Posts Tagged ‘ zen ’

Scott Watson in Sendai – Second session | YouTube


A Longhouse Birdhouse

To the Lighthouse: Breach of Meaning?: Roland Barthes’s View of Haiku


Roland Barthes’s View of Haiku

Basho’s Ghost by Sam Hamill / Kyoto Journal

Basho’s Ghost | Kyoto Journal.



Haiku Missionary: An Annotated Response to Alan Watts’ “Haiku” by Michael Dylan Welch at Graceguts

Haiku Missionary: An Annotated Response to Alan Watts’ “Haiku” – Graceguts.

Collapse, by Shinkichi Takahashi ~ translated by Lucien Stryk


Time oozed from my pores,
Drinking tea
I tasted the seven seas.

I saw in the mist formed
Around me
The fatal chrysanthemum, myself.

Its scent choked, and as I
Rose, squaring
My shoulders, the earth collapsed.

Shinkichi Takahashi
from Triumph of the Sparrow, 1986
Lucien Stryk, trans

half daytime moon, a haiku by Taro Kunugi

half daytime moon
above the roofs of a Zen temple;
a lull of chilly blasts

Taro Kunugi
December 2011

Gary Snyder — The Practice of the Wild / Monkey Puzzle Press



The Practice of the Wild « Monkey Puzzle Press.

Alan Watts on Haiku

1.  artlessness – looks like a work of nature
2.  excels in the virtue of knowing when to stop (the secret of art and of life)
3.  zen-inspired
– complete lack of the inessential
– astonishing directness
– no ideas, beliefs, doctrines or symbolism
– haiku and zen share same view that is a moment of intense perception; vivid.
4.  life reveals itself most plainly when you do not clutch at it — touch and go
5.  everything is momentary
6.  mooshin – state of no mind
7.  not reactions but an integral part of the experience
8.  literary form
– 17 syllables*
– in current season
– of flowers, trees, insects, animals, festivals, landscapes
– a strict form to see how much can be done with so little
– tension is created between the rigidity of the form and the depth of the poetic feeling; haiku   is the practice of restraint:
– suggests, doesn’t describe
– indicates, does not explain
– involves reader’s imagination
– restraint prevents showing off
– primativity and unfinishedness of expression that is socially understood
– the reader is almost as important as the poet—both share the same poetic
experience that  is never explicitly stated
– listener must be in the know about life, of the thusness  of things, not of their   goodness or badness but of their concrete thingyness
– the quality of thusness
* clarification: Japanese and English languages of course are not of equivalent syllabication. So, it’s better to count the duration of a full breath in and out. Some American haiku poets are now writing poems that last for a breath. ~ yours truly, df