|©Smashing Magazine http://www.smashingmagazine.com/2010/05/18/the-beauty-of-typography-writing-systems-and-calligraphy-of-the-world/|
Regarding "on" and its mora length and nature here are three useful web links:
|copyright©Alan Summers, With Words|
So how do we read, and even write, something so short as haiku in English that can still end up as a poem, without the benefit of the complex set of systems that the Japanese have? As Japan borrowed art and writing techniques to incorporate into the modern haiku so we too borrow from them to do our haiku, with techniques taken from their use of a reference to a season or part of a season (kigo), and how to insert a type of pause between the two short parts of a haiku (kire, kireji).
I’m sitting in Barton Farm Country Park in Bradford on Avon:
Bradford on Avon Tithe Barn:
This shows the other side of that cross shaped window opening:
a double Japan Times award-winning writer, Pushcart Prize and Best Small Fictions nominated, now based in Chippenham, England, runs Call of the Page, which provides literature, education and literacy projects, as well as online courses often based around the Japanese genres.
He is a past co-founding editor for Bones Journal (contemporary haiku), and his latest full-length collection Does Fish-God Know contains contemporary and experimental haiku with short verse published by Yet To Be Named Free Press.
Extended The Reader as Second Verse
Senryu, An Application to be a) human
An interview with Shloka Shankar of Sonic Boom magazine where I talk about the negative and white spaces of haiku as the White Paintings of haiku:
We run various popular courses:
Haiku (plural and singular spelling) are the shortest of all short verses, with an intended arrangement of words to draw on an emotional reaction from a reader. The intention is to create an effect far greater than the sum of the actual number of words used.