Online internet courses by Call of the Page

Are you interested in a Call of the Page course? We run courses on haiku; tanka; tanka stories/prose; haibun; shahai; and other genres.

Please email Karen or Alan at our joint email address: admin@callofthepage.org
We will let you know more about these courses.

Call of the Page (Alan & Karen)
Showing posts with label online courses. Show all posts
Showing posts with label online courses. Show all posts

Friday, January 08, 2021

Introducing... Haiku a friendly immersive course designed by Karen Hoy, with feedback from Alan Summers

 




Introducing... Haiku

 

The Winter 2021 course, from January 11th to March 8th, is now fully booked, so we have scheduled the another Introducing... Haiku! 


The course starts at the end of April 2021. The payment button on this weblink is now open for the April course. Thank you!


weblink:

https://www.callofthepage.org/courses/haiku-courses/introducing-haiku/



Start Date: Tuesday 27th April 2021 

End Date: Tuesday 22nd June 2021

 

Level: This course is designed to be gentle enough for complete beginners (at haiku, or at creative writing), but at the same time stimulating enough to introduce haiku as a new form to those who are already writing poetry or prose. It can also be used as a "warm-up" to our intermediate course. It's also a "back to what we first loved about haiku" for writers who would enjoy a reset. A highly pleasurable course to run, and we trust, take part in!

 

No of Assignments and Feedback: 3

 


Group Size:  up to 7. April course now booking.

 


Course Description: Participants are sent introductory materials on the start date, which will include the first assignment briefing. 


We'll engage with haiku as a reader, using gentle and evocative prose exercises to expand our understanding of what these tiny haiku can do. 


As the course continues, we'll consciously encourage our own senses of observation, and learn to key in to moments and observations that inspire haiku. 


By the third and final assignment (or sooner if you are ready) we'll have built up to writing complete haiku poems. 


There'll be feedback from the tutor on the prose exercises, line exercises, and the complete poems, in a safe and nurturing atmosphere. 


By the end of the course you should have three poems, and an inspiring foundation on which to move forward with your writing. 

 

Full Cost: £108 (approximately US$146).

 

Early Bird Rate: £99 (approximately US$134)




Alan Summers is the main online tutor & mentor for Call of the Page relating to haiku, its related genres, and tanka poetry. 


He is also the founding editor of The Blo͞o Outlier Journal, and a Pushcart nominated poet for haiku. As well as being a Japan Times award-winning writer Alan is also both a Pushcart Prize nominated, and Best Small Fictions nominated poet, for haibun.


For more details, and my “provenance” to reveal that I will take great care and diligence, do check out: https://area17.blogspot.com/2017/01/happy-new-year-and-brand-new-honour.html 


The Blo͞o Outlier Journal Winter Christmas Eve Special Issue 2020 (Issue #1) ed. Alan Summers

https://drive.google.com/file/d/1SdwR7QdRK7QP73c3ezhCEWBf5I4r8AGb/view?usp=sharing 





Karen Hoy (Newport, Wales), poet, filmmaker, is Courses Director of Call of the Page. 


Karen has been tanka editor for Blithe Spirit, the journal of the British Haiku Society. 


Her haiku appear in many of the major haiku anthologies including:


Another Country: Haiku Poetry from Wales, Naad Anunaad, A Vast Sky, Wishbone Moon, Another Trip Around the Sun: 365 Days of Haiku for Children Young and Old, Last Train Home, haiku, tanka and rengay. 



Karen's poetry is included in Stairs and Whispers: D/deaf and Disabled Poets Write Back (Nine Arches Press 2017). Other poetry that Karen appears in are: "My Mother Threw Knives" (Second Light Publications 2006) as well as Mslexia.


Karen also appears in ‘Ten Years On’ the Welsh Poetry Competition Anthology 2012-2016.


‘Ten Years On’ is a celebration of the best poetry submitted to the international Welsh Poetry Competition between 2012-2016. A diverse look at the world we inhabit - alive, energetic, melodic, unrepentant and moving. This anthology is for all poets who truly feel. For the brave, the exuberant, the feisty, the outrageous and the rule breakers. A chance to revel in the moment and not be afraid. After 10 successful years and nearly 5,000 entries from all over the world the competition is now firmly established on the international literary calendar. This collection contains some formidable poetry, written by established poets as well as many new voices, all of whom were fearless enough to push back the boundaries. The book also includes the judges’ comments by famous Welsh writers John Evans, Sally Spedding and Eloise Williams. ‘Ten Years On’ is a beautiful collection of bright, modern poetry.


Her documentary and wildlife credits include work for the BBC, Channel 4, National Geographic, and Discovery Channels. 


Karen has also been Highly Commended in the BBC Wildlife Magazine's Nature Writer of the Year competition (2009).








Monday, October 05, 2020

Autumn 2020 haiku, haibun, and monoku group online courses, and Skype one-to-one sessions!

Alan Summers & Karen Hoy


Find out about our January 2021 courses and other ways to stay engaged with haiku and related genres!




Scheduling of our 
autumn/fall course offerings for 2020 is almost complete. 

The following courses have now been scheduled:

 

 Intermediate Haiku

 (3 session course) starting Thursday 15th October 2020.

 

 One-Line Haiku 

(5 session course) starting Tuesday 13th October 2020.

 

• Haibun 2 x 2 

(2 double sessions) starting Monday 19th October 2020.

After feedback from writers (thank you!), this is now a course for shorter haibun, averaging just 200 words.


Do keep checking Call of the Page for updates:

https://www.callofthepage.org


Or email Karen and Alan at:

admin@callofthepage.org



Skype sessions

We also run regular one-to-one Skype sessions that are very popular:


ONE TO ONES

Aside from the above courses for autumn, Alan continues to be available for individual one to one students via email and/or video call (Skype or Zoom). 


Please contact us for further info, but in the meantime, you can see prices and a basic description of how the one to one sessions operate on our 'special payments' booking page here

https://www.callofthepage.org/courses/special-payments/







Alan Summers is co-founder, and full-time Lead Tutor for haikai-based Call of the Page. A double Japan Times award-winning writer, he was filmed by NHK Television (Japan) for “Europe meets Japan – Alan’s Haiku Journey.” 


He is a Pushcart Prize-nominated poet for haiku, and haibun, and Best Small Fictions nominated for haibun. 


Alan is President of the United Haiku & Tanka Society, former General Secretary of the British Haiku Society (1998-2000), and Editor Emeritus for the multi-award-winning Red Moon Anthologies for best haikai literature 2000–2005. He resides in Chippenham, England.


He has seven Collections of haiku poetry

PRINT:

(YTBN Press 2012) 

The In-Between Season  
(With Words Pamphlet Series 2012)

Sundog Haiku Journal: an Australian Year 
(Sunfast Press 1997)

Moonlighting  
British Haiku Society Intimations Pamphlet Series (1996)

ePamphlet/Chapbooks:

The Comfort of Crows 
(A collaborative/joint haiku collection with Hifsa Ashraf) 
Velvet Dusk Publishing (2019)

Glint 
(Proletria 2020)

Forbidden Syllables 

(Bones Library 2020)




Karen Hoy (Newport, Wales), 

poet, filmmaker, and courses director of Call of the Page


Her documentary and wildlife credits include work for the BBC, Channel 4, National Geographic, and Discovery Channels.


Karen Hoy’s poetry is included in Stairs and Whispers: D/deaf and Disabled Poets Write Back (Nine Arches Press 2017). 


Her haiku appear in various important anthologies including:

Another Country: Haiku Poetry from Wales; Naad Anunaad; A Vast Sky; Wishbone Moon; Another Trip Around the Sun: 365 Days of Haiku for Children Young and Old; The Signature Haiku Anthology;  and Last Train Home, haiku, tanka and rengay.  


Karen resides in Chippenham, Wiltshire, England.

https://www.callofthepage.org/about-1/



Friday, June 21, 2019

new haiku and tanka Summer online courses for 2019!



For those who have written haiku for a while now, these online courses might assist with a useful 2019 revisit:

Intermediate Haiku (Shorter)


Intermediate Haiku Course (Longer Course)




If you have never written haiku before, or want to push yourself to get to another stage of writing:

Introducing... Haiku




We also have an exciting advanced tanka course if you've been writing them for a while:

Tanka - Shape and Sound





We also have regular email one-to-one sessions as well as our popular Skype feedback conversations!




Lead tutor/mentor Alan Summers is a Japan Times award-winning writer, and a Pushcart Prize nominated poet: https://www.callofthepage.org/about-1/




For further information or questions please don't hesitate to contact Karen at:









Friday, July 27, 2018

Newsletter and online courses New Year into Spring 2022 including Skype one to ones that are becoming more and more popular

Excited!



Updated January 2022!

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


Paypal buttons for anyone wishing an hour, or two hours, of one to one correspondence, or advice.

This can be email correspondence, a Skype session, or combining!

https://www.callofthepage.org/courses/special-payments/



Newsletter & other things!


Karen is working behind the scenes of the Call of the Page website on more exciting courses. 

If you'd like to be notified when something exciting has just appeared, we've added a newsletter feature for you to sign up, if you so desire!

photo©Alan Summers (London Road, Chippenham)

Newsletter sign up:
https://www.callofthepage.org/contact/newsletter-sign-up/


Skype one-to-ones!











For one to one Skype calls which are proving more and more popular, you can contact Karen for more information. 

Or simply book an hour, or more, and follow up with an email to Karen to book a session regarding haiku, or haibun, tanka, or a manuscript, or a project, or simply questions.

https://www.callofthepage.org/courses/special-payments/

Look forward to hearing from you!

To hear back from Karen, email:
admin@callofthepage.org


About Alan & Karen:

Forthcoming Courses


For an overview
https://www.callofthepage.org/courses/


 July 2018 bright sunlight bouncing off a swan, River Avon, Chippenham©Alan Summers





To contact Karen & Alison for enquiries:
admin@callofthepage.org

About Alan & Karen:
https://www.callofthepage.org/about-1/


Karen has appeared in a number of amazing haiku anthologies including Wishbone Moon:


More about Alan:

Alan is also the founding editor of a trilogy of online journals including Blo͞o Outlier Journal, MahMight Haiku Journal,
and creator of the Flash/haibun/tanka story/Creative Non-Fiction The Babylon Sidedoor.

For information about to be in the exciting new haiku anthology:

temporary banner/logo

live link:

For more information about Alan:

Alan and Karen (still from NHK TV, Japan)


Friday, March 23, 2018

The definite and indefinite article - how a house passes along the train of haiku


photo©Alan Summers
A cross section of a haiku will show various things including the common article [a; an; the]
I highly recommend that you first listen 
to Patricia Mac's 
Haiku Chronicles podcast:
  
http://poetrypea.com/week-19-the-haiku-chronicle-podcast-heron-seagull-pigeon/


The definite and indefinite article - 
how a house passes along the train of haiku
by Alan Summers

The definite and indefinite article feel as if they are more important in English-language haiku than perhaps in any other genre of writing. Is it solely due to the extreme brevity of this genre? I don’t think so. Haiku can often be a bridge of nuance. 

Bridge of Nuance? Okay, you ask, what the heck is that, and I don’t blame you. 

The Bridge of Nuance is a term I’ve created for this article, and came to me when I looked at how we often undermine our own haiku by leaving out important bits of grammar. A haiku builds up its meaning, or atmosphere or mood, just like any good piece of writing, or film direction will do. From the opening line the poem starts to span a gulf or valley, it lifts words and transports us over that space, just like a bridge is designed to do. And it’s all in how we select our words to give nuance:

“a subtle difference and shade of meaning, expression, or sound.” 

It’s as if we arc our words over a chasm, and they can fall if we do not pay attention.

There are so many useful devices to pick from and construct the arcing of words from the first word or words to the last ones. First of all, lets delve into the often overlooked building bricks of haiku such as articles. So what is an article?

“Basically, an article is an adjective. Like adjectives, articles modify nouns.”

So although we sometimes avoid adjectives in general, the humble article can make or break a haiku. Let us begin again…

Paul Lynch, Allen Brizee, and Elizabeth Angeli continue to say that “English has two articles: the and a/an. The is used to refer to specific or particular nouns; a/an is used to modify non-specific or non-particular nouns. We call the the definite article and a/an the indefinite article.”

the = definite article
a/an = indefinite article

Okay, seems simple enough, but why do we leave them out when we should leave them in?

Let’s give a couple of examples of fictional versions:


sunlit brick
the house passes
along a train

Or

sunlit brick
a house passes
along a train


At first glance we could fool ourselves that “Hey! That’ll do.” But the bridge of nuance is skewed or diminished, lacking, or simply not there.  Sunlit brick version one has a ho-hum feel to it, doesn’t it? So okay, there’s sunlight on a brick but how does a house pass along a train, and what train? Where is the narrator of the poem (fictional or otherwise)? Version two has two indefinite articles [a] and feels equally mundane, lacking resonance and tension, and that ‘bridge of nuance’ that is so important in haiku. [Note: haiku is not a Proper Noun - if we mean the poem - so it’s lowercase unless it starts a sentence; It’s also singular and plural just like sheep or fish or deer.)

That second sunlit brick poem has two indistinct and unindividualised concrete images. Whose house and which or what train? Any train, even at night? That doesn’t make sense. See where I’m getting? Articles act as identifiers, even if we don’t have the street number for the house, or know it’s the 10.22 am train to London or New York or Zurich, we might need to know it’s “the” train! And that it’s not a house or the house, but each house, as if the sunlit brick is passing from house to house and along the train too! This is both an optical allusion and a poetic device and I was on that train! 


sunlit brick
each house passes
along the train

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


With the next haiku, incidentally composed in 5-7-5 syllables, it would blow that pattern out of the water if I added an article to the first line. Note also that when a single line fragment acts as the opening line sometimes we can often dispense with an article: see the revealed original haiku further below.

So, that first version, do we really need to say it’s a night of…? Isn’t night, well, simply night, anyway in fact where it is night? And what is “the night of…” it’s either night or it isn’t, surely? Unless we might mark an anniversary, or the name of a play or movie [The Night at the Museum]? 

Let’s get to the middle lines in these versions, and version one simply makes no sense to me. Which or what part becomes a heron, or the heron? Okay we know herons are into night fishing so we are kind of getting there, but ‘the’ starting the middle line is getting in the way isn’t it? And all four versions have three articles ranging from ‘the’ to ‘a’ and it’s all a bit too much for a short poem.

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

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

the night of small colour
parts of an underworld
become a heron

the night of small colour
parts of an underworld
become the heron

Version four has a good feel if it wasn’t for that pesky definite article [the] starting off the opening line! 

So let’s move down to the multiple-anthologised actual published version, and all in a 575 pattern too! 


photo & haiku©Alan Summers

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

night of small colour©Alan Summers
Latest Publication: 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)


The opening line is okay without an article: It feels like a setting and a statement of intention; it doesn’t require further embellishment, it vibrates. Now, for the middle line, that indefinite article [a] is quiet, and also suggesting an indistinct part of the underworld, a darker part of the night maybe, that could be an opening or mouth to the fabled land of the dead. The last line avoids an article altogether. But interestingly enough the indefinite article of “an” originally came from “one” so it’s there, but invisible. So much depends on being invisible doesn’t it, from herons to whitespace.

Suggestion and Exercise

If your haiku is already published, or you are deciding which version might work best, or haven't got that far yet, I suggest you check if you have any articles [a, an, or the].

If you don't, what do they look like with one or more?

If your haiku does have articles, count the number of them. Do you have two definite articles [the] when a mix of definite [the] and indefinite article [a] might lift the bridge of nuance even better?

Test your already published haiku and see if they might benefit from adding, removing, or switching articles. There are always opportunities to further publish your haiku again, be it in an online feature, an anthology, or if you are considering your first or next collection.

Play the Articles Game, because it's astonishing how the humble a, an, or the can raise that haiku even further.


Conclusion
Use articles sparingly, and know when they are really needed, and engage with the fluidity of a line, as sometimes neglecting our articles we might sound like an Orc (The Lord of the Rings, Tolkien) or a Dalek (Dr Who) or even Yoda (Star Wars) and it might sound fun for a short time, but it will start to grate. Don’t Exterminate! articles, love them, they are your little friends in the land of haiku. 

Alan Summers
President, United Haiku and Tanka Society
co-founder, Call of the Page

The definite and indefinite article - how a house passes along the train of haiku©Alan Summers 2018
a bridge of nuance©Alan Summers 2018



Grunk-speak (my term) or Orc-speak:





Source of the Orcshttps://craftpix.net/freebies/2d-fantasy-orcs-free-sprite-sheets/




We regularly run online courses in haiku and related genres. 

If you are interested, or intrigued and want to know more, email Karen at: admin@callofthepage.org

Karen will be more than pleased to let you know our current and future courses. 

Here's what we have to offer at the moment:



Online Learning section: