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Showing posts with label The Wonder Code. Show all posts
Showing posts with label The Wonder Code. Show all posts

Wednesday, October 18, 2017

The Moon is Broken: Juxtaposition in haiku - Alan Summers



The Moon is Broken: Juxtaposition in haiku

 Guest poets will appear in the version for Writing Poetry: the haiku way by Alan Summers. See also:

Also check out:

Haiku and Juxtaposition or The greatest Match Cut in History

http://area17.blogspot.co.uk/2018/05/haiku-and-juxtaposition-or-greatest.html

Haiku (plural and singular spelling) are the shortest of self-contained poetic verses, and yet can often pull from us an emotional reaction greater than the sum of the physical count of words.  This is often obtained by breaking the haiku verse down into two parts concerning the text you can see. It’s where the break is created inside this tiny shell of a poem, which causes a breach or fissure, that is part of the poem, and creates a non-verbal or “something unsaid” that’s a bridge, and thus giving us aspects of white space/negative space.  

Also see:
Negative space in haiku: Writing Poetry: the haiku way

Marco Fraticelli (musician/poet and haiku writer) gives a wonderful account about negative space where he tells the story of a painter, in ancient China or Japan, commissioned to paint four panels representing a flock of crows. Instead of painting numerous crows, he left three panels blank, and on the fourth one, he painted half a crow in flight, as if a flock of crow was just there and had just flown away.  Fraticelli makes this analogy with haiku: 
it’s often what’s not there that counts, what people imagine. Readers fill the gap in their imagination and complete the image: 
illustration©Jessica Tremblay
Jessica Tremblay creates a wonderful illustration with humour relating to Marco Fraticelli. See this and others:

A haiku poem has to carry weight beyond a list of keywords and key phrases that are known to have potential to instigate or evoke an emotion. One of the key aspects of haiku is a combination of tension and resonance, between the words, and its fragments and phrasal sections. One issue if not thought out is where the phrase doesn't take us as far as we might wish beyond the fragment.

Essential components of haiku are literally what is not said in text, using a judicial amount of negative space, also known as whitespace, and MA (間): a void in the poem that produces something in-between the two parts of a haiku; This is where, despite a lack of black (visible) text, this invisible section can add contexuality, sharpness, and tension to the poem as a whole. The core of many haiku is the dance with white space/whitespace, where it’s used parallel to the seen/visible text on the page. Utilising a number of techniques is no easy matter, and taking the eye off the ball has resulted in numerous message or statement epigrams, or flat missives:  Tonality is essential.

Also see:

Juxtaposition is one from many techniques that can be used highly effectively in the extreme brevity of haiku poetry that enables it to be a fully functioning poem.

Summing up and examples:
Juxtaposition  in haiku

Juxtaposition: placing two things that can be physical objects i.e. concrete images.  

Random juxtaposition: two random objects (moving) in parallel, a technique intended to stimulate creativity.

Haruo Shirane:  
'art of juxtaposition relies on a... process of defamiliarization and recontextualization'
Traces of Dreams: Landscape, Cultural Memory and the Poetry of Basho
Haruo Shirane
Stanford University Press (30 Jun 1998)  ISBN-10: 0804730997 ISBN-13: 978-0804730990

Further down I’ll say more about juxtaposition again, but for now just see and recognise juxtaposition in these following examples:


 the rill's trick
a greenfinch moves
its green around

 Alan Summers 
3rd Place, 
2018 Henderson Haiku Contest (Haiku Society of America)

Judges' Commentary:

 This haiku had a couple of earlier versions, or so, and it just goes to show that selecting the 'right' choice of juxtaposition is rewarded, quite literally.

strong wind
the juggler's elbow catches
a pocket hanky

Alan Summers 
BBC - Cumbrian haiku (2004); British Haiku Society members’ anthology: Other (2004)

The golden ratio, a rule of thirds, starts here with strong wind, which on its own doesn’t state enough beyond its words at present; Yet when paired with the 2-line phrase part of the haiku, both work together to expand each other.

Golden ratio of haiku:
Haiku itself works as a frame containing a picture made up of thirds: one single line image and another image across two lines. 


the moon is broken
Battersea Power Station 
from a train window

Alan Summers
1st Prize, World Monuments Fund (New York USA) 2012 Haiku Contest

Juxtaposition results in an image and counter-image that hopefully resonates with the reader beyond the duration of just a single reading.  If we travel by train we often have something framed in the window.  For me, travelling to London (U.K.) on the Waterloo Line, it’s the iconic landmark that Pink Floyd used for an album cover: www.batterseapowerstation.org.uk/floyd/floyd.html 
Another example of zeroing into an aspect of the picture we see when we look at life, be it in a car, a bus or train, cycling, or even walking:

wild peppermint
a dock leaf shadow
clings to the bee

Alan Summers
Award credit:  Commended, The Basho Museum Memorial Anthology,  Ueno, Japan 2001



dark news
the comfort
of crows

Alan Summers
Publication Credit: tinywords 15.1 (March 31st 2015)

Billie Wilson says:
I read this first thing this morning and it has been with me all day. An excellent example of the sheer power that can be captured in the tiniest of poems. It is haiku like this one that drew me into the haiku world, and it is haiku like this one that keeps me here, yearning to write . . . haiku like this one.
  

The haiku is now the title poem for this collaborative collection:







dead sparrow
how light the evening
comes to a close

Alan Summers
Publication credit: 
Haiku Canada Review vol. 11 no. 2 (October 2017) ed. LeRoy Gorman 

“The first line shocks us into the present moment. Sparrows are beloved birds, not only because of their miniature size, but also because of their sweet songs and ubiquitousness. The last two lines depend much on how one reads “light.” Is it light in color, light in weight, or physical light?”
  
Haiku Commentary by Nicholas Klacsanzky


Recently anthologised again, this time by The Wonder Code, is this sound, taste, and smell poem which relies mostly on non-visual imagery, using the golden ratio of rain sound against the calm of an autumn recipe:



lullaby of rain
another pinch of saffron
in the pumpkin soup

Alan Summers
The Wonder Code (2017) ed. Scott Mason: 























http://thewondercode.com


Sometimes two very different things show how alike they are in unexpected ways, or somehow connected despite subject matter, and if we do it subtly then readers can discover the similarities or connection for themselves too.

Sometimes the reader’s discovery is immediate and profound, occurring the instant the poem is read. Sometimes the discovery takes longer; an unwritten question lies in the space between the two dissimilar parts of a haiku. The reader reads between the lines.  

Resonance is created when the reader’s imagination lets him or her discover the connection between the parts.


Traps to sidestep:

Don’t explain, don’t provide a 2-line phrase that explains itself or even the 1-line part.

Cause and effect: Where one part, either the 1-line or 2-line section of the haiku explains the other, or too obviously spells it out to the reader.  We mustn’t patronise the reader, as we should remember that we don’t like to be patronised, whether as a customer in a shop, or in any type of place.  Not everyone is an expert but we have a little common sense and general knowledge, so we must respect the reader, and not spell out things as if they are still in kindergarten.

 Therefore we don't want one part stating the obvious
Cause and effect is the principle of causality, establishing one event or action as the direct result of another: 

https://en.wikipedia.org/wiki/Causality

e.g.
fleeting rain
the scarecrow becomes wet
by his gatepost

 fleeting rain
the scarecrow gets wet
by a gatepost

 Actual version:
fleeting rain
the scarecrow leans back
against his gatepost

Alan Summers
Mainichi Shimbun (Japan, April 15th 2015)



Avoid prepositional phrases at the beginning of a haiku

e.g.


on a warm day 
the workman lunches
in his wheelbarrow


Published version:
   
warm day ...
the workman lunches
in his wheelbarrow

Alan Summers
Publications credits: Hermitage (2004); Snapshot Haiku Calendar (2005)
Award credit: Runner-up, The Haiku Calendar Competition (Snapshot Press 2004)


in a strong wind
the juggler's elbow catches
a pocket hanky

or

on a strong wind
the juggler's elbow catches
a pocket hanky


Published version:
  
strong wind
the juggler's elbow catches
a pocket hanky

Alan Summers
Publications credits: BBC - Cumbrian haiku (2004); BHS members anthology: Other (2004)


Play around with seemingly opposite images and subjects, either with new material, new observations, or from any of your one line or two line pieces of writing just waiting to find an interesting partner; or by expanding any lists of one or two words into fully fledged 1-line or 2-line sections of a haiku. 

Just enjoy playing around with them to see if you find any startling, even illogical pairings. Have fun experimenting!

Alan Summers©2012-2021







Alan & Karen regularly run online courses in haiku and related genres. 

Please do keep checking for when our next course might interested you! 

https://www.callofthepage.org/courses/





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Thursday, March 17, 2016

575haiku - Traditional Haiku as three lines and in a 5-7-5 English language syllables pattern




cherry blossom 575 artwork©Alan Summers

Traditional Haiku as three lines and in a 5-7-5 English language syllables pattern.

This 5-7-5 haiku (in English) has proved very popular with readers, and more than a few haiku poetry writers. So after 25 years of writing haiku with other approaches I decided to write a few this way too.

 Someone recently asked me about the haiku (below), which is in a 5-7-5 English syllable pattern, and how it "flowed" together. It also prompted me to see if anyone else had 'lullaby of rain' in a haiku poem and instead came across this:  https://www.youtube.com/watch?v=0F7ZGIgNkXw


So how does the poem flow together?
lullaby of rain
another pinch of saffron
in the pumpkin soup

Alan Summers

 We have an opening line that sets us into a rainy day. Remember how sometimes rain can be oddly comforting, especially if we are safe, warm, and secure, and we don't have the need to go outside.

 Then the second line takes us away from the rain, where someone (me) is adding a spice (saffron) to something. 

 So we have the backdrop of rain falling in a comfortable sounding rhythm, and someone adding a pinch of spice to something so far. 

 And the third line let's us find out what! It's a traditional Autumn/Fall vegetable being made into soup. In fact a spicy version of Pumpkin Soup.

And so we go back to the first line, and we are in a warm cosy kitchen where we don't mind the cooler seasonal autumn rain outside, while we are stirring soup, and possibly other things like a main course.  

We have sound (rain), touch/sensation (another pinch i.e. finger and thumb), taste (saffron/spices taste test, is the soup spicy and seasoned enough), and smell, when the soup is both cooking, and filling the room with aroma, and as we bend down to test the soup with our nose, and later again, when we are sat around the table with our soup.

This becomes a traditional haikai verse because we have the strong suggestion of the season, that of Autumn/Fall, with "pumpkin". And if you look up about saffron, it comes from an Autumn flower called crocus, so the whole poem is a celebration of the new season (Autumn in this case) and though not warm, or hot, it has its own gifts to bear.

While there is a soothing sound of rain, we are safely inside a warm comfortable kitchen. We are surrounded with a comforting rhythm of rain (outside sound coming in) and with the scent and smell of a traditional Autumnal soup.

The haiku has been published and anthologised etc... many times, and read and appreciated by many readers, both regular haiku readers, and those new to haiku.

lullaby of rain
another pinch of saffron
in the pumpkin soup

Alan Summers

Publication credits: The Heron’s Nest (Volume XIV, Number 4  December 2012); The Haiku Calendar 2014 (Snapshot Press, 2013); The Haiku Foundation Per Diem (18/7/14)

Award Credit: Editors' Choices, Heron’s Nest (Volume XIV, Number 4: Dec. 2012); Runner-up, The Haiku Calendar Competition 2013
Anthology credits: 
1. EarthRise Rolling Haiku Collaboration 2016 Foodcrop Haiku (The Haiku Foundation)

2. naad anunaad: an anthology of contemporary international haiku ed. Shloka Shankar, Sanjuktaa Asopa, Kala Ramesh (India, 2016) Awarded Joint First in the Haiku Society of America Merit Books Awards. 
https://www.youtube.com/watch?v=WpxLs4KTBdk

3. The Wonder Code: 
Discover the Way of Haiku and See the World with New Eyes ed. Scott Mason
Award: Touchstone Distinguished Book Award for 2017  

The editor Scott Mason, of The Wonder Code, told me:
"I hadn’t realized that your poem was 5-7-5 — a tribute to your craft, Alan!" 

 And went on to say that "...there are a sprinkling of others in the book as well, including three of mine. Thanks for your kind words." - Scott Mason

photo©Alan Summers


Delighted to have had this success with another 5-7-5 haiku!



Deep end of winter
a swan’s luminosity
enters the river

Award credit: First Prize (English Section)
Societatea Română de Haiku CONTEST (April 2019)





Note:
Scroll further down, towards the end, to see more of my own published examples of "5-7-5" haiku.

It’s great to have a crack at haiku which is so different from other short genres or forms of poetry. Although modern haiku does not require a 575 count in English unlike most (but not all) Japanese haiku, it is occasionally worth attempting.  But avoid the many pitfalls!

 One pitfall is the awkward enjambment, which can work so well in other genres of poetry, but not so much in haiku.

Enjambment - Poetry Foundation

The running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation; the opposite of end-stopped. William Carlos Williams’s “Between Walls” is one sentence broken into 10 enjambed lines:
https://www.poetryfoundation.org/learn/glossary-terms/enjambment
Where enjambment might work well in free verse etc... it can work against a haiku poem, especially if it is used merely to make a forced syllable count, for its own sake, and not for the sake of the poem itself.

 Cutting a line off abruptly just to make a 'syllable count' in a particular line such as the attempt to make a 575 syllablic stanza/verse might be good for a longer poem of many such verses, but it can lose the ability to be called a haiku.

 Here's a made up 575 verse/stanza that I've created as an example and would never call a haiku. 

 It might have 3 lines, and five syllables, seven syllables, and five syllables respectively for each line, but it's not a haiku.

 Neither could it be called any kind of related haikai verse such as hokku (as written by the Classic Japanese poets like Basho, Chiyo-ni, Buson, Issa etc...) or internal renga verses.
deep blue and very
soon there will be another
cloud along the way
The example above is deliberately clumsy and clunky. It may well work as a funny standalone poem, or part of a longer poem of many verses, but it is definitely not haiku or hokku, or an internal renga verse. It could be termed a 575verse perhaps, but as you can see not all "575verse" are haiku.
Here is one just for fun! 
I collected a number of collective terms for geese and added them up together for a 575 haiku. 

the Canada geese
shift and skein to wedge & nide 
to plump & gaggle 

Alan Summers

Anthology credit:
EarthRise Rolling Haiku Collaboration 2018 “Year of the Bird”
published by The Haiku Foundation 

Skein is actually short for the Old French escaigne, which meant a hank of yarn that, when folded back on itself, resembles the ‘v’ shapes with which geese transcribe the sky when locomoting long distances. 

That geese in flight are also referred to as ‘a team’ or ‘a wedge’ both reflect the graceful birds’ distinctive mode of travelling en masse.
‘An Unkindness of Ravens: A Book of Collective Nouns’ is published by Michael O’Mara (£9.99). Another useful volume is ‘A Conspiracy of Ravens: A Compendium of Collective Nouns for Birds’, with illustrations by Thomas Bewick (Bodleian Library Publishing, £9.99)



There is a serious note behind the fun haiku though. 
The United Nations and other organisations made 2018 the Year of the Bird, something that was vital as we are killing too many of them.





 Here's an example of another kind of haiku in a 575 syllable pattern, which was selected by one of the world's top haiku magazines outside Japan:


night of small colour
a part of the underworld
becomes one heron

Alan Summers


















Publication Credit: Modern Haiku Vol. 45.2  Summer 2014
ed. Paul Miller
http://www.modernhaiku.org/issue45-2/index.html



The night of small colour haiku was also selected as one of the top 100 haiku (out of thousands) from 2014 to appear in:

Haiku 2015 ed. Scott Metz & Lee Gurga
(Modern Haiku Press, 2015)


 The short verse poem is a haiku NOT because it has a pattern of syllables in 5-7-5 as much as it secures kire and vertical axis.

 The vertical axis deals with the under-story, or sub-text, or extra-narrative strings, of a haiku, whereas the other axis, (the horizontal axis) is the surface story (or a part of the deeper, embedded, narrative) that we can read on a surface level.
Regarding the under-story of the haiku:

 Herons are connected to folklore:
https://en.wikipedia.org/wiki/Aosaginohi
http://www.pitlanemagazine.com/cultures/animal-folklore-the-heron.html
https://roaringwaterjournal.com/tag/folklore-of-herons/
http://www.countryfile.com/countryside/heron-king-river

And of course the underworld :
https://en.wikipedia.org/wiki/Underworld
https://en.wikipedia.org/wiki/Greek_underworld


A reader does not have to see beyond the surface level of this haiku to feel it's a particularly dark and badly illuminated night that followed twilight, and that can feel like a netherworld, separate to our normal day to day existence.

 See also the Poetry Pea piece that includes this haiku:


 The haiku is also anthologised in this anthology that has a section on 575 haiku by numerous poets, and all proceeds go to two charities, plus Yanty's family.


Yanty’s Butterfly Haiku Nook: An Anthology (2016)
ed. Jacob Salzer & The Nook Editorial Staff 
ISBN-10: 1329915410. ISBN-13: 978-1329915411


 night of small colour
a part of the underworld
becomes one heron

 This haiku now also appears in a new groundbreaking anthology: 



Poetry as Consciousness - 
Haiku Forests, Space of Mind, and an Ethics of Freedom
Author: Richard Gilbert  Illustrator: Sabine Miller. 
ISBN978-4-86330-189-4  Pub. Keibunsha (2018, Japan)
http://www.keibunsha.jp/books/9784863301894_english.html

 Richard Gilbert says this, regarding the (575) haiku:
night of small colour
a part of the underworld
becomes one heron


Alan Summers

Extracts from Pages 223 & 224:

This haiku is classified as mythopoetic reality.  The mythopoesis [is] evident in the semantic twist of “small colour” of night, a part of which “becomes on heron.” 

What lies between realism and imagination, between living and dreaming, [as] a particular form of sanctuary; a space of poiesis. It seems most most fragile and nuanced, insignificant and ephemeral—yet it calls or we call, in seeking deeper, more enriching, increasingly multiple, multifarious dimensions of knowing in psyche.

Wallace Stevens refers to this poetical process as “enlargement”.
See more of my own haiku in a 5-7-5 syllable pattern further down.

Although it's normal and natural to follow a 5-7-5 pattern in the Japanese language, and this can be seen with wet floor signs, traffic update messages, and other public notices, conversations, and in all kinds of written creative pieces, it doesn’t mean that every 575 utterance is a haiku, it may just be telling you a shop floor is wet and slippery!

Oh, and traditional haiku, that is, originating from Japan, is commonly written in one line. It’s more of a Western thing to write in three horizontal lines. 

So if you still wish to pursue an attempt at 575 in a language other than Japanese (which has three language systems and no alphabet) please always consider including articles (a, an, the) to avoid the poem containing abruptness.





I've been studying and writing haiku for twenty-five years and only considered producing my own examples of 575 in the last few years to help guide others who start off that way.

Here's a little piece in progress about 575 haiku in English including a few of my own haiku in a 5-7-5 pattern:

There are examples of traditional Japanese haiku slightly breaking the rules (hacho) with jitarazu (insufficient syllables) and this has been witnessed since the time before Basho right up to the 21st Century: And it’s the same with jiamari (excessive syllables). In fact some Japanese women sometimes write tanka (five line poems) shorter than haiku, and haiku longer than tanka!   575 is just one way to write a haiku.

Okay, so still willing to attempt haiku and in a 575 pattern?  ☺ 

 Just because we are going to make contemporary haiku (in English) longer by going for the 575 syllable count, we should still pay attention to various useful devices.
Always think of the white space, the non-text part of a poem on the page or screen which is just as important as what can be seen and read because it carries its own meaning: 


artwork©Alan Summers


I can write 575 haiku in English syllable patterns although I don't see writing anything in 575 as a challenge, unless they contain certain key components like kiru (cutting) and kigo (seasonal/socio-cultural references), and they have to be tight.  Writing crafted haiku is indeed a discipline in itself, and a syllable count is only a small part.



Here are a few more of my 575 haiku published in reputable poetry outlets:



all this drifting snow
I wonder how I became
yet another shape

Alan Summers
Award Credit: Best of Mainichi, Japan 2014

*

another hot day
a leaking water pipe stopped
by the jackdaw’s beak

Alan Summers

Award credit:
Honourable Mention, 14th Mainichi Haiku Contest (Japan 2010)  

*


*

a nudge in the light
dusk in all its small angles
of a hotel room

Alan Summers
Publication Credit:  Frozen Butterfly issue 2 Spring 2015

*

this delicate rain
the petal makes a typo
of a gravestone date

Alan Summers
Publications credits: tinywords, haiku & other small poems (July 2011) 

*

the moon is broken
Battersea Power Station 
from a train window

Alan Summers

Award credit: 
1st Prize, World Monuments Fund 2012 Haiku Contest (New York, USA) 

Article: The Moon is Broken: Juxtaposition in haiku article Scope vol. 60 no. 3 (FAWQ  magazine April 2014)

Publication Credit: 
The Haiku Foundation Per Diem collection “Light and Dark” December 2014

Battersea Power Station: 
The life, death and rebirth of a London icon
Jake Wallis Simons, for CNN
http://edition.cnn.com/2014/09/01/world/battersea-power-station/index.html
*

watery sunlight-
the flower’s fidelity
with a bumblebee

Alan Summers

Publication Credits:  Under the Basho (traditional September 15, 2013, Autumn Issue)

Anthology credit:  
Under the Basho - Autumn 2013 [Kindle Edition]
Don Baird (Editor), Hansha Teki (Editor) ASIN: B00F52Z9JU

*

This one contains para-rhyme:
.

lazy afternoon-
I drift along with the breeze
and dandelion seeds

Alan Summers

Publication credits: Aesthetics, (Bath Spa University 2007);  see haiku here, Haiga artwork by Kuniharu Shimizu (Tokyo, Japan 2010)

Anthology credit: Haiku Friends 2 ed. Masaharu Hirata  (Osaka, Japan 2007)

*

quickening its rain
through the eye of a needle
the dragonfly’s glint

Alan Summers
Scope (Fellowship of Australian Writers, Queensland magazine, July 2015, vol. 61 no. 6)


the snow-spinning wind 
I dream of only big trees 
in my prison yard

Alan Summers

Award Credit:  
Runner Up, The IAFOR Vladimir Devidé Haiku Award 2015

*

painting a forest
another of the red leaves
caught on an easel


Alan Summers

Award credit:
Commendation and Diploma
VI Polish International Haiku Competition 2016

*

taking a lunch break...
the common blue damselflies
gliding into packs


Alan Summers

Publication credit:  Hedgerow #113 (May 2017)

light of the river
all jazz beats and a copy 
of Whitsun Weddings


Alan Summers
Anthology credit: 
Yamadera Basho Memorial Museum Selected Haiku Collection (Japan 2017)

the slow fall of snow
each and every type of fold
loiters before light


Alan Summers
Haiku Canada Review vol. 11 no. 2 (October 2017) ed. LeRoy Gorman


a midnight window
the quiet sorting of gifts
by mice for christmas

Alan Summers
Lagan Online: Small Words: Haiku, Limericks and Palindromes
30th October 2017



empirical owls…
the sheep gather quietly
into their own bones

Alan Summers
Wales Haiku Journal (issue one Spring 2018)


And a completely fun 575er!!! 


groundbase to Major Tom the lack of birdsong in space is not forgotten Alan Summers (twitter 14th July 2018)  prompt:

p.s.

Except it's not! It's 6/7/5 and that is the pitfall of only attempting 575 first and not the poem! 

 So an altered version taking it to a number count of 5-7-5:


base to Major Tom the lack of birdsong in space is not forgotten


Important articles and resources:

The days of Japanese haiku writers being arrested for not doing a 5-7-5 count aka "5-on" "7-on" and "5-on" are long gone, but even 80 years ago some poets in Japan were tortured, sometimes to death, for veering away from what was perceived as patriotic Japanese haiku.  The truth is that poetry scares politicians, and their corporate sponsors.

NEW RISING HAIKU
The Evolution of Modern Japanese Haiku and the Haiku Persecution Incident
by Itô Yûki, Ph.D. (cand.), Kumamoto University, Graduate School of Cultural and Social Sciences

Forgive, But Do Not Forget: Modern Haiku and Totalitarianism 
Itô Yûki talks with Udo Wenzel

Also, regarding the patterns of 575-on, more natural to the Japanese tongue, think of them as patterns of 5-mora 7-mora 5-mora:
I touch on the complex multiple systems of the Japanese language alongside a report on my judging of the New York based organisation World Monuments Fund and their second haiku competition.  Oh, and enjoy the video too!  ☺

Extended Judge’s Report for 2013 World Monuments Fund Haiku Contest from Alan Summers


on:  
https://en.wikipedia.org/wiki/Japanese_phonology

mora:  

syllable weight: 

Japanese language: 
More than one fold in the paper: Kire, kigo, and the vertical axis of meaning in haiku 
by Alan Summers


From 5-7-5 to 8-8-8
Haiku Metrics and Issues of Emulation
RICHARD GILBERT and JUDY YONEOKA 
Publication: Language Issues: Journal of the Foreign Language Education Center (vol. 1) 
Prefectural University of Kumamoto, Kumamoto (March 2000) Japan.



artwork©Alan Summers

warmest regards,

Alan Summers

Japan Times award-winning writer; Pushcart Prize nominated poet; and President of the United Haiku and Tanka Society:
http://unitedhaikuandtankasociety.com/officers-biographies
http://area17.blogspot.co.uk/2017/01/happy-new-year-and-brand-new-honour.html


Alan Summers is co-founder of Call of the Page with Karen Hoy

 we regularly run online courses for haiku (and related genres): https://www.callofthepage.org/courses/

 For more information contact Karen at:
admin@callofthepage.org

 .
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