couple haiku. This is for your team ONLY (bring it to class Tuesday). Do NOT email this to me, just bring it to class.

haiku write: 4-5 haiku on the nitty gritty side of winter and the angst of being human — like some of George's haiku. Due by email Sunday, February 5.


for 2/9

writing response 1 to matching contest: write about a favorite match that came up in one of the matching contest, especially a pair you found difficult to choose between

reading: Haiku Handbook Chapter 2 - Introduction to Japanese Haiku (handout)

response writing 2: find 1 favorite Japanese haiku & match it to 1 favorite English language haiku—write your short imagination responses to them (one short paragraph each), then write a short comparison of differences and similarities you notice in the Japanese haiku and English-langauge haiku

haiku writing: 3-6 new haiku with a clear seasonal connection (kigo) to things happening right now (snow melting, foggy night)


for 2/14

team discussion response 1 (one person from your team write this and email it to me by Feb. 12): compare the genesis of discourse for your two authors (George Swede and Peggy Lyles). why do they choose to write haiku about these moments? what is the source of significance worth turning into a literary artwork for them?

reading: Love Haiku by Masajo Suzuki, Introduction and haiku from pages 1-64

reading response 2: find three favorite haiku by Masajo and write a short response paragraph to them. (email your 3 response paragraphs to me by midnight Sunday Feb. 12)

valentine haiku gift exchange: bring 20 copies of one of your favorite Love Haiku (can be by you or by someone else or a new haiku you just wrote or edited) and sign the 20 copies for a Valentine's Day gift exchange. Have fun with this!

writing love haiku or senryu: write 6-10 love or anti-love Valentine's Day haiku. Not necessarily all lovey-dovey cliches, but love, lust, crushes, unrequited love, good friends, bitterness about love, winter dance, sock hop, blind date, romance, vampire love, and so on . . . Send your Valentine's Day haiku to Dr. Brooks by midnight, Sunday Feb. 12.


for 2/16

reading: Love Haiku by Masajo Suzuki, Introduction and haiku from pages 64-128

reading responses: find three favorite haiku by Masajo and write a short response paragraph to both of them. (email your 2 response paragraphs to me by midnight Wednesday Feb. 15)

writing response to Kukai 2 favorites: write your imagined felt responses to your favorite haiku from kukai 2

writing haiku: 5-10 new haiku on winter dance or first date or prayer


for 2/21

reading: The Millikin University Haiku Anthology, pages 1-90

reader response: write response paragraphs for three favorite haiku from the MU Haiku Anthology email your responses by midnight, 2/19

TEAM group dialogue: what are the essential elements of the very best haiku? What makes some haiku better than others? How would you define or describe the characteristics of the best haiku? What must a highest-quality haiku do (for? with?) for readers to be effective?

genre n 1: a kind of literary or artistic work 2: a style of expressing yourself in writing [syn: writing style, literary genre] 3: a class of artistic endeavor having a characteristic form or technique. (dictionary.com)

literary genre n : a style of expressing yourself in writing [syn: writing style, genre] (dictionary.com)

genre (zhän`r?), in art-history terminology, a type of painting dealing with unidealized scenes and subjects of everyday life. Although practiced in ancient art, as shown by Pompeiian frescoes, and in the Middle Ages, genre was not recognized as worthy and independent subject matter until the 16th cent. in Flanders. There it was popularized by Pieter Bruegel, the elder. It flourished in Holland in the 17th cent. in the works of Ter Borch, Brouwer, Metsu, De Hooch, Vermeer, and many others, and extended to France and England, where in the 18th and 19th cent., its major practitioners were Watteau, Chardin, Greuze, Morland, and Wilkie. In Italy genre elements were present in Carpaccio's and Caravaggio's paintings, but not until the 18th cent. did genre become the specialty of an Italian artist, Pietro Longhi. The French impressionists often painted genre subjects as did members of the American ashcan school. (Columbia encyclopedia)

see Wikipedia for an introductory discussion of genre at:
http://en.wikipedia.org/wiki/Literary_genre

Definitions of genres, especially literary genres, usually includes some expectations of form or structure, so our next question is to consider the formal elements of haiku. But genres also include certain expectation of content and aesthetic experience.

TEAM presentation due Thursday February 23:

Compare the Art of Haiku to [your team's comparison choice].

email your written team/partner presentation overview: one person write your team's statement of the essential elements, techniques, characteristics of the best, well-crafted, well-written haiku . . . what are characteristics of your favorite, most effective haiku (use at least 3-5 examples from readings so far). This is the first half of a genre study of haiku. Also, let me know what your group is planning to do for the comparison presentation on the art of haiku AND.


for 2/23 TEAM PRESENTATIONS

reading: The Millikin University Haiku Anthology, pages 91-192

reader response: write response paragraphs for three favoriate haiku from the MU Haiku Anthology email your responses by midnight, 2/22

writing haiku: 3-5 haiku related to elements (things, reality, settings, contexts) often associated with your comparison genre. Send me your 3-5 new haiku by midnight, Wednesday, Feb. 22.


for 2/28

reading: The Haiku Anthology, pages 1-60 including the introductions

reader response: select 3 favorites and write a paragraph response to 3 favorite haiku. send your response writing to me by email by midnight Sunday, Feb. 26.

writing haiku: group matching contests or kukai:

Team 1 - haiku & Apples to Apples - write 2-3 haiku on board games - <LQuick@mail.millikin.edu>

Team 2 - haiku & movie music - send your in-class haiku & responses - <sbdavis@mail.millikin.edu>

Team 3 - haiku & horror films - <http://www.youtube.com/watch?v=kuuggj-aaHk&feature=youtu.be> send your horror haiku - <Lhuston@mail.millikin.edu>

Team 4 - haiku & interpretive dance - wait until after next Tuesday - <escannell@mail.millikin.edu>

Team 5 - haiku & cake decoration - write 2-3 haiku about cakes & cake occaisions <kharvey@mail.millikin.edu>

Team 6 - haiku & coffee beans - write 2-3 haiku about coffee & waking up - <ckerrigan@mail.millikin.edu>


for 3/1

reading: The Haiku Anthology, pages 60-120

reader response: select 3 favorites and write a paragraph response to 3 favorite haiku. send your response writing to me by email by midnight Wednesday, Feb. 29.


for 3/6

reading: The Haiku Anthology, pages 120-203

reader response: select 3 favorites and write a paragraph response to 3 favorite haiku. send your response writing to me by email by midnight Sunday, March 4.

tan-renga capping: through email or in meetings, select some favorite haiku by each other and write caps for 3 favorite haiku by your partners. How do you write a cap? Add two more lines to the haiku making a new 5 line poem, a tan-renga.

haiku writing: 5-10 haiku on spring sunshine, spring clothes, warmth, jazz, or Lent


for 3/8

enjoy our Mad Verse Renku from March 6, 2012

read the handout: HOW TO WRITE RENGAY (download here)

team writing assignment ( in class Thursday) NO WRITING HOMEWORK DUE!: write 2 rengay with your group following the guidelines in the handout.


for 3/13 & 3/15 - Enjoy SPRING BREAK!


for 3/20

TEAM MEETING TUESDAY (no class meeting)! Share your spring break haiku and write 2-3 Team Rengay or a free-form renku of linked verses related to spring break.

reading response writing: Share 10-15 of your best haiku with family and friends over spring break, and see which ones they like the best. Write an email to me about favorites selected by your family and friends. Which ones did they like best and why? email by midnight Monday, March 19.

for 3/22

Spring Break Kukai!

haiku writing: write 15-20 haiku or a haiku sequence or haiku journal over Spring Break about your life's reality during spring break or about special locations and places of significance to you in your home town. Don't write a bunch of cliches or stereotypical spring break stuff. Write from the reality of YOUR actual spring break. email by Monday midnight, March 19 for our kukai! Yes, spring break kukai will be Thursday, March 22!

writing: also send me your TEAM RENGAY by midnight Wednesday, March 21


for 3/27

reading: Chapter 4 "Haiku Prose" from The Haiku Handbook by William J. Higginson. Also read sample haibun from Frogpond 33.1, Winter 2010 and the following haibun:

http://haibuntoday.blogspot.com/2009/04/bob-lucky-dr-livingston-you-presume.html

reading: Chapter 4 "PROSE" in Matsuo Basho book by Makato Ueda.

Watching Out

     by Brian Blankenship

Over the summer as a kid, and lately, over Thanksgiving, my family and I would make a trip to visit my grandparents. Without access to a swimming pool, there wasn’t too much to do during the summer in Maubury, Alabama. With the combination of the heat, the insects, and the snakes, my grandparents’ property became a regular cesspool for disease and dehydration. But during the fall, things would cool down outside enough so that it was too cold for the snakes and bugs, but just habitable enough for us Chicagoans to enter these untamed, Alabamian outdoors.

My brothers and I found our way to the pine thicket just beside the house. In the summer months, a bed of needles or an overturned branch could be home to a giant banana spider or an aggravated copperhead, but during the cool weather, we could wander the brush without worry of toxins entering our bloodstreams and, with the closest hospital being a good hour and a half drive away, killing us any time soon. Over the years, Josh, Ben, and I had become adept at spotting which saplings were on the verge of crashing down to the dry, forest floor. We would fly through the woods, knowing the exact point of contact and the perfect amount of force at which to kick the trunks of these lifeless conifers, causing them to fall to the ground as we stood tall, one hand clenched heroically in a fist at our hip, the other, cupped at our mouth, echoing our “Timber!” across the entirety of the eighty-eight acre plot. Often times, a tree would split at the point of impact, the top half toppling down to earth in our direction. We would escape by diving from the path of the careening pine branches, shielding our eyes from the projectile splinters of kindling.

All the while, my grandfather (whom we have always referred to as JB – my dad, my uncle, my grandmother, I’m convinced his own father never called him by anything other than the initials to his birth name) would sit idly by on the patio – his grey slacks hiked up far higher than designed to, exposing a few inches of ankle flesh, permanently tanned to a crisp from the years of farm work he had been subjected to as a child and the Indian blood that runs through his veins – and he would watch the road. The far side of the gravel was completely wooded and had been fenced in long ago to maintain three goats he had purchased at the flee market in a buyer’s frenzy, which my grandmother made him return shortly after. Just shy of the natural-made gutter that ran the length of Yarbough Road (a road that was just recently dubbed worthy of a street sign), was JB’s simple garden – just a small cornucopia of a few beans, squash, and pumpkins that Grandma and he would harvest annually – almost a scaled version of those their parents had built and tended to years ago.

He would wake at the crack of dawn, and after breakfast, make himself comfortable as the remainder of the morning dew droplets evaporated into the humid November air. And there he would stay until dusk, until the placid-blue Alabama night had covered his home and made it too difficult for him to make out the yellow clay road any longer. All day long he’d watch that road, turning to have a conversation or start a fire from time to time, but always returning back to his road.

I never knew what exactly JB was looking for. The mailman would drive by on occasion, sticking an open hand out from his van as drove off down the dusty hill. But other than that, nobody came, and JB still watched. Were he a whittler, I’m sure JB would have whittled as he passed the time. A musician: played his harmonica. But since he’s not, he doesn’t. And if you go to Maubury, Alabama today, and take a walk down Yarbough Road, underneath his fig tree, beside his garden, next to his pine thicket where his grandsons play, you’ll find JB. Just sitting. Just waiting.

grandfather waits
for a better yesterday
the fallen sapling

• • •

Troll

     by Aubrie Cox

Life under a bridge is renowned to be that of a troll, and that it is. Floods on occasion make the home a bit wet, but a little mold and algae never hurt anything. Fresh fish daily, a billy goat if lucky; however, this is not prime real-estate—it's just beneath the price of a cardboard box. Stones wedged together with natural mortar arch overhead and shade the muddy water so that one can barely see the fish going by. They come up to the surface, their fishy mouths gaping, gasping for air; their glazed eyes never see warted hands, or fishing rods coming for them. (I hate fishing rods, by the way.) Trash is littered everywhere—lost treasures from passerbys. Rain matters little when every spring the neighborhood gets carried downstream.
wagon over head

rubble plops
in
the cracked teacup

Write 1 haibun - One on a memory of a lived experience (capture the sense of being there—the sensory experience as well as the overall atmosphere or mood). 1 page max. OR one can be a fictional imagined piece (you may want to start off from a favorite haiku you've read), and let your imagination go into it to make it seem like you are there, living the moment. (Include at least one haiku per haibun - you may want to write 3-4 and select only the best 1-2).

Haiku writing: write 5-10 awkward moments haiku, by request of Conner. Email your haiku and 1 haibun by midnight, Sunday March 25.


for 3/29

reading: Haiku Guy, pages 1-80

writing response 1: Practice the exercise of stop, look, and listen as described in the book. Find something, whether it be in your dorm, on campus, or somewhere where you can sit quietly without distraction and observe a particular thing, area, or person. Then, write about what you observed, describing what stuck out to you.

haiku writing: write 3 haiku from this stop, look & listen exercise.

Revise and edit your haibun attempt and send them to me for our haibun kukai (Or write a new one if you don't like your existing haibun). Tighten. Make the prose more immediate & sensory experience (less past tense reflection) and build a sense of scene (place, time, atmosphere, perspective). Let the haiku extend & link back to the prose. It is situated but new and creates a sense of un-ending.

Think about the source of your haiku. Where do your haiku originate? Why do you notice, observe, feel, reflect or focus on those things for immediate impact and lasting significance? Where do your very best haiku come from? What's your haiku muse? Your inspiration to write?

writing response 2: Compare the advice given to Buck-Teeth of poets Mido and Kuro. What do you think of each of their advice? Which appeals to you more? Explain why. Write 3 haiku following Kuro's advice, and 3 haiku from Mido's.

Extra credit: bring to class one haiku written following Shiro's advice.

Email your haiku, your edited haibun, your Mido/Kuro/Shiro advice response by Wednesday midnight. March 28.


for 4/3

Scheduling Day (see assignment for 4/5)


for 4/5

reading: Haiku Guy, pages 80-end

writing response 1: Give your reading of Issa's snail haiku.

writing response 2: How would you rewrite "The Tattoo" chapter (p. 134)? How you think that scene should have happened or ended?

Creative Writing: As you read Haiku Guy, begin developing a character who writes haiku. Write a short short story in which the character encounters problems with creativity or love or inspiration or life or . . . (you fill in the blank). Include at least three episodes/scenes. Include 3-5 haiku in your haiku story scenes by characters in your story. Leave it open-ended with a haiku!

writing response 4: Write about your favorite senryu from Matching Contest 3.

Email your responses and your short short story by midnight Tuesday, April 3.


for 4/10

The edited haibun are now ready for reading , so please do this by April 9 if you haven't already:

writing response 1: Read the Haibun from class and write a reponse to your favorite one. Your response can be a new haiku, a haibun in response or a commentary about the haibun you like. 1 page max!

reading: Chapters 1-2 of Matsuo Bashô by Ueda (pages 1-68). Select three favorite haiku from Bashô. Write a paragraph response to three of these four haiku. email due midnight, April 9.

haiku writing: write 3-5 haiku about Easter, Passover, or some spiritual tradition haiku


for 4/12

reading & response writing 1: Bashô (Chapter 3 The Renku), pages 69-111 and email a ¶ me about one favorite link (or pair of links) in one of the renku examples. email by midnight Wed., April 11.

response writing 2: Find two matching English haiku to Bashô's haiku—one representing the aesthetic of sabi and one the aesthetic experience of karumi. Write a paragraph for each pair comparing these English haiku with those by Basho. One sabi haiku not by Basho compared to one sabi haiku by Basho. And one karumi haiku not by Basho compared to one karumi haiku by Basho. send your two comparison pairs to me by email by midnight, April 11.

Read the student kasen renga by Bri Hill and students from Spring 2003 Global Haiku Traditions at: http://performance.millikin.edu/haiku/studentrenga/Grasshoppers&Tobacco.html


for 4/17

Plan a haiku writing gathering with classmates and/or friends (groups of 4-7). This can be any day with the resulting kasen-renga (36-links) due midnight, Sunday April 15.

This is a gathering for writing linked verse—if it's nice out you could gather in the park or at Rock Springs or at someone's place. Allow the spirit of the place where you gather to be a springboard for the haiku, but don't limit yourself to that place once you get into the linking. Let your links go out through time and seasons moving from person (ninjo) focused to non-person (ninjo-nashi) focus to avoid too much continuity of persons or scenes. Try to avoid more than three ninjo or ninjo-nashi links in a row. Remember, every two links make a new poem.

Using the following guide, try writing a kasen-no-renga.

(1) ninjô verses—people or emotion or human environment verses (self, other or both)
(2) ninjô-nashi—non-people or things or place or nature-only verses

Write a 36 link kasen-no-renga:

(1) hokku—sets tone, greets all, establishes season, quiets guests to join in
(2) wakiku—builds on unstated elements of the hokku and maintains season. ends in a noun
(3) daisanku—ends with open-ended image (often transitive verb ING)
(5) usually moon shows up here for the first time
(6) concludes the first page (jo) often written by the official scribe
(7)-(29) heats up the links and leaping (intensification)
(13) moon appears again
(17) blossoms usually show up here
(29) moon’s third and final appearance
(30)-(36) kyû—the slow down finale (quiets back down into calmness)
(35) cherry blossoms always here
(36) end with openness and reverberation

Publication fold/design questions?
The paper is folded into 4 panels for each side (cathedral door style).
Panel 1 (outside cover) – title, date, place, copyright, (sometimes authors)
Panel 2 (first fold inside left panel) – first six links
Panel 3 (further inside far left panel) – next six links
Panel 4 (far left inside page panel) – next six links
Panel 5 (right center page panel) – next six links
Panel 6 (far right inside page panel) – next six links
Panel 7 (last fold inside right page panel) – next six links
Panel 8 (back outside cover) – acknowledgments & author links
optional obi (paper belt around the folded renga)

email me your kasen-renga due Sunday, Midnight April 15. and bring one copy to class (properly folded and belted using the following Microsoft Word kasen template) for sharing in class on April 17

See the resulting Spring 2012 kasen-renga:

Flash of Light by Elise Scannell, Adam Blakey, Wanda June, Conner Kerrigan & Merissa Marx

Seasons of Love by Megan Vail & Jennifer Petagno

Summer Rain by Courtney Gerk, Catherine Hixson, Stefanie Davis & Katie McDaniel

Tattered Purity by Hailee Peck, Courtney Gallup & Lexie Huston

Through the Oak Tree by Lindsay Quick, Moli Copple & Jessica Claussen

Yummy Goodies by Sendin Bajric, Kindra Emberton, Kyle Deeken & Kirsten Daykin

also for 4/17

reading: The Haiku Anthology, pages 203-327. select 3 favorites and write a paragraph response to 2 favorite haiku and an extended memory response to 1 favorite (ending with 2-3 haiku from your memory). send me your three paragraphs and extended memory haiku by email by midnight Sunday, April 15.

haiku author study: email the name of the author or type of haiku you plan to study by midnight Sunday, April 15.

haiku author or topic study: A formal essay introducing a particular contemporary author to contemporary haiku readers, discussing this author's approach to writing haiku, including response-discussion of 6-9 examples. You may choose to write about a haiku topic instead of an author. Matching comparisons with haiku by other authors are always valued. This can focus on one book by the author in the form of a book review essay or on a particular theme or approach to haiku by the author.

o focus on a point of insight or question about that author’s unique contribution
o include response discussions of 6-8 haiku by the author
o include at least one matching comparison to a haiku by another author (or more)
o may include email or phone or in-person interview questions to help address
   the haiku writer's poetics

Length? 5-10 pages single-spaced. Citations? Full citation of each source within text first time mentioned (followed by haiku citation convention of author, publication title abbreviated, page number) for subsequent mentions. Yes, include a works-cited page. Essays are due May 3.

Adam - Jeff Winke - 3
Catherine Hixson - John Stevenson (3)
Conner - Ryan Mecum - 2
Courtny Gallup - Carolyn Hall, author of How to Paint the Finch’s Song - 1
Courtney Gerk - Tom Clausen's poetry of children - (2) or Sanford Foresster (2)
Elise - George Swede & haiku from the dark side - 5
Wanda - Raymond Roseliep - 6
Eric - Allen Ginsberg - 1
Hailee Peck - Dietmar Tauchner √
Jessica - Alexis Rotella - 4
Katie - Anita Virgil - 4
Kendall - Jack Kerouac - 4
Lexie - Ban’ya Natsuishi's Turquoise Milk - 3
Lindsay - Vincent Tripi - 6
Megan - O Mabson Southard √
Merissa Marx - Stephen Toft √
Moli - Robert Boldman - 2
Sendin - John Wills - 1
Stef - dream haiku - 1


for 4/19

haiku project proposal: The purpose of the haiku project is to apply haikai arts to something that means a lot to the student—usually something related to their major field of study. Bring your passion to this project and connect it to haiku (photography & haiku) (music & haiku) (history and haiku) (psychology & senryu) (a kasen renga) (baseball haiku) (a collage of haiku) (haiku web site) (anthology of love haiku) . . . have fun with this. make it your dream assignment. email me a paragraph explaining your project plan by midnight April 18. Haiku projects are due May 10

Haiku Project Plans:

Adam - haiku and musical solo improvisation
Catherine - Disney haiku slide show
Conner - Awkward Moment Haiku Video
Courtney Gerk- haiku calendar featuring children
Elise - haiku voice over to Pixar's UP
Eric - ?
Wanda - Nietzsche haiku & Thus Spake Zarathustra
Hailee & Lexie & Courtney Gallup - Video on "Sh*t Haiku Writers Say"
Jessica - haiku board game
Katie - Disney princess haiku
Kendall - synesthesia haiku
Lindsay - ink drawings of favorite haiku
Megan - haiku and photography
Merissa - haiku song for acapella girls group
Moli - haiku collage (basketball or family vacations)
Sendin - story haiku (fiction based on famous haiku)
Stef - dream juornal and haiku

reading & responding to your author: write a paragraph response to 3 favorite haiku by your author. share these haiku (or 5-10) with friends and collect a variety of responses to them.

haiku writing: write an extended memory response to 1 favorite by your author (then write 2-3 haiku from your memory). send me your 3-4 favorites responses and extended memory haiku by email by midnight Wednesday, April 18


for 4/24

reading: Matsuo Bashô by Ueda, Chapter 5 The Critical Commentaries, pages 147-169.

reading response: using Bashô's technique of matching pairs of haiku, find two haiku you want to place side by side for discussion and comparison (at least one by your author). Write a short paragraph discussing them and why you like one better than the other. due Sunday, Midnight April 22

reading & responding to your author: write a paragraph response to 3 more favorite haiku by your author. share these haiku (or 5-10) with friends and collect a variety of responses to them.

haiku writing: write an extended memory response to 1 favorite by your author (then write 2-3 haiku from your memory). send me your 3-4 favorites responses and extended memory haiku by email by midnight Sunday, Midnight April 22


for 4/26

reading: School's Out by Randy Brooks

writing response 1: write a reader response to your favorite haiku from School's Out (pdf).

writing response 2: Write about your favorite pair from Matching Contest 4. Email your responses by midnight, Wednesday, April 25.


for 4/27 - Extra credit Haiku vs. Tanka Competition! Bring your best haiku on a sheet of paper or on cards. This is a slam-style competition in public tournament style. To become Grand Champion, your team will have up to at least 25 winning haiku, so bring plenty of haiku or tanka to the competition. Here are possible slam round topics: certain Japanese aesthetics such as sabi, wabi, aware, karumi, and yugen. There will also be American aesthetics rounds such as first date, graduation, awkwardness, spring break, grooviness, April fool's, peace, love, old jeans, summer vacation and angst.

teams:

Tekkan's Revenge (tanka) - Jackson Lewis & Josephy Bein
Women in Black (tanka) - Brittany Mytnik, Morgan Ewald, & Skya Gentle
Fire & Water (haiku) - Garrett Derman & Tyler Lamensky (defending Grand Champion from 2011)
Off Constantly (haiku) - Wanda June, Elise Scannell & Conner Kerrigan
Pi Beta Phi-ku (haiku) - Kirstyn Kedaitis, Margaret Eby, & Susie Wirthlin


for 5/1

Matching Contest 5 - Karumi
Matching Contest 5 - Results

Matching Contest 6- Wabi
Matching Contest 6 - Results

Matching Contest 7 - Yugen
Matching Contest 7 - Results

Write 3-5 haiku with the aesthetic goal of karumi and 3-5 haiku with the aesthetic goal of wabi and 1-2 haiku with the aesthetic goal of yugen. Email these to me Sunday midnight, April 29.


for 5/3 - Author Study Presentations

writing response 2: Write about your favorite pair from Matching Contests 5 or 6 or 7. Email your responses by midnight, Wednesday, May 2.

contemporary haiku author study due. email to me by midnight Wednesday, May 2. bring a print copy of your study to class Thursday. We will do author presentations on May 3 and May 8.

contemporary haiku author study presentations May 3:

Adam - Jeff Winke - 3
Catherine Hixson - John Stevenson - 3
Conner - Ryan Mecum - 2
Courtny Gallup - Carolyn Hall - 1
Courtney Gerk - Tom Clausen - 2 or Sanford Foresster - 2
Elise - George Swede - 5
Wanda - Raymond Roseliep - 6
Eric - Allen Ginsberg - 1
Hailee Peck - Dietmar Tauchner √
Jessica - Alexis Rotella - 4
Katie - Anita Virgil - 4
Kendall - Jack Kerouac - 4
Lexie - Ban’ya Natsuishi - 3
Lindsay - Vincent Tripi - 6
Megan - O Mabson Southard √
Merissa Marx - Stephen Toft √
Moli - Robert Boldman - 2
Sendin - John Wills - 1
Stef - dream haiku - 1


for 5/8 - Final Kukai

Final Kukai submissions due (can be revised earlier haiku, new haiku, previous haiku not yet born in kukai or matching contest, or any of your favorites not selected previously). Send 10-20 haiku for our final kukai by midnight, May 6.

contemporary haiku author study presentations May 8


for 5/10 - Signature Gift Exchange & Sharing Haiku Collections & Projects

haiku projects due (to be shared this last day of class). email the contents of your projects (the haiku at least and introduction & photographs or power point, etc) by Midnight May 9.

(1) Signature haiku gift exchange and haiku chapbook collections are due Thursday, May 10th.

The signature haiku process—a haiku to give to others when they ask about haiku that can be used to teach them about haiku and to share some of your work with them. A haiku you want to be known for or known by—one that works with a lot of readers. A gift of a haiku insight . . . often presented as a gift of some sort such as a bookmark, a small haiku stone, etc.

(2) Haiku Collection Booklets due: Select and organize your best haiku & senryu & haibun & renga into a collection. Make a little booklet, or print them in a binder, or write them in a blank book.

Select and organize your best haiku & senryu & haibun & renga into a small booklet or collection. Give your collection a title and a © 2012 page. (Often signature haiku are connected to the title.) Include a dedication page if you would like to.

Be sure to write an author's introduction to your collection which explains your title and expresses your approach or why these are the ones you have included in your collection (your poetics preface). Ask a reading partner to write a short introduction to your collection, maybe pointing out one or two favorites—or their observation about something unique about your haiku (the reader's introduction). The reader's introduction should help strangers appreciate and value your collection.

Don't forget to e-mail a copy of the contents of your collection including your introductions to Dr. Brooks by midnight, Wednesday, May 9th!

Don't forget to e-mail your short bio statement to Dr. Brooks and <ckerrigan@mail.millikin.edu> by midnight, May 9th. This bio statement will be used at our Global Haiku Reading program.


for 5/15 Final Exam - final exam 10:30-12:30 - Global Haiku Reading at Fireplace Room - RTUC

Extra credit is available for bringing 2 or more guests to the reading, or for helping with one of our haiku reading tasks.

(1) Global Haiku Reading at Fireplace Room - RTUC, Tuesday May 15, 10:30am-12:30pm. I will bring your chapbooks and return them to you at the final Global Haiku Reading.

Conner - M.C. & program designer (introductions & bio notes) send your bio notes to Dr. Brooks and <ckerrigan@mail.millikin.edu>

Elise - program design (with Conner) and refreshing cakeballs

Courtney Gallup - publicity flyer

Stef & Katie - (chalk the walk haiku & announcement)

Lindsay - signature haiku book greeter

(2) Submissions to Haiku magazines Final. (one email submission copied to me & one snail mail submission brought to the final exam)

Type a selection of 5 of your best haiku with your name and address on the upper left hand corner of the page. Also bring an envelope with your name and address in the upper left hand corner. Also include a self addressed envelope with your name and address in both the upper left hand corner and the addressee spot. Include one dollar or two stamps for postage in one of the envelopes. (Many will be submitted to magazines overseas, so please don't stick the stamps on the envelopes.)