Advanced Studies in Poetry: Global Haiku Tradition
IN203 Humanities Honors Seminar - Fall 2010
Dr. Randy Brooks

All writing assignments are to be submitted by email attachment.
Please save your files as "Rich Text Formt" RTF of DOC format documents
and include your initials or name with each file sent.
Send them to: rbrooks@millikin.edu

One of the best blogs on events & news in the contemporary haiku community is updated by Curtis Dunlap. Curtis is an Haiku Society of America member from North Carolina. The link:

http://tobaccoroadpoet.blogspot.com/

Also, additional excellent sources of learning more about the contemporary haiku community is through the following links:

Haiku Society of America • http://www.hsa-haiku.org/
American Haiku Archives • http://www.americanhaikuarchives.org/
The Haiku Foundation • http://www.thehaikufoundation.org/
Simply Haiku • http://www.simplyhaiku.com
Heron's Nest • http://www.theheronsnest.com/
Modern Haiku • http://www.modernhaiku.org/
World Kigo Database • http://worldkigodatabase.blogspot.com/
Haibun Today • http://haibuntoday.com/

for 8/26

reading: Mayfly magazine sample issue 49 (Summer 2010)

writing: select 2 favorite haiku and briefly write your imagined, felt response to them. be ready to discuss why you like them and write your first 3-5 haiku attempts on transition times—lulls of dawn, of dusk, of relationships, of states of consciousness, of between semesters). (email your 3 responses & 3-5 haiku by midnight Wednesday, August 25)

for 8/31

reading: To Hear the Rain, pages 1-64, introductions, prose (and the interview in the back of the book)

writing response: find 3 favorite Lyles haiku—write your imagined felt responses to them (one paragraph each)

writing extended sensory memory & memory haiku: then go into more depth with a fifth haiku that especially triggered memories from your childhood or past (about a one page memoir) describing a memory from your own life. THEN write 3-5 haiku which capture different moments or feelings from within that longer memory from your experience. You may want to especially explore a childhood memory as well as more recent memories.

And have someone from your group email me your list of characteristics of the best haiku.

haiku write: 4-5 haiku on the being hot or summer's end (not ABOUT the heat but about a moment of encountering the heat—hot sidewalk, overheated car, sweaty shirt, watermelon in the sun).

(email your 3 short responses & one 1-page sensory memory writing & 7-10 new haiku by midnight Sunday, August 29)

for 9/2

haiku to edit workshop (in class Thursday)

writing response to Kukai 1: write your imagined felt responses to your favorite haiku from kukai 1 (one paragraph)

writing haiku from memoirs: write 2-3 additional haiku attempts from your memoir story (you probably did this in class)

reading: the other half of Lyles’ book (65-128 pages)

haiku reading responses: select 3 more favorite haiku by Peggy Lyles and briefly write your imagined, felt response to them. be ready to discuss why you like them.

REMEMBER to cite each haiku fully (do not add capital letters or punctuation) like this:

cucumbers
soaked in vinegar—
the heat

          Lyles, THTR, 48

haiku write: 4-5 haiku on perceptions of being outdoors in the summer.

(email your 3 responses & 5 new haiku by midnight Wednesday, September 1)

for 9/7

reading: handout of haiku from Almost Unseen by George Swede

writing response 1: find two favorite haiku from the handout and write a short response paragraph to one of them AND write a longer memory response with 3-5 new haiku to your other favorite haiku by George Swede. (email your 1 response paragraph and 1 memory response with 3-5 new haiku to me by midnight, Sunday, September 5 or sooner)

reading response 1: find an interesting "matched pair" of haiku (one from George Swede and one from Peggy Lyles or a Mayfly 49 author) to read side by side. write a short analysis of the writing strategies and techniquse used in these haiku. (not reader response but analysis of writing techniques such as line break, word choice, arrangement, rhythm, sounds, emphasis, break, voice, tone, attitude, etc.). one page maximum for your analysis (half a page is fine).

haiku write: 4-5 haiku on the nitty gritty side of life and the angst of being human — like some of George's haiku.

for 9/9

reading response 1: compare the genesis of discourse for your two authors (George Swede and Peggy Lyles). why do they choose to write haiku about these moments? what is the source of significance worth turning into a literary artwork for them?

writing response to Kukai 2: write your imagined felt responses to your 2 favorite haiku from kukai 2 (one paragraph for each haiku)

haiku writing: 3-5 haiku on your choice & word of the day (kukai winner's choice)

for 9/14

editing haiku: based on the haiku editing workshop in class on Thursday, send me variations and edit suggestions for at least two haiku by others from the HAIKU TO EDIT 1 handout. Be sure to send a variation of that haiku "too young" adding some THING to create a presence.

reading: Haiku Handbook Chapter 2 (this reading is available from our MOODLE course)

response writing 2: find 1 favorite Japanese haiku & match it to 1 favorite English language haiku—write your short imagination responses to them (one short paragraph each), then write a short comparison of differences and similarities you notice in the Japanese haiku and English-langauge haiku

haiku writing: 3-6 new haiku with a clear seasonal connection (kigo) to things happening right now (autumn chill, caterpillars, football, bonfire)haiku writing: 3-5 haiku on your choice & word of the day (kukai winner's choice)

for 9/16

writing response to Matching Contest 1: write a comparison of your favorite pair in this matching contest

writing response to Kukai 3: write your imagined felt responses to your 2 favorite haiku from kukai 3 (one paragraph for each)

haiku writing: write 1-2 haiku using the Matching Contest 1 Results winner's word or image/phrase is "STRENGTH"

haiku writing: 4-8 new haiku on experiences/insights/feelings/perceptions of health and well-being activities—biking, running, swimming, relaxing, Tai Chi, yoga, meditation, working out, sports, eating well, skin, muscles, abs, etc.

email your responses and your new haiku attempts by midnight Wednesday, September 15

for 9/21

reading: Love Haiku by Masajo Suzuki, Introduction and haiku from pages 1-64

reading responses: find two favorite haiku by Masajo and write a short response paragraph to both of them. (email your 2 response paragraphs to me by midnight Sunday September 19)

writing love haiku or senryu: write 6-8 love/romance/breakup/failed love haiku. Not necessarily all lovey-dovey cliches, but love, crushes, unrequited love, just friends, bitterness about love, breaking up, homecoming dance, sock hop, blind date, romance, first date, lost love, and so on . . . Send your love haiku to Dr. Brooks by midnight, September 20.

for 9/23

reading: Love Haiku by Masajo Suzuki, pages 64-128

reading responses: find two more favorite haiku by Masajo and write a short response paragraph to both of them. (email your 2 response paragraphs to me by midnight Wednesday September 22)

writing response to Kukai 4: write your imagined felt responses to your 1 favorite haiku from kukai 4

writing haiku: write 4-6 haiku about relationships (ninjo haiku) but be sure to include some aspect of nature or season or context-setting thing (ninjo-nashi) element in each haiku. write at least 1 homecoming haiku

for 9/28

reading: The Millikin University Haiku Anthology, pages 1-90

reader response: write response paragraphs for three favoriate haiku from the MU Haiku Anthology email your responses by midnight, September 26

genre n 1: a kind of literary or artistic work 2: a style of expressing yourself in writing [syn: writing style, literary genre] 3: a class of artistic endeavor having a characteristic form or technique. (dictionary.com)

literary genre n : a style of expressing yourself in writing [syn: writing style, genre] (dictionary.com)

genre (zhän`r?), in art-history terminology, a type of painting dealing with unidealized scenes and subjects of everyday life. Although practiced in ancient art, as shown by Pompeiian frescoes, and in the Middle Ages, genre was not recognized as worthy and independent subject matter until the 16th cent. in Flanders. There it was popularized by Pieter Bruegel, the elder. It flourished in Holland in the 17th cent. in the works of Ter Borch, Brouwer, Metsu, De Hooch, Vermeer, and many others, and extended to France and England, where in the 18th and 19th cent., its major practitioners were Watteau, Chardin, Greuze, Morland, and Wilkie. In Italy genre elements were present in Carpaccio's and Caravaggio's paintings, but not until the 18th cent. did genre become the specialty of an Italian artist, Pietro Longhi. The French impressionists often painted genre subjects as did members of the American ashcan school. (Columbia encyclopedia)

see Wikipedia for an introductory discussion of genre at:
http://en.wikipedia.org/wiki/Literary_genre

Definitions of genres, especially literary genres, usually includes some expectations of form or structure, so our next question is to consider the formal elements of haiku. But genres also include certain expectation of content and aesthetic experience.

for 9/30 - THURSDAY IS A TEAM DAY (develop your comparison presentation/activity/event) for presentations on October 5

writing response to Kukai 6: write your imagined felt responses to your 1 favorite haiku from kukai 6 and email it to me by Wednesday midnight, September 29

Group dialogue: what are the essential elements of the very best haiku? What makes some haiku better than others? How would you define or describe the characteristics of the best haiku? What must a highest-quality haiku do (for? with?) for readers to be effective? As a group (with your designated leader/writer), compare the essentials of another genre with haiku as a genre. What do you like best in top-quality examples of both your genre and in haiku? (Discuss at least 3-5 haiku examples in comparison and contrast with at least 2 examples of your comparison genre.)

email your written group report PLANS by Wednesday night: your team representative writes your group's statement of the essential elements, techniques, characteristics of the best, well-crafted, well-written haiku . . . what are characteristics of your favorite, most effective haiku (use at least 3-5 examples from readings so far). This is the first half of a genre study of haiku. Also, let me know what your group is planning to compare the art of haiku to. Email the group statement on high quality haiku in the genre by midnight, Wednesday, September 29.

Haiku & Photography~Capturing the Moment
Jessica Golden, Brittany Falardeau, Katie Colletta, Eddie Pluhar

Haiku & Movie Trailers
Beth Ann Melnick, Stephanie Helftgott, Laura Scoville, Kale Ewing

Haiku & Poloroid Snapshots
Sam Parks, Kelsy Whitney, Ally Staudenmaier

Haiku and Gender Stereotypes
Danny Delaney, Madeline Knott, Samantha Miles, Bret Henderson

for 10/5 - presentations on haiku comparisons

writing haiku: 5-10 haiku related to elements (things, reality, settings, contexts) often associated with your comparison genre. Send me your 5-10 new haiku to your group and copy to me by midnight, Monday, October 4.

group report presentation IN CLASS (PowerPoint or Web Pages on the computer screen or activity). Bring them on a flash drive or email them to yourself for easy access. Email copies of all presentation materials to me by midnight, Monday, October 4

complete your group genre comparison presentation/event/activity: reading group representative write your group's comparison of haiku genre to the other genre . . . similarites, differences in these performances/productions? (use at least 2 main examples from the comparison thing). This is the second half of a genre study of haiku. Excellent reports & presentations may be published on the MU Haiku web site.

Include a writing assignment for your matching contest or kukai emerging from your team's comparison.

email me: your written comparison report (1 per group • 5 single-spaced pages max) by email by midnight Thursday October 7

for 10/7

reading: Millikin University Haiku Anthology, pages 91-192

reading responses: find three favorite haiku by Millikin authors & write a short paragraph response why you like it

writing haiku: write 5 new haiku or senryu OPEN TOPIC

email your 3 favorites & 5 new haiku by Wednesday midnight, October 6

for 10/12 - competitions on haiku comparisons

writing haiku: send your haiku to the following group members:

Haiku & Photography~Capturing the Moment (pdf) --> write haiku for this photo
Jessica Golden <jgolden@mail.millikin.edu>

Haiku & Movie Trailers
Beth Ann Melnick <bmelnick@mail.millikin.edu>

Haiku & Poloroid Snapshots
Ally Staudenmaier <astaudenmaier@mail.millikin.edu>

Haiku and Gender Stereotypes
Samantha Miles <smmiles@mail.millikin.edu>

Send your haiku to the other 3 groups and copy to me by midnight, Sunday, October 10.

for 10/14 - FALL BREAK!

for 10/19

reading: The Haiku Anthology, pages 1-60 including the introductions. select 3 favorites and write your short memory responses to them. Then write a full page memory response to 1 haiku ending with 3-4 new haiku attempts coming out of or extending beyond your memory. send your response writings and memory prose to me by email by midnight Sunday, October 16.

Write 5-10 haiku from being alive over fall break - going home, seeing old friends, enjoying a break, autumn events and of course send them to me by Sunday midnight, October 16!

for 10/21

reading: Chapter 4 "Haiku Prose" from The Haiku Handbook by William J. Higginson. Also read the sample haibun by Bob Lucky from Haibun Today:

http://haibuntoday.blogspot.com/2009/04/bob-lucky-dr-livingston-you-presume.html

And read the following haibun by Millikin students and alumni:

Watching Out

     by Brian Blankenship

Over the summer as a kid, and lately, over Thanksgiving, my family and I would make a trip to visit my grandparents. Without access to a swimming pool, there wasn’t too much to do during the summer in Maubury, Alabama. With the heat, the insects, and the snakes, my grandparents’ property became a regular cesspool for disease and dehydration. But during the fall, things would cool down enough so that it was too cold for the snakes and bugs, but just habitable enough for us Chicagoans to enter these untamed, Alabamian outdoors.

My brothers and I found our way to the pine thicket just beside the house. In the summer months, a bed of needles or an overturned branch could be home to a giant banana spider or an aggravated copperhead, but during the cool weather, we could wander the brush without worry of toxins entering our bloodstreams and, with the closest hospital being a good hour and a half drive away, killing us any time soon. Over the years, Josh, Ben, and I had become adept at spotting which saplings were on the verge of crashing down to the dry, forest floor. We would fly through the woods, knowing the exact point of contact and the perfect amount of force at which to kick the trunks of these lifeless conifers, causing them to fall to the ground as we stood tall, one hand clenched heroically in a fist at our hip, the other, cupped at our mouth, echoing our “Timber!” across the entirety of the eighty-eight acre plot. Often times, a tree would split at the point of impact, the top half toppling down to earth in our direction. We would escape by diving from the path of the careening pine branches, shielding our eyes from the projectile splinters of kindling.

All the while, my grandfather (whom we have always referred to as JB – my dad, my uncle, my grandmother, I’m convinced his own father never called him by anything other than the initials to his birth name) would sit idly by on the patio – his grey slacks hiked up far higher than designed to, exposing a few inches of ankle flesh, permanently tanned to a crisp from the years of farm work he had been subjected to as a child and the Indian blood that runs through his veins – and he would watch the road. The far side of the gravel was completely wooded and had been fenced in long ago to maintain three goats he had purchased at the flee market in a buyer’s frenzy, which my grandmother made him return shortly after. Just shy of the natural-made gutter that ran the length of Yarbough Road (a road that was just recently dubbed worthy of a street sign), was JB’s simple garden – just a small cornucopia of a few beans, squash, and pumpkins that Grandma and he would harvest annually – almost a scaled version of those their parents had built and tended to years ago.

He would wake at the crack of dawn, and after breakfast, make himself comfortable as the remainder of the morning dew droplets evaporated into the humid November air. And there he would stay until dusk, until the placid-blue Alabama night had covered his home and made it too difficult for him to make out the yellow clay road any longer. All day long he’d watch that road, turning to have a conversation or start a fire from time to time, but always returning back to his road.

I never knew what exactly JB was looking for. The mailman would drive by on occasion, sticking an open hand out from his van as drove off down the dusty hill. But other than that, nobody came, and JB still watched. Were he a whittler, I’m sure JB would have whittled as he passed the time. A musician, he would have played his harmonica. But since he’s not, he doesn’t. And if you go to Maubury, Alabama today, and take a walk down Yarbough Road, underneath his fig tree, beside his garden, next to his pine thicket where his grandsons play, you’ll find JB. Just sitting. Just waiting.

grandfather waits
for a better yesterday
the fallen sapling

• • •

Troll

     by Aubrie Cox

Life under a bridge is renowned to be that of a troll, and that it is. Floods on occasion make the home a bit wet, but a little mold and algae never hurt anything. Fresh fish daily, a billy goat if lucky; however, this is not prime real-estate—it's just beneath the price of a cardboard box. Stones wedged together with natural mortar arch overhead and shade the muddy water so that one can barely see the fish going by. They come up to the surface, their fishy mouths gaping, gasping for air; their glazed eyes never see warted hands, or fishing rods coming for them. (I hate fishing rods, by the way.) Trash is littered everywhere—lost treasures from passerbys. Rain matters little when every spring the neighborhood gets carried downstream.

wagon over head
rubble plops
in
the cracked teacup

• • •

Write 2 haibun - One a memory of a lived experience (capture the sense of being there—the sensory experience as well as the overall atmosphere or mood). 1 page max. The second one can be a fictional imagined piece (you may want to start off from a favorite haiku you've read), and let your imagination go into it to make it seem like you are there, living the moment. (Include at least one haiku per haibun - you may want to write 3-4 and select only the best 1-2). Email your 2 haibun to me by midnight, Wednesday, October 20

for 10/26 (emails due midnight Sunday October 24)

reading: Haiku Guy, pages 1-43

writing response: Practice the exercise of stop, look, and listen as described in the book. Find something, whether it be in your dorm, on campus, or somewhere where you can sit quietly without distraction and observe a particular thing, area, or person. Then, write about what you observed, describing what stuck out to you. Write 5 haiku from this exercise.

Revise and edit at least 1 (or both) of your haibun attempts and send them to me for our haibun kukai. Tighten! Make the prose more immediate & sensory experience (less past tense reflection) and build a sense of scene (place, time, atmosphere, perspective). Let the haiku extend & link back to the prose. NO COMMENTARY OR EXPLANATORY BITS IN THE HAIKU! The haiku is situated by the prose, but it is also NEW and creates a sense of un-ending non-resolution.

response writing: writing about 2 favorites from Kukai 7 Fall Break Haiku.

Go to <http://apps.facebook.com/fattalkfree/?play=19245> to see Brittany's video. Write a couple of haiku or senryu related to fatl-talk-free and post them as comments to her video & email them to me.

Extra credit (can replace 1 informal writing assignment grade): Go online and visit Haibun Today • http://haibuntoday.com/ and write about a favorite haibun you find.

for 10/28

reading: Haiku Guy, pages 43-80

writing response: Compare the advice given to Buck-Teeth from the poets Mido and Kuro. What do you think about their advice? Which appeals to you more? Explain why. Write 3-5 haiku following Kuro's advice, and 3-5 haiku from Mido's.

Extra credit: bring to class one haiku written following Shiro's advice.

Read the Haibun attempts from class and write a reponse to your favorite one. Your response can be a new haiku, a haibun in response or a commentary about the haibun you like. 1 page max!

11/2 - no class (scheduling day)

for 11/4

reading: Haiku Guy, pages 80-end

writing response: Give your reading of Issa's snail haiku.

Rewrite the chapter "The Tattoo" how you think it should have happened.

Think about the source of your haiku. Where do your haiku originate? Why do you notice, observe, feel, reflect or focus on those things for immediate impact and lasting significance? Where do your very best haiku come from? What's your haiku muse? Your inspiration to write?

As you finish reading Haiku Guy, write a short story (or dialogue) about your own fictional character who writes haiku. Begin writing a short story in which the character encounters several problems. Try to include at least three episodes/scenes. Include at least 5-10 haiku in your haiku story scenes by characters in your story. Finish your haiku short story (a culminating scene) and of leave it open-ended with a haiku! You may use any haiku you have written this semester in your story (or base the story around some of your haiku). AND you may use haiku from classmates or authors we have read as long as you attribute them in your story.

Length of your short story or dialogue? (2 pages minimum and 15 pages maximum & 5 haiku miniimum and 10 haiku maximum) And yes, you do need a title.

extra credit: Halloween haiku!

for 11/9 (emails due midnight Sunday November 7)

reading: The Haiku Anthology, pages 60-157. select 3 favorites and write a paragraph response to 2 favorite haiku and write a haiku technique analysis to 1 favorite. send me your three paragraphs by email

haiku short story. revise your haiku story, adding at least one more short scene, especially addressing your sense of the genesis of the best haiku (if you haven't already addressed that in your story). DON'T mess up your story! Please use the suggestions of your readers. also tighten any original haiku with variations before your final submission.

Announcement: Aubrie Cox, senior editor of Collage magazine will be judging your haiku stories. Perhaps we can talk her into considering the top-award winning stories as submissions to the magazine as well. Also, Dr. Carmella Braniger, Associate Professor of English, will be judging your haiku stories. I have fabulous prizes for the top stories!

writing haiku: 5-10 haiku on any topic of your choice from your haiku journals.

EXTRA CREDIT OPPORTUNITY: Millikin is hosting a "Meditation for Wellness" event before and after our class on November 9 at Pilling Chapel. This is a bell meditation experience. Please attend one of the 30 minute sessions and write a few haiku about it for extra credit. Submit your bell meditation haiku by midnight, Wednesday, November 10.

for 11/11 (emails due midnight Wednesday November 10)

reading: Chapters 1-2 of Matsuo Bashô by Ueda (pages 1-68). Select three favorite haiku from Bashô. Write a paragraph response to these haiku.

response writing: Find a matching English haiku to one of Bashô's haiku. Write a paragraph comparing the English haiku with one by Basho.

response writing: write a memory response to a favorite haiku from Kukai 9.

for 11/16 (emails due midnight Sunday November 14)

reading: Bashô (Chapter 3 The Renku), pages 69-111 and email a ¶ me about one favorite link (a pair of verses) in one of the renku examples.

tan-renga capping: write caps for 3 favorite haiku from any previous kukai or matching contest from our class. How do you write a cap? Add two more lines to a haiku (making a new 5 line poem).

team writing assignment: write 2 rengay with your group following the guidelines in the handout, HOW TO WRITE RENGAY (download).

for 11/18 (emails due midnight Wednesday November 16)

reading: The Haiku Anthology, pages 158-327. select 3 favorites and write a paragraph response to 2 favorite haiku and an extended memory response to 1 favorite (ending with 2-3 haiku from your memory).

haiku author study: email the name of the author of haiku-related topic you plan to study by midnight Sunday, November 21.

haiku author or topic study: A formal essay introducing a particular contemporary author or issue in the haikai arts to contemporary haiku readers, discussing this author's approach (genesis of discourse) to writing haiku, including response-discussion of 6-9 examples. You may choose to write about a haiku topic instead of an author. Matching comparisons of haiku are always valued in haiku criticism. This can focus on one book by the author in the form of a book review essay or on a particular theme or approach to haiku.

o focus on a point of insight or question about that author’s unique contribution
o include response discussions of 6-9 haiku by the author
o include at least one matching comparison to a haiku by another author (or more)
o may include email or phone or in-person interview questions to help address the haiku writer's poetics

Length? 5-10 pages single-spaced. Citations? Full citation of each source within text first time mentioned (followed by haiku citation convention of author, publication title abbreviated, page number) for subsequent mentions. Yes, include a works-cited page.

Ally Staudenmaier - military service haiku
Beth Ann Melnick - Jack Kerouac
Bret Henderson - Akita Arima
Brittany Falardeau - family relationships
Danny Delaney - spider haiku
Eddie Pluhar - George Swede
Jessica Golden - children
Kale Ewing - winter haiku
Katie Colletta - Christmas haiku
Kelsy Whitney - Masajo Suzuki
Laura Scoville - moon haiku
Madeline Knott - Alexis Rotella
Samantha Miles - Karen Sohne
Sam Parks - experimentation with layout & form in haiku
Stephanie Helftgott - Alan Pizzarelli

for 11/30 & 12/2

reading response writing: Share 10-20 of your best haiku with family and friends over Thanksgiving break, and see which ones they like the best. Write an email to me about favorites selected by your family and friends. Which ones did they like best and why? email due by midnight, Sunday November 28

haiku writing: write 8-10 Thanksgiving break haiku, email due by midnight, Sunday November 28

Read: Traces of Dreams, Chapters 1 and 4, (handouts provided) on writing Kasen-no-renga.

Read the student kasen renga by Bri Hill and students from Spring 2003 Global Haiku Traditions at: http://www.brooksbookshaiku.com/MillikinHaiku/haiku/studentrenga/Grasshoppers&Tobacco.html

Plan a haiku writing gathering with classmates and/or friends (groups of 4-7). This can be any day with the resulting kasen-renga (36-links) due midnight, Wednesday, December 1.

Here is a DOC file you can use to print your kasen-renga. It is our unfinished class kasen, Broken Fence.

This is a gathering for writing linked verse—if it's nice out you could gather in the park or at Rock Springs or at someone's place. Allow the spirit of the place where you gather to be a springboard for the haiku, but don't limit yourself to that place once you get into the linking. Let your links go out through time and seasons moving from person (ninjo) focused to non-person (ninjo-nashi) focus to avoid too much continuity of persons or scenes. Try to avoid more than three ninjo or ninjo-nashi links in a row. Remember, every two links make a new poem.

Using the following guide (derived largely from Shirane's book Traces of Dreams, try writing a kasen-no-renga.

(1) ninjô verses—people or emotion or human environment verses (self, other or both)
(2) ninjô-nashi—non-people or things or place or nature-only verses

Write a 36 link kasen-no-renga:

(1) hokku—sets tone, greets all, establishes season, quiets guests to join in
(2) wakiku—builds on unstated elements of the hokku and maintains season. ends in a noun
(3) daisanku—ends with open-ended image (often transitive verb ING)
(5) usually moon shows up here for the first time
(6) concludes the first page (jo) often written by the official scribe
(7)-(29) heats up the links and leaping (intensification)
(13) moon appears again
(17) blossoms usually show up here
(29) moon’s third and final appearance
(30)-(36) kyû—the slow down finale (quiets back down into calmness)
(35) cherry blossoms always here
(36) end with openness and reverberation

Publication fold/design questions?
The paper is folded into 4 panels for each side (cathedral door style).
Panel 1 (outside cover) – title, date, place, copyright, (sometimes authors)
Panel 2 (first fold inside left panel) – first six links
Panel 3 (further inside far left panel) – next six links
Panel 4 (far left inside page panel) – next six links
Panel 5 (right center page panel) – next six links
Panel 6 (far right inside page panel) – next six links
Panel 7 (last fold inside right page panel) – next six links
Panel 8 (back outside cover) – acknowledgments & author links
optional obi (paper belt around the folded renga)

email me your kasen-renga due Wednesday, Midnight December 1. and bring one copy to class (properly folded and belted) for sharing in class on December 2

haiku project proposal: The purpose of the haiku project is to apply haikai arts to something that means a lot to the student—usually something related to their major field of study. Bring your passion to this project and connect it to haiku (photography & haiku) (music & haiku) (history and haiku) (psychology & senryu) (a kasen renga) (baseball haiku) (a collage of haiku) (haiku web site) (anthology of love haiku) . . . have fun with this. make it your dream assignment. email me a paragraph explaining your project plan by midnight December 1.

Ally Staudenmaier - military service photo haiku
Beth Ann Melnick - mirror renku
Bret Henderson - astronomy haiku
Brittany Falardeau - video of a haiku story
Danny Delaney - nature walk ginko
Eddie Pluhar - round of golf haiku
Jessica Golden - photo haiku of girl cousins
Kale Ewing - musical kasen renga
Katie Colletta - haiku story
Kelsy Whitney - photo slide show on love & heartbreak haiku
Laura Scoville - mirror renku
Madeline Knott - haiku for children
Samantha Miles - car racing haiku
Sam Parks - haiku & painting
Stephanie Helftgott - haiku song

for 12/7

Final Kukai submissions due (can be revised earlier haiku not born in kukai, new haiku, previous haiku not yet born in kukai or matching contest, or any of your favorites not selected previously for kukai). Send 10-20 haiku for our final kukai by midnight, December 5.

extra credit reading response: find a favorite haiku by Randy Brooks, and write a reader response paragraph to it. email your response paragraph by midnight, Sunday December 5

haiku author haikai arts issue essay due and emailed to me by midnight Monday, December 6. bring a print copy of your study to class Tuesday. We will start essay presentations on Tuesday, December 7.

for 12/9 (last day of class)

haiku projects due (to be shared this last day of class). email the contents of your projects (the haiku at least and introduction & photographs or power point, etc) by Midnight, Wednesday December 8.

(1) Signature haiku gift exchange and haiku chapbook collections are due Thursday, December 9.

The signature haiku process—a haiku to give to others when they ask about haiku that can be used to teach them about haiku and to share some of your work with them. A haiku you want to be known for or known by—one that works with a lot of readers. A gift of a haiku insight . . . often presented as a gift of some sort such as a bookmark, a small haiku stone, etc.

(2) Haiku Collection Booklets due Thursday December 9: Select and organize your best haiku & senryu & haibun & renga into a collection. Make a little booklet, or print them in a binder, or write them in a blank book.

Select and organize your best haiku & senryu & haibun & renga into a small booklet or collection. Give your collection a title and a © 2010 page. (Often signature haiku are connected to the title.) Include a dedication page if you would like to.

Be sure to write an author's introduction to your collection which explains your title and expresses your approach or why these are the ones you have included in your collection (your poetics preface). Ask a reading partner to write a short introduction to your collection, maybe pointing out one or two favorites—or their observation about something unique about your haiku (the reader's introduction). The reader's introduction should help strangers appreciate and value your collection.

Don't forget to e-mail a copy of the contents of your collection including your introductions to Dr. Brooks by midnight, Wednesday, December 8

Don't forget to e-mail your short bio statement to Dr. Brooks by midnight, Wednesday, December 8. This bio statement will be used at our Global Haiku Reading program.

for 12/15 - final exam 8:00-10:00 - Global Haiku Reading @ Fireplace Room, RTUC

Extra credit is available for bringing 2 or more guests to the reading, or for helping with one of our haiku reading tasks.

DON'T FORGET TO VOTE FOR YOUR FAVORITE HAIKU FROM FINAL KUKAI. SEND ME YOUR FAVORITES BY EMAIL OR TURN IN YOUR KUKAI SHEET TO ME. Here's the link to the final kukai.

(1) Global Haiku Reading. I will bring your chapbooks and return them to you at the final Global Haiku Reading.

Kale & Kelsey - M.C.& program designer (introductions & bio notes)
Brittany & Katie - refreshments team
Stephanie & Kale & Kelsey - publicity team (chalk the walk, radio blurbs, posters)
Ally & Jessica - Video & photographer
Maddie - signature haiku book greeter

(2) Submissions to Haiku Magazines Final. (one email submission copied to me & one snail mail submission brought to the final exam)

Type a selection of 5 of your best haiku with your name and address on the upper left hand corner of the page. Also bring an envelope with your name and address in the upper left hand corner. Also include a self addressed envelope with your name and address in both the upper left hand corner and the addressee spot. Include one dollar or two stamps for postage in one of the envelopes. (Many will be submitted to magazines overseas, so please don't stick the stamps on the envelopes.)