Posts Tagged ‘ haiku ’

Today’s Haiku (June 28, 2020) | Blue Willow Haiku World (by Fay Aoyagi)

青空へ百合の念力のぼりけり   保坂敏子

aozora e yuri no nenriki noborikeri

toward the blue sky

the willpower of a lily


Toshiko Hosaka

Fay Aoyagi, translation

from “Haiku Dai-Saijiki” (“Comprehensive Haiku Saijiki”), Kadokawa Shoten, Tokyo, 2006

Source: Today’s Haiku (June 28, 2020) | Blue Willow Haiku World (by Fay Aoyagi)

Today’s Haiku (June 22, 2020) | Blue Willow Haiku World (by Fay Aoyagi)

貝塚にシカの骨ある青嵐  米田清文

kaizuka ni shika no hone aru aoarashi

deer bones

at the shell midden

fresh wind through the verdure

Kiyofumi Yoneta


Fay Aoyagi, translation

from ‘Haidan,’ (‘Haiku Stage’) a monthly haiku magazine, July 2017 Issue, Honami Shoten, Tokyo

Fay’s note: ‘aoarashi’ (literary translation: ‘blue storm’), a summer kigo, is ‘a fresh strong wind blowing in the season of green new leaves.’

Source: Today’s Haiku (June 22, 2020) | Blue Willow Haiku World (by Fay Aoyagi)




Source: is/let




Source: is/let

Scott Metz Haiku 2015 | antantantantant

was one of them




Source: Scott Metz Haiku 2015 | antantantantant

Sonia Sanchez’s ‘magic/now’: Black History, Haiku and Healing – Juxtapositions | The Haiku Foundation

ABSTRACT: Sonia Sanchez has chosen haiku for many decades to create magic in the now and to throw down sacred words with the power of healing past trauma. As a writer of the Black Arts movement, like Amiri Baraka, she has also consistently affirmed African culture and turned to an “ancient image” of African civilization to nurture her vision. This paper explores Sanchez’s wide-ranging development of new strategies within haiku — techniques that, in the words of Baraka, “raise up, return, destroy, and create,” knocking down almost all of the traditional conventions for haiku to chart her own journey as a Black woman poet. The paper especially investigates Sonia Sanchez’s relationship to the natural world, to the artist’s path of creativity, and the pendulum swings she makes between human relationships and the natural world. Her continuing attention to African culture has allowed her to lay claim to natural images within haiku while navigating the tensions of an exploitative, nihilistic past that destroyed African life as ordinary practice. Sonia Sanchez covers a wide range of historical topics in her haiku, including the 1985 MOVE bombing in West Philadelphia, the anti-apartheid struggle in South Africa, and the courageous actions of Harriet Tubman in the abolitionist movement affirming a collective consciousness and implicitly calling for increased activism for social justice. Sonia Sanchez relates her own understanding of spirituality, self-discovery, and scholarship to her reading of Egyptian and West African philosophies that affirm unbroken connections between the New World and African civilizations, and these connections inevitably influence her approach to writing haiku.


by Meta L. Schettler


we be. gonna be
even after being. black
mass has always been. (I’ve Been a Woman 79)

Source: Sonia Sanchez’s ‘magic/now’: Black History, Haiku and Healing

A Careful Poetics: Caring Imagination, Caring Habits, and Haiku – Juxtapositions | The Haiku Foundation

ABSTRACT: This article contributes to the philosophical discourse of care studies and the growing interest in an aesthetic approach to care. Care ethics is a relational approach to morality first identified in the 1980s in the work of feminist theorists and today enjoys a wide academic discussion in philosophy, political theory, education theory, and medical ethics. Through a consideration of the embodied aspects of care as well as an analysis of several representative haiku, the authors argue that haiku supports the development of care capacities because it engages a caring imagination, helps people develop caring knowledge, and potentially encourages caring behavior.


by Ce Rosenow and Maurice Hamington


Practice yourself in little things, and thence proceed to greater.

     — Epictetus

Source: A Careful Poetics: Caring Imagination, Caring Habits, and Haiku

Beyond the Haiku Moment: Bashō, Buson, and Modern Haiku Myths – Juxtapositions  | The Haiku Foundation

ABSTRACT: Haiku has migrated from the country of its origin, and to languages and cultures that seemingly share nothing with Japan, yet the genre is thriving. The most energetic and thriving haiku culture resides in North America. Haruo Shirane, an authority on classical Japanese literature and a provocative writer on the legacy of haiku in the contemporary world, examines some of the changes which haiku has undergone in its travels, and evaluates them in relationship to the standard they might find in today’s Japan. Among the issues he considers are the place of metaphor and other poetic tools in haiku; the necessity of season words and seasonality in contemporary practice; the awareness and inclusion of “self” in English-language haiku; and the need for a “vertical axis” of reference and allusion to create depth. He also considers the broadly different approaches to senryū to be found between cultures.

Source: Beyond the Haiku Moment: Bashō, Buson, and Modern Haiku Myths

haiku by Joseph Salvatore Aversano – is/let


Source: is/let

JUXTA Interview: Jim Kacian Interviews Cor van den Heuvel


. . . I think haiku can include more than just what is commonly thought of as “the natural world.” It can also mean anything that is an extension of that world. This is both a sensory and imaginative experience that can only be called forth by the reader’s mind reacting to the words of the poem. As Blyth and others have pointed out, haiku is a poetry of the senses, but the senses that are awakened by the poem also spark the imagination, which will call up an image. – Cor van den Heuvel

Source: JUXTA Interview: Jim Kacian Interviews Cor van den Heuvel