Reader Response Essay On Take a Deep Breath: The Haiku Way to Inner Peace
For my reader response essay, I decided to study haiku centered around relaxation and healing. Naturally, Sylvia Forges-Ryan’s Take a Deep Breath was one of the collections I found. I liked this unique collection so much that it became the sole focus of my project. Poet Sylvia Forges-Ryan was raised in the small town of Neptune City, New Jersey. She currently lives in North Haven, Connecticut, but is accustomed to the slower pace often found in smaller towns. She teamed up with her husband, Edward Ryan, to write this collection. He is a Yale psychologist. When reading and writing haiku, a psychologist who studies mental behavior is more likely to evaluate haiku and ask why certain mental processes are happening for the reader. Together, they have developed highly original and genuine techniques for relaxation, which includes a series of soothing haiku that readers can consider to ensure and improve their own well-being. Interestingly enough, they drew their guided mediations from their shared love of haiku. That’s what drew me to this book. The two authors take their haiku seriously, and I found their simple organization of sharing a haiku followed by meditative stories incredibly engaging. I was hooked and simultaneously relaxed by the first lines, “stop now. Close your eyes. Take a deep breath. A deep breath—beginning right down in your abdomen and filling all the way up to your collarbone.”
Low tide—
last night’s dream
fading
Sylvia Forges-Ryan, Take a Deep Breath, pg. 28
Before I looked at the mediation and haiku analysis that the authors wrote for this haiku, I analyzed the haiku myself. I liked this haiku because it revolved around sleep—which is something I often struggle with; and furthermore, I never dream. Imagery of the ocean was vivid in these lines, and I liked how I could practically smell the salt and ocean breeze with the first line. But with the addition of the next two lines, it was almost like I was at the beach in a dream- like state, drifting drearily in and out of sleep. The staggered three lines emphasizes the fact that the reader is, in fact, drifting into sleep, or maybe drifting deeper into sleep. Then there’s the last line—which you hang on to for a little longer than usual before the haiku literally fades away.
In the authors’ own depiction of the haiku, I liked how they used the beach metaphor to describe the ever-elusive feeling of a dream. What I got from their reflection was that we are constantly enveloped in the struggle that is the sleep cycle, between austere consciousness and the wonder and intrigue that the night brings. It is interesting that the haiku and metaphoric tide can be helpful techniques to get you to that melodic place of meditation—for letting your mind drift slowly in and out of mental acuity is the best way to lose yourself. I like how they touched on how terrifying it can be to lose yourself, but that once you do, it is liberating.
Summer afternoon
last notes on the music box
dragging
Sylvia Forges-Ryan, Take a Deep Breath, pg. 30
This is a haiku that perfectly illustrates the feeling of a summer day—slow, lethargic, but ultimately peaceful and happy. The staggered lines highlight the lethargy of the authors’ words. Furthermore, the final line was again short and “dragging” seemed to further drag on the aforementioned afternoon. I really liked how the individuals in this haiku were lingering on the last notes of this music box, which is something we typically associate with childhood. Childhood is, of course, equated with carefree feelings and pure bliss. The haiku openly exudes feelings of happiness, like lazily laying out by the pool all day after playing in the pool for hours. Or maybe it’s the end of a family gathering, and the food is all gone, while the last laugh still lingers in the air.
I really liked the feeling that I got when the authors described the story behind the haiku as, “listless, we can sit in the warm shade and feel the gentle breeze inviting us to do nothing but just sit here” (pg. 31). But their depiction of summer was even better. It makes you happy to think of summer as a time of fullness, with every living thing in sight alive, well, and busy. It is with a trace of this happiness that they urge you to begin meditation. As I read this page, I literally began to breathe slowly and seemingly dissolved into the warm, summer air. The meditative accompaniments are very helpful, because it seems like you have an instructor whispering in your ear, relaying the best secrets towards your best relaxation.
After the abortion
the rain all day
on the daylilies
Sylvia Forges-Ryan, Take a Deep Breath, pg. 42
This haiku is a perfect example of one of my favorite things about haiku—the ability to handle weighty topics delicately. In this poem, the author calmly highlights the sad event that occurred earlier in the day, the abortion, but just as calmly drifts to apathetic observations—in this case, the dew drops on the daylilies. I especially liked the stark contrast of the bright, attractive daylilies with the sadness of the abortion. Furthermore, it is almost as if the rain is a personification of the day – like the day can’t stop crying over the life that was lost.
In this section, Forges-Ryan and Ryan discuss the difference between an empty mind and a numb mind. The stages of grief that they describe are strangely consoling, as nearly everyone knows that kind of sorrow and exhaustion, so it’s good to know that you’re not alone in your struggles. It is also comforting in its existentialism. Upon reading the passage, I realize that the authors did not intend to have the daylilies in beautiful juxtaposition with the abortion, but rather, the lily is broken into pieces because of the damaging rain. It’s inability to bloom is a direct comparison of the life that is unable to begin. I liked that they used these daylilies as a lesson in opening our hearts. For even on our worst days, they remind us that it is important to feel empathy for all life forces around us. The end of this section hit me deeply – for while we can’t stop the circle of life, we nevertheless can’t numb our feelings to it.
Harvest moon—
their wedding rings tucked away
one inside the other
Sylvia Forges-Ryan, Take a Deep Breath, pg. 48
I was drawn to this haiku in a different way than I was drawn to the other haiku, for I was unsure of the imagery the authors were trying to bring forth. Before reading their accompaniment, I visualized the yellow, full moon like the newly bought, gold wedding rings described. However, like a good haiku, it brings up many questions. Why are the wedding rings tucked inside of each other instead of being worn? What significance does the moon and the wedding rings have to each other?
Here, the authors make the harvest moon the epitome of mystery, but explain that this particular moon makes us feel tender things such as remembrance, sadness, and hope. These feelings, then, are similar to weddings rings, as they can mean many things to many people. For example, rings of two divorcees are going to evoke bad feelings, as opposed to the warm feeling you might have when you look at the old wedding rings of two grandparents who are still very much in love. Their beautiful advice on the art of mediation follows naturally from this comparison. That is, when meditating, one must let go of their calculated thoughts and allow themselves to feel. Like wedding rings openly remind us, there is always a mixture of feelings inside of ourselves, and meditation allows you to open up and experience all that is there. I liked this haiku and subsequent section because I probably learned and gained the most from it, since I drew no initial connection from the haiku on my own.
Twilight—
the autumn hills
give up their colors
Sylvia Forges-Ryan, Take a Deep Breath, pg. 58
To me, there is something beautiful and tranquil about both the evening and autumn. So reading this haiku released a great deal of imagery in my mind: the colors of the sunset as a backdrop to the vibrant leaves that have slowly fallen to the ground. There’s also the faint chill you immediately feel in the brisk air, and motion in the rolling hills. I imagine that there’s even a family with children playing happily in the leaf piles. This was an especially enjoyable haiku to read, because I was relaxed before I even got to the next page of the book.
I really liked how they began their analysis with “a simple awareness of autumn in the evening.” I believe that this is indicative of how much the haiku really speaks for itself. The authors literally personify Nature by illustrating that she gives herself to us and dies at the end of every fall before growing back up again in the spring. This is another emphasis that they place on the circle of everyday life, but this time it is explained as breaths coming in and flowing out of the body. This section would be a helpful section for those who struggle with steady breathing in their relaxation. Language such as “moving in, moving out, the chest rising and falling,” had me following along with it, and I noticed that I was calm and more relaxed into my seat after reading this. Their words hit home an exceptionally great point about the rhythm that we follow in life, one of life and death.
Morning frost
expecting her voice
I unlock the door
Sylvia Forges-Ryan, Take a Deep Breath, pg. 72
This haiku gave me goosebumps to read. It transported me to the memories of a sorely missed family member of mine, and because of my personal connection to it, my heart dropped at the third line. For the feeling of this haiku is that the day is cold, and it does not care if you will ever see her again – whoever she is. But the narrator in the haiku hopes nevertheless, which makes it truly heartbreaking. Furthermore, there is a certain element of mystery to the haiku, simply because you don’t know the narrator’s relationship to this person.
The section on meditation revolves around loss. Naturally, they acknowledge that loss can be difficult to accept, but that that can be channeling by directly speaking to or thinking of them during meditation. I think that this is an interesting idea because there is so much love involved. The author stresses that you must first have a self-love session, and then open up your love to them. I like the idea of love as a warm circle, in which is constantly expanding, as well as using love as the basis of concentration.
Starless night—
my rearview mirror empty
I sing the blues
Sylvia Forges-Ryan, Take a Deep Breath, pg. 88
The first image the reader gets is the powerful one of the clear night sky. For me, the haiku becomes even better as it turns into a moment where you are utterly alone, cruising along old country roads, and singing as loud as you can. For me, driving is already one of the most stress-relieving things you can do, and it is made even more powerful by the impression here that there is nothing to do and nowhere to go. You can get lost in the loud music and the fact that there is no one present on the road. However, the shift in the haiku comes with the very last word, in that the narrator is singing the blues.
I like Forges-Ryan’s metaphorical car drive to describe sadness, as sometimes you simply get caught up in the moment. It seems there is nothing ahead of you or behind you but that weighty sadness. But in both their analysis and mine, there is something undeniably sweet about the moment, and that is the power of happiness. In this section, they include a powerful exercise involving discussions with difficult people in your life—ones that you may even hate. They state that you do this not to deny your hate or aggression towards them, but to overcome that and attempt to open your heart to them, regardless. This idea really resonated with me, as I am sure it does with so many people. Personally, I hold too many grudges, and when I scrutinize them closely, I find myself asking what the point of it all is. What is the point of perpetuating feelings of anger, hurt, resentment, etc., especially if you cannot even remember where your disagreement began?
April breeze—
rereading
love letters
Sylvia Forges-Ryan, Take a Deep Breath, pg. 108
These three lines immediately transport me to springtime, to the gently cool breezes as illustrated in this haiku. I especially like this haiku for its imagery. I feel the warm sun on my face, the birds chirping outside, and the breeze is rampant, like I’m standing out on my porch. The last two lines and the mention of reading love letters makes the haiku even more enjoyable. It’s almost as sweet as a first love, and I get butterflies from reading and rereading this haiku.
The authors sum up these feelings as stirrings of remembered past loves, which can be compared to remembering previous springs. The difficult message one must take from this message is that we must crack and soften our often-hard feelings so as to feel new love. Again, it is interesting that they bring the meditative techniques back to breathing. Breathing is an easy way to calm ourselves down and to open our minds, hearts, and judgements. Her analysis of this haiku was an unusually difficult one to read in the fact that it was so relatable, and the advice seemingly impossible to follow.
Light rain
a sprinkle of arpeggios
from the street musician
Sylvia Forges-Ryan, Take a Deep Breath, pg 110
This haiku is sweet to read because of how light its tone is. Words like “light” and “sprinkle” work to unfold the haiku like a good song, and by the end of the haiku, the imagery of a street musician was unveiled to affirm my assessment. The haiku is busy in the same way that cities ordinarily are, but the softness of the music and rain seems to suggest that the narrator has found their own quieter piece of the city. I like this because it seems so familiar to the narrator.
Forges-Ryan sums up her own haiku perfectly with, “the music is in delicate harmony with the rain.” So just like we feel a connection with nature when it rains, we often have that same connection with art. This haiku is one of the ones I wanted to end with, because of its connection between haiku and the larger world. Furthermore, the comparison between haiku and meditation was made, stating that every moment in life is an opportunity for growth and enlightenment. This collection was my favorite thing to read out of all the things we’ve read this semester, as it forced me to slow down and really appreciate moments in life. I felt more informed about haiku and meditation from this process, and meditation was previously something I had no experience in.
Like the haiku suggests, we must just breathe deeply and let haiku lead the way to inner peace. The art of haiku is one that bleeds in to many different avenues, like all facets of literature and even music. After the writing of Forges-Ryan, I now know that it can be used to perfectly accentuate meditative writing. In short, the collection of haiku is incredibly sweet, meaningful, and intense. The authors did a great job of relaying their own life experiences into haiku, and from there channeling that into applicable life advice.
Works Cited
Forges-Ryan, Sylvia, and Edward Ryan. Take a Deep Breath: The Haiku Way to Inner Peace. Kodansha International, 2002. |
