<http://www.brooksbookshaiku.com/MillikinHaiku/haiku/courses/globalFall2018/assignments.html>

Classroom: SH302

Informal Reader Response Writing & Haiku Writing (20 days) (10 each) • 200 total points
Kasen Renga • 20 points
Contemporary Haiku Essay (mid-term) • 100 points
Haiku Project • 100 points
Haiku Collection (paper booklet & by email) • 100 points
Haiku Collection Poetics Preface on YOUR Art of Writing Haiku • 20 points
Signature Haiku Gift Exchange • 20 points
Submission Ready (page in envelopes) • 20 points
Final Reading • 20 points

ALL ASSIGNMENTS are to be submitted by email.
Send them to: rbrooks@millikin.edu
(Use your SAVE AS function and choose "Rich Text Format" or "DOC" for digital files.)

Final Exam Haiku Reading: December 13, 2pm, Kirkland 128

Haiku Society of America • http://www.hsa-haiku.org/
American Haiku Archives • http://www.americanhaikuarchives.org/
Haiku Chronicles • http://www.haikuchronicles.com/
The Haiku Foundation • http://www.thehaikufoundation.org/
Haiku Poet Intervews • https://www.thehaikufoundation.org/category/video_archive/thf_interviews/
Simply Haiku • http://www.simplyhaiku.com
Heron's Nest • http://www.theheronsnest.com/
Modern Haiku • http://www.modernhaiku.org/
A Hundred Gourds • http://ahundredgourds.com
World Kigo Database • http://worldkigodatabase.blogspot.com/
Haibun Today • http://haibuntoday.com/
FemKu • https://femkumag.wixsite.com/femkumag/issues

Extra Credit Opportunities:

(1) Japan House Tea Ceremonies

Japan House is delighted to announce that tea ceremonies will now be offered to the public on the third Saturday of each month. See the schedule.

Tea ceremonies will continue to be offered every Thursday at 2:00 and 3:00. Please join us and find a moment of peace as you experience the Way of Tea.

What should I wear to a tea ceremony?

You need to wear white socks in order to walk on the tatami mats in the tea rooms. You will want to wear something in which you will be comfortable kneeling or sitting on the tatami mats. The tea ceremony hosts would prefer if you do not wear blue jeans or shorts.

If you go, enjoy the experience and write about what you understood. Also write some haiku about being in the tea ceremony & at the Japan house. Be sure to check out the older style tea room as well.

(2) Haiku & Poetry Readings

Check here for extra credit opportunities to participate or attend haiku & poetry readings.
Extra credit for competing or attending. Write an email response to the event after the fact.

(3) Haiku Cut - tba

Watch for details for a November or December haiku cut competition.

for 8/21 - haiku of the day --> Dr. Brooks

reading: Mayfly magazine sample

for 8/23 - haiku of the day --> Dr. Brooks

Kukai 1 • Kukai 1 Favorites

(1) writing response: send me an email copy of your in-class response to a favorite haiku in MAYFLY

(2) haiku writing: write your first 8-10 haiku attempts on transition times—lulls of dawn, of dusk, of relationships, of states of consciousness, summer's end, back to school).

reading: Tea's Aftertaste by Aubrie Cox, handout 1

(3) writing response: find 2 favorite Aubrie haiku—write your imagined felt responses to them (one paragraph each)

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

cucumbers
soaked in vinegar—
the heat

Lyles, THTR, 48

(email Dr. Brooks (rbrooks@millikin.edu) your 1 Mayfly response, your 2 Cox response & 8-10 haiku by midnight Wednesday, August 22)

for 8/28 - haiku of the day --> Daria

(4) reading response: write your imagined felt responses to your favorite haiku from Kukai 1 Favorites (one paragraph)

reading: To Hear the Rain (handout 2) and interview with Angelee Deodhar

(5) writing responses: find 2 favorite Lyles haiku—write your imagined felt responses to them (one paragraph each) and select 1 favorite haiku by Angelee Deodhar and briefly write your imagined, felt response to them. Be ready to discuss why you like them.

(6) writing extended memory & memory haiku: choose a fourth favorite haiku by Deodhar or Peggy Lyles or Aubrie Cox that especially triggered memories from your childhood or past. This time write a one page memory describing a moment from your own life. THEN write 3 haiku which capture different instances or feelings from within that longer memory from your experience.

(7) haiku write: 10 new haiku on about the end of summer perceptions or start of school year events at Millikin.

(email your 4 short responses & one 1-page sensory memory writing & 10 new haiku by midnight Sunday, 8/26)

for 8/30 - haiku of the day --> Bella

in class: kukai 2

reading: handout of haiku from The Silence Between Us by Wally Swist

(8) writing response: find three favorite haiku from Wally Swist and write a short response paragrapsh about them.

(9) reading response: find an interesting "matched pair" of haiku (one from Wally Swist and one from Peggy Lyles or MAYFLYor Deodhar) 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).

(10) haiku write: 10 new haiku on OPEN topic

(email Dr. Brooks (rbrooks@millikin.edu) your Swist responses, matched pairs responses & 10 new haiku by midnight Wednesday, 8/30)

for 9/4 - haiku of the day --> Bella

(11) reading response: write your imagined felt response to your favorite haiku from Kukai 2 (one paragraph) and write about a favorite match from our Freedom Matching Contest

reading: handout of haiku from Almost Unseen by George Swede (available from Moodle)

(11) writing response: find three favorite haiku from the George Swede handout and write a short response paragrapsh about them.

(12) writing response: write a longer memory response to a Swede haiku and write 3-5 new haiku from your memory response.

(14) haiku write: write 2-3 labor day haiku & 10 new haiku on the nitty gritty side of college life and the angst of being human — like some of George's haiku.

(email Dr. Brooks <rbrooks@millikin.edu> 3 favorites from Swede, 1 memory response & matching haiku comparison, & 10 new haiku by midnight Sunday, 9/2)

for 9/6 - haiku of the day --> Hannah O.

haiku to edit 1 in class

(14) reading response: find an interesting "matched pair" of haiku (one from George Swede and one from Peggy Lyles or Wally Swist) 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).

(15) reading response (scribe from in class team): compare the genesis of discourse for two authors (George Swede or Wally Swist 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?

(16) reading response: read 1 Haibun Kukai and write about your favorite one. Also send me your votes for 2 other favorites that you did not write about.

(17) haiku write: 8-10 new haiku OPEN TOPIC.

Due by email midnight Wednesday, September 5. (email Dr. Brooks <rbrooks@millikin.edu> 1 favorite from 1 Haibun Kukai, matched haiku response, team genesis comparison, & 8-10 new haiku by midnight Wednesday, 9/5)

for 9/11 - haiku of the day --> Jenesi

in class: kukai 3

reading: Gail Sher - Guide for Beginning Haiku (availabe as PDF from Moodle)

(18) reading response: compare Gail Sher's suggestions for writing haiku with the introduction in Peggy Lyles' book (one page max)

(19) write 7-10 haiku on on working out, exercise, getting healthy, yoga, etc.

(email Dr. Brooks <rbrooks@millikin.edu> comparison of Sher and Lyles, send edit variations from workshop & 7-10 new haiku by midnight Sunday, 9/9)

for 9/13 - haiku of the day --> Sully

(20) reading response: write your imagined felt responses to three favorite haiku from Kukai 3 and 1 favorite pair from Matching Contest 2

(21) write 4-6 new haiku -- employing contemplation or meditation in your quiet space. Find a quiet place on campus or at your home to sit, close your eyes, breathe easy and just relaxe . . . DON'T FALL ASLEEP. FALL AWAKE and write some new haiku. Try a scar haiku.

(22) during or at a different time and place from your quiet contemplation space writing, slowly read your new issue of MAYFLY closing your eyes after reading each haiku to fully imagine each one. Let your imagination/memory go and write 2-3 haiku from where one of your favorite haiku took you.

Due by email midnight Wednesday, September 12. (email Dr. Brooks <rbrooks@millikin.edu> 3 favorites from kukai 3, favorite pair from matching contest & send 4-6 contemplation haiku and 2-3 Mayfly response haiku by midnight Wednesday, 9/12)

for 9/18 - haiku of the day --> Haley

kukai 4

reading: Love Haiku by Masajo Suzuki, Introduction and haiku

(23) reading responses: find three favorite haiku by Masajo and write a short response paragraph to them.

(24) reading response: find one more favorite haiku by Masajo. Write anextended memory response or purely fictional response. End your memory or fiction piece with a 2-3 haiku, and add a title. One pages page max!

(25) writing love haiku or senryu: write 8-10 love, relationgship, or anti-love haiku. Not necessarily all lovey-dovey cliches, but love, lust, crushes, first date, breaking up, unrequited love, good friends, bitterness about love, winter dance, sock hop, blind date, romance, vampire love, and so on . . .

(email Dr. Brooks <rbrooks@millikin.edu> 3 favorites from Masajo Suzuki, 1 extended memory or fictional response & 2-3 haiku, and 8-10 new haiku by midnight Sunday, 9/16)

for 9/20 - haiku of the day --> Isabella

(26) reading response: write your imagined felt responses to two favorite haiku from Kukai 4 Favorites

(27) matched pair response: find an interesting "matched pair" of haiku (one from Masajo Suzuki and one from other English language authors) to read side by side. Write a short analysis of the writing strategies and techniquse used in these haiku. (not just 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).

(28) haiku write: 5-6 new haiku OPEN topic and 2-4 haiku on kukai 4 winner prompt MOON.

(email Dr. Brooks (rbrooks@millikin.edu) send your love haiku responses, matched response, kukai responses and new haiku by midnight Wednesday, 9/19)

for 9/25 - TEAM MEETING DAY - choose your own meeting place and time (2-3:15 is always available!)

(29) authors of HAIKU TO EDIT 1 Results - pick out your favorite version of edits or write your own final edit to your haiku.

(30) team discuss & pick top 3 favorite haibun kukai 2 extended memory or fiction pieces. Choose a team scribe to write up your reasons why those 3 are the best. (Scribe email your team's choices to me.)

IN CLASS TEAM group dialogue: compare haiku as a genre to another art or activity. THEN create an interactive event or game to engage the class in this comparison (resulting in the writing of haiku).

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.

(31) Compare the genre of Haiku to [your team's comparison or activity choice].

Previous semester topics have included:

Haiku Charades - Haiku Pictionary - Haiga & Visual Arts - Haiku & Fishing - Food & Haiku - Haiclue - Jazz Haiku Impromtu-ku - Scifaiku - Star Trek Haiku - Harry Potter Haiku - Billboard Haiku - Senryu & Comic Strips

(32) Have your team SCRIBE send me an email overview of your genre comparison & activity plans.

(email Dr. Brooks (rbrooks@millikin.edu) send your Edit Pick, Team Haibun 2 favorites, team genre comparison and your team's comparison activity plans by midnight Tuesday, 9/25)

TEAM presentations/games/actvities start Thursday, September 27

for 9/27 - haiku of the day --> Sydney

Team haiku comparison activities presentations

Haiku Jigsaw - Isabella Spiritsoso, Melanie Wilson, Daria Koon
Haiku Headlines - Allisa Kanturek, Zachary McReynolds, Jordan Niebuhr, Mary Callaghan

(33) write 5-10 haiku related to your comparison or upcoming activity.

(email Dr. Brooks (rbrooks@millikin.edu) write 5-10 related haiku by midnight Wednesday, 9/26)

for 10/2

Team haiku comparison activities presentations

MAD Lib Haiku - Naomi Klingbeil, Logan Bader, Haley Vemmer, Sydney Rudny
Meditation Haiku - Rachel Pevehouse, Hannah Ottenfield, Hannah Haedike, Sophie Kibiger
Iconic Photos - Jenesi Moore, Emily Sullins, Isabella Loutfi

(30) write or email haiku that come out of class activities from Thursday 9/27 (headline haiku & jigsaw haiku)

(31) reading response: write your imagined felt responses to three favorite haiku from Matching Contest 3 - Moon Haiku. Your three favorites do NOT have to come from matches.

(32) write 5-6 more moon or celestial body haiku. Go outside to write!

(email Dr. Brooks (rbrooks@millikin.edu) send your haiku related to various activities by midnight Sunday, 9/30)

for 10/4 - haiku of the day --> Naomi

Team haiku comparison activities presentations

Iconic Photos - Jenesi Moore, Emily Sullins, Isabella Loutfi

(33) write or email haiku that come out of class activities from Tuesday 10/2 (Mad Libs & meditation haiku)

(34) reading & responses: The Haiku Anthology, pages 1-119 including the introductions. write responses about 3 favorites.

(35) haiku writing: write 5-7 haiku about autumn chill or OPEN TOPIC

(36) reading response: write your imagined felt responses to two favorite haiku from Kukai 5 Favorites

Autumn Moon Haiku Journal 2:1 and Autumn Moon Haiku Contest 2018: call for submissions

Please submit one Autumn Moon-themed haiku for the Autumn Moon Haiku Contest to <dr_bruce_ross@hotmail.com> by October 31st 2018. Please submit up to 3 Fall/Winter themed haiku for the Autumn Moon Haiku Journal by November 1st, 2018, to tanchopress@gmail.com.

(email Dr. Brooks (rbrooks@millikin.edu) send your activity haiku, homecoming haiku & 3 favorites from The Haiku Anthology by midnight Wednesday, 3)

for 10/9 - haiku of the day --> Dr. Brooks

(37) reading & responses: The Haiku Anthology, pages 122-239. select 3 favorites and write a paragraph response to 2 favorite haiku and a full page memory response to 1 haiku ending with 2-3 new haiku by you.

(38) write 5-10 homecoming haiku (literarly going home or high school or Millikin's homecoming weekend) (write some that actual feature elements of your home town area!)

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 10/7)

for 10/16 - haiku of the day --> Dr. Brooks

Watch the DVD & read the haiku: Haiku: The Art of the Short Poem.

Inivite some friends or classmates over to watch the DVD video in this book. Most of the haiku cited by the haiku poets are included in the anthology usually in the same order as the DVD.

(39) reader response: write response paragraphs for three favorite haiku from Haiku: The Art of the Short Poem

(40) reader response: write a short reflection about what you realized about the English-langauge haiku poetry community from the video. also briefly discuss one of the haiku poets who especially intrigued you.

(41) reading response: write your imagined felt responses to three favorite haiku from Kukai 6 Favorites

(42) writing haiku: open topic 10-15 new haiku (some fall break haiku would be cool)

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 10/14)

for 10/18 - haiku of the day --> Logan

reading: The Haiku Anthology, pages 240-328

(43) reader response: write response paragraphs for three favorite haiku from the The Haiku Anthology

(44) haiku writing: write 5 haiku in response to favorite haiku from The Haiku Anthology

(45) writing haiku: open topic 5-10 new haiku

Post-midterm Essay Preview - Author or Haiku topic Study:

Think about what or who you'd like to write about for your contemporary haiku reader response essay. You may want to browse the Registry of haiku poets at The Haiku Foundation <http://www.thehaikufoundation.org>. These essays are due November 8.

(46) In order to loan you books from the Decatur Haiku Collection, I need to know your intended topic or author by Wednesday at midnight, October 17. Here's guidelines for this assignment:

haiku author or topic study: A formal essay introducing a particular contemporary author, topic or technical approach to contemporary haiku readers. This is a reader-response essay, so the primary source for your essay will be your own readings and analyses of 6-10 haiku. If you are doing an author focus, discuss your author's approach to writing haiku. You may choose to write about a haiku topic instead of an author, with reader responses to 6-10 haiku related to that topic. Matching comparisons with haiku by other authors are always valued in all approaches to this essay. This can focus on one book by the author in the form of a book review essay or on a particular theme or technical approach to haiku by the author.

o focus on a point of insight or question about that author's unique contribution
o include response discussions of 6-10 haiku by the author
o optional to include at a matching comparison to a haiku by another author (or more)
o may include email 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, do include a works-cited page.

(email Dr. Brooks (rbrooks@millikin.edu) send your responses, essay topic proposal, and new haiku by midnight Wednesday, 10/17)

for 10/23 - haiku of the day --> Bella

reading: Haiku Guy handout

(47) 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 3-5 haiku from this exercise.

(48) 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?

(49) writing response: Compare the advice given to Buck-Teeth of poets Mido and Kuro. What do you think of each of their advice? Which appeals to you more? Explain why.

(50) Write 5 haiku following Kuro's advice, and 5 haiku following Mido's approach. Try a few animal haiku.

Extra credit: bring to class 1 haiku written following Shiro's advice.

(51) reading response: write your imagined felt responses to three favorite haiku from Kukai 7 Favorites

(email Dr. Brooks (rbrooks@millikin.edu) send your 3 Haiku Guy responses and your STOP haiku, Mido haiku & Kuro haiku by midnight Sunday, 10/21)

for 10/25 - haiku of the day --> Mary

(52) reading response: read "An Introduction to Haiku" (Japanese haiku) handout on MOODLE and write about 2 of your favorite haiku

(53) response writing: write about a favorite match of haiku from 4 Matching Contest - Mido

(54) response writing: write about a favorite match of haiku from 5 Matching Contest - Kuro

(55) Write 6-10 new haiku - OPEN TOPIC & matching contest champion's prompt - parties.

(email Dr. Brooks (rbrooks@millikin.edu) send your 2 favorites from Intro to Japanese Haiku, Mido haiku & Kuro favorites by midnight Wednesday, 10/24)

for 10/30 - haiku of the day --> Hannah H.

(56) reading response: Old Pond Comics about the Japanese masters at <http://www.oldpondcomics.com/masters.html> and write a reader response about 1 favorite Old Pond Comic

OR TRY TO DRAW YOUR OWN HAIKU COMIC! (extra credit) (replaces previous missed day of informal work)

(57) reading response writing: Chapter 2 of Matsuo Bashô by Ueda (handout) and also available on MOODLE. Select three favorite haiku from Bashô. Write a paragraph response to these three haiku.

(58) haiku writing: write 5-6 new haiku in response to favorite haiku by Basho.

(59) Write 5-6 new haiku on Halloween or October outdoor events.

(email Dr. Brooks (rbrooks@millikin.edu) send your new haiku & responses by midnight Sunday, 10/28)

for 11/1 - haiku of the day --> Rachel

Work on your contemporary haiku essays!

(60) response writing: Find two matching English haiku to Bashô's haiku—one representing the aesthetic of sabi and one the aesthetic experience of karumi. Write a paragraph for each pair comparing these English haiku with those by Basho. One sabi haiku not by Basho compared to one sabi haiku by Basho. And one karumi haiku not by Basho compared to one karumi haiku by Basho.

(61) haiku writing: write 5 haiku based on sabi and 5 haiku based on karumi

(62) haiku writing: write 5 haiku on Christmas (especially Millikin or international flavor or both)

(63) response writing: write about a favorite match of haiku from Matching Contest 6

(email Dr. Brooks (rbrooks@millikin.edu) send your 2 favorites from Intro to Japanese Haiku, Mido haiku & Kuro favorites by midnight Wednesday, 10/24)

for 11/6 - scheduling day --> NO CLASS

Work on finishing your contemporary haiku essays!

(64) response writing: write about 3 favorite haiku from Kukai 8 Favorites

(65) haiku writing: write 5 haiku based on wabi (things that are valued more because of human use & wear)

(email Dr. Brooks (rbrooks@millikin.edu) send your wabi haiku by midnight Sunday, 11/4)

for 11/8 - haiku of the day --> Mary

Contemporary Haiku Reader Response Essays due midnight Wednesday, November 8.

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, do include a works-cited page. Yes, give your essay a title.

(66) On November 8, bring 19 copies of a handout ( a single page front and back is fine if needed) providing your audience with print copies of all haiku discussed in your essay.

(67) Write 8-10 new haiku on topics similar to your essay or in response to haiku discussed in your essay.

(email Dr. Brooks (rbrooks@millikin.edu) your haiku essay, the haiku handout and new haiku to me by midnight Wednesday, 11/7)

for 11/13 - haiku of the day --> Dr. Brooks

Contemporary Haiku Reader Response Essay presentations - day 2

(68) reading response: request a copy of 1 or 2 essays by others in our class (2 essays max!). Read the essay and write a paragraph response about what you especially liked or realized from their essay.

Alissa Kanturek - Bob Boldman

Daria Koon - Anita Virgil

I really liked Daria’s analysis of Anita Virgil’s work. The way she manipulates haiku and rids of the traditional haiku writing style is something I appreciate. I think it speaks to the amount of artistic ability in that person and really showcases their personality through their haiku writing when they get especially creative with presenting the haiku. I think Daria did a really nice job at selecting haikus from Anita Virgil’s work that really represented her style. Plus, Daria’s analyses of the various haikus was intriguing and interesting to recognize the differences in the ways we perceived the haikus. Naomi Klingbeil, Fall 2018

I particularly enjoyed this essay because of the depth of analysis of the “eye-ku” that Virgil writes. I think that this visual aspect of haiku is very fun and impacts the story that the author is trying to tell. Since haiku are so short and are meant to stand alone, the visual aspect is very important, but may not always be considered by authors. I know that I don’t always take into consideration how the poem looks when I write it on paper. I usually get so preoccupied with getting the right words down and telling a story or creating an image, that I don’t think about the visual aspect of the words on the page. After reading this essay, I will try to take this into consideration more in my writing. Melanie Wilson, Fall 2018

Isabella Loutfi - Alexis Rotella

I also read Bella Loutfi’s essay. I found this essay interesting because she focused so much on the psychological aspect of Rotella’s writing, and, within that, what made each haiku fit within that classification. Upon first reading in class, I liked Rotella’s haiku, but reading Bella’s essay made me like them more. It was interesting how, like my own essay, Bella focused on the feeling created by the haiku, and then delved into a specific analysis of how that feeling was created through the composition of the haiku. Daria Koon, Fall 2018

Reading Bella Loutfi’s Essay “A Refelction on Alexis Rotella: Thoughtful Haiku”, I found Rotella’s work very unique since her haiku focuses on psychological topics rather than moments focused on visuals or sensory things. The kireji of the haiku allows the reader to insert psychological and emotional aspects instead of visual or sensory ones. In the essay, I also realized that Rotella uses a sentence structure in most of her haiku. I find Rotella is able to get a different message across within the format of haiku. I think Rotella creates a strong emotional image by using details that evoke feelings rather than images. Her style is creative, distinctive, and thought-provoking. Rachel Pevehouse, Fall 2018

Isabella Spiritoso - feminism

I got to read Sophie Kibiger’s essay for this assignment! My favorite part about it was her matched pair haiku. She matched three haiku about a couple that has grown apart. I like how these haiku depict couples at different points in their relationships, but Sophie read them as being the same couple at different times. She even described the last two as being from the perspectives of the man and then the woman. These three haiku were just matched so well. They all have the same hopelessness and general exhaust of the relationship fizzling out. Both parties seem to still be putting in some effort, but they are still simply not happy together. Isabella Loutfi, Fall 2018

Mary Callaghan - coming of age haiku

Mary wrote a very strong essay. I specifically enjoyed Mary’s discussion of the difference in experiences with puberty and growing up, but yet how they are similar in that most people perceive growing up in similar stages and manners. This is evident in the matched pairs that Mary used. Although all of the haiku displayed different life experiences, when they were paired, it was easily seen that the authors were appreciative of similar aspects within the certain age categories that they were writing about. As the essay developed, the essay structure also followed along chronologically with aging, which made the matched pairings and analyses even more effective. I like all of the analyses, but my favorite one was the analysis of the first matched haiku pair. Logan Bader, Fall 2018

Melanie Wilson - feminist reading of Masajo & Lyles

I enjoyed reading Melanie’s essay because, while I had enjoyed reading the two haiku poet’s poems separately, I hadn’t examined the complete picture they painted when put together. I found that the comparison of the soft spoken and brash styles brought out the most in each other, and commented on how, in the case of Peggy Lyles, one does not have to be a loud feminist. Likewise, one does not have to be soft spoken when society expects it, but there are still small opportunities for “rebellion” demonstrated through spunk and a biting voice, as is found in Masajo Suzuki’s haiku. Daria Koon, Fall 2018

I read Melanie Wilson’s essay. What I like about this paper is that Melanie truly uncovered the meaning and layers of depth in each haiku. Her imagined responses and analyses took each haiku and made them understandable and clear. For example, I had a different interpretation to Lyles’s haiku about the woman who curves around her child. I did not suspect that the woman was pregnant. I enjoyed Melanie’s interpretation as it offered a new perspective on the haiku for me. The matched haiku pairs that Melanie created out of Suzuki’s and Lyles’s work are fabulous as well. I did not realize how contrasting their styles of writing were, but, after witnessing their haiku side by side, I see the differences. I absolutely agree with Melanie that Lyles writes about peaceful, familial scenes that have a warmth and affectionate tone to them, while Suzuki has an aggressiveness that speaks of the struggle and hardships she faced in her life. This paper showed me a side to both authors that I did not notice upon first glance of their haiku. Melanie did a superb job of detailing feminism within the haiku community, and I have a greater respect for Suzuki and Lyles after reading this essay. Emily Sullins, Fall 2018

I chose to read Melanie Wilson’s paper about Peggy Lyles and Masajo Suzuki. I liked how Melanie chose to write about positive feminist haikus. Too often in the present time, people try to empower women by bringing to light everything that men do to wrong them. While these issues are major problems in society that do need to be dealt with, it is refreshing to see someone focus on feminism and female empowerment based upon things such as motherhood and love. Haley Vemmer, Fall 2018

Sophie Kibiger - Dee Evetts

I got to read Sophie Kibiger’s essay for this assignment! My favorite part about it was her matched pair haiku. She matched three haiku about a couple that has grown apart. I like how these haiku depict couples at different points in their relationships, but Sophie read them as being the same couple at different times. She even described the last two as being from the perspectives of the man and then the woman. These three haiku were just matched so well. They all have the same hopelessness and general exhaust of the relationship fizzling out. Both parties seem to still be putting in some effort, but they are still simply not happy together. Isabella Loutfi, Fall 2018

I read Sophie’s essay “The Exhaustion of Humanity Within the Haiku of Dee Evetts”. I was especially interested in her essay after she read her haiku in class because my topic was very similar. She explored the deep corners of Dee Evett’s haiku and I explored very similar haiku type in George Swede. I thought her introduction paragraph perfectly summed up the point that haiku poetry doesn’t always have to be light and happy, there’s a certain attraction to the darker side also. Her responses to each haiku were very good image responses that helped paint a perfect picture of how she interpreted the haiku and a different insight to what I may have thought. Sydney Rudny, Fall 2018

(69) reading response: write your imagined felt responses to 3 favorite haiku from other student handouts

(70) Write 5-10 new haiku on topics in response to haiku discussed in essay presentations.

(email Dr. Brooks (rbrooks@millikin.edu) send your new haiku & responses by midnight Sunday, 11/11)

for 11/15

yes, it's time for kukai

(71) reading response: request a copy of 1 or 2 essays by others in our class (2 essays max!). Read the essay and write a paragraph response about what you especially liked or realized from their essay.

(72) reading response: write your imagined felt responses to 3 favorite haiku from other student handouts

(73) Write 5-10 new haiku on topics in response to haiku discussed in essay presentations.

Emily Sullins - Lee Gurga

When reading Sully’s essay, I especially enjoyed reading the personal stories that each haiku triggered within her memory. For me, those completed the images, and helped me understand the auditory/gustatory aspects of the haiku even better. Each of her personal stories also triggered similar ones from my own experience, which only made the images even more complete. I also like how she picked haiku that focused on different kinds of imagery. It exercised my imagination, and also triggered different strengths of memories, which I found interesting. For example, the auditory images were the most powerful for me because, as a musician and actor, I have carefully crafted my listening abilities, and they automatically link themselves to a memory (like getting a song stuck in my head will remind me of a time that had that song playing in the background, or the first time I heard it). Overall, I thought it was a very well-written analysis of Gurga’s poetry. Daria Koon, Fall 2018

Sully’s descriptions of what she imagined when reading the haiku are incredibly moving in vivid. She spoke to Gurga’s use of sensory details, which, in turn, she then used to provide a memory that was full of sensory stimuli. The stories she told matched the tone of the haiku perfectly. For instance, the story about the couple on christmas morning matched the tone of the haiku perfectly. They both filled the reader with warmth and love. Sully really showed her emotion through this paper through her imagery that was created through Gurga’s haiku. Whether intentionally or unintentionally she portrayed Gurga’s style through her essay using her own writing style. Mary Callaghan, Fall 2018

I think that Emily’s paper was a really good analysis of haiku, and that Gurga’s haiku are a very good example of what haiku should be. As Sully point out, Gurga uses all of the sensory elements in his writing. We talk about in class all the time that a haiku should evoke emotions by creating images. Gurga goes above and beyond this and uses elements of sound and smell as well. Sully does a really good job of pointing out and analyzing how these elements add to the moment the Gurga is capturing. Melanie Wilson, Fall 2018

Haley Vemmer - Robert Moyer

Hannah Haedike - Terry Ann Carter's Tokaido

I thought that the flow within this essay was amazing. For example, the transition between the acquisition of her tattoo into Tokaido’s tattoo haiku was perfectly executed. I specifically liked the portion of the essay which discusses the reassurance of the doctors and the “spider strand” that glistens in the rain. I thought this was so powerful to read, because I could sense the worrisome and vulnerable nature of the haikus. In the first haiku mentioned, I like how Hannah pointed out that although reassurance from the doctors or even loved ones can help, it will not be able to fully erase the uncertainty associated with surgeries. But following this, I also thought it was powerful to read about the role that hope can have in a medical trauma. The idea that there is light at the end of the tunnel, or that amongst the rain there is a beautiful glistening strand was a very powerful metaphor for what both Tokiado and Hannah’s family were going through with the chemotherapy treatments and surgeries. This essay also intrigued my medical field interest in a special way, which was related gaining insight into the perspective of a patient. Sometimes with these complicated diseases, I think this essay suggests that a powerful relationship between doctor and patient/family can prove to be a key treatment in itself. Logan Bader, Fall 2018

Hannah’s essay was such a wonderful examination of the Tokaido book by Carter. I loved the principle meaning of the book itself, between the idea behind the road of Tokaido and the journey through her husband’s cancer. It was a really unique way to look at her husband’s cancer journey and makes for a really good topic to write the haiku about. I also loved that it was chronological because that made it all the more unique. But above all, I loved Hannah’s analysis of these haiku and how she was able to relate it to her own experience with her mom’s cancer journey was honestly beautiful. I truly appreciated the personal anecdote present in the essay and it made it all the more enjoyable for me as a reader. Naomi Klingbeil, Fall 2018

I find most interesting about Carter’s haiku about her husband’s battle with cancer that the haiku are about the moments surrounding the cancer. They are about their time together, how she misses him, looking back on their life together, and hope. I think this is understandable because when someone you love is dying, you want to focus on the time you have with them, not on their disease. The haiku are a result of the diagnosis, but they do not focus on it. I especially liked how Hannah related every haiku to her own personal experience with her mother’s cancer. I think this emphasizes the idea that haiku is meant for the reader to insert their own stories and backgrounds into the interpretation. Rachel Pevehouse, Fall 2018

Logan Bader - Chad Lee Robinson

Naomi Klingbeil - love/relationships

I like that Naomi really uncovered the love and affection in each haiku. I never considered that haiku authors each have a driving force behind their haiku, so I especially think Naomi did a wonderful job of diving deeper into analyzing that. Her section on “Love” was very nice as she explained what she herself considered love. Her haiku analyses in this section were very specific and vivid, and she showed me the scenes that she saw in her mind. She did not just focus on love in a romantic sense, but she discussed love in a parent-child context. Her essay was thoughtful, and it made me see each of the haiku she picked in a different light. Emily Sullins, Fall 2018

I initially was intrigued to read Naomi’s essay because in our class discussion, her haiku were the only haiku that made me smile and laugh. A lot of us chose to discuss serious topics or technical aspects which go into forming haiku, but Naomi wrote about the topic of love and relationships. In her introduction, I really like what she had to say about author’s strengths in writing haiku. I definitely agree with her in the sense that we all have a specific area of topics that come more easily to write about than others because of our personal experiences and what we’ve been through. In her conclusion she discusses this further by stating how we can’t avoid and forget about the events which have occurred in our past because they make us who we are today and writing haiku, or expressing how we feel about these said events, allows us to live with our past and accept the person we’ve become because of it. A huge reason we act the way we do, say the things we say, dress the way we dress, etc. is because of the relationships we’ve had throughout the years and the love we’ve accepted, given, and believe we deserve. Relationships are at the root of all our primal instincts. Humans and animals in general are social by nature. We desire love and we desire to love others as well. Love and relationships, no matter how anti-social a person may be, are at each and every one of our cores and being able to look at specific haiku which focus on these things is super cool. I couldn’t help but feel happy, warm, content, sad, and many more emotions when reading the haiku she had chosen to discuss and write about. Hannah Haedike, Fall 2018

I chose to read Naomi’s essay this week. I was drawn into her theme of love and relationships that she had described in class, so I wanted to further explore how she discussed this in her essay. I like how she took her felt responses to these haiku and was able to elaborate in her own words on what these poems meant to her and how she imagined the moments being described. Also, I enjoyed the progression of relationships that she presents in her essay and how she formatted it in such a way that the love shapes itself into different forms throughout the essay. Isabella Spiritoso, Fall 2018

I read Naomi Klingbeil’s essay for this response. I liked what she had to say about the openness of haiku and how easy it is to relate to in the context of love. I agree that the topic is easy to make people feel moved by. I also find it to be a source of expression for my experiences with love just as Naomi does. Haiku makes for a difficult and easy outlet because of the briefness of the poems themselves. It is difficult because one has to choose words very carefully, but easy because one is able to leave so much open to interpretation. Zachary McReynolds, Fall 2018

Rachel Pevehouse - feminist haiku

Sydney Rudny - George Swede

I chose to read Sydney’s paper about George Swede. I found her paper interesting because she chose to write about the darker side of poetry, especially since most people perceive poetry to be light and airy. I like how most of the haiku she chose to write about were somewhat relatable. I feel like being able to relate to a haiku makes it easier for the reader to feel and respond to the haiku. Haley Vemmer, Fall 2018

(email Dr. Brooks (rbrooks@millikin.edu) send your new haiku & responses by midnight Wednesday, 11/14)

for 11/20 - haiku of the day --> Melanie

Hannah Ottenfield - College Student Relationship

I privately requested to read Hannah Ottenfeld’s essay (both because I was featured in and because it sounded interesting to me), which was about college relationships. I really liked the different representations of college relationships she talked about in her essay, and I thought it was super cool that she got her haiku from other classmates. She showed a complex side of college relationships, and how each and every student goes through a lot of different stuff. But, it was also interesting to see how similar some of the haiku were and how similar some of the experiences were. Sophie Kibiger, Fall 2018

I read Hannah’s paper on college relationships. Not only did I really love the other haiku she featured, but I absolutely loved how she applied the interpretation of those haiku to the specific experiences of college life. I think she really hit some really crucial elements in the essay, such as drugs/alcohol, sexuality, dating apps, pure love and loss. I could really relate to all of the haikus she chose, and it was refreshing to read something so applicable. Alissa Kanturek, Fall 2018

Jenesi Moore - African American culture in haiku

Zachary McReynolds - haiku techniques of breaking

(74) response writing: write about 3 favorite haiku from Kukai 9 Favorites

(75) haiku writing: write 5-10 haiku on snow

(76) reading: SCHOOL'S OUT by Randy Brooks and write about 2 favorite haiku

(email Dr. Brooks (rbrooks@millikin.edu) send your responses & haiku by midnight Sunday, 11/18)

for 11/22 - Thanksgiving BREAK!

Take a break and enjoy being with friends, family and quiet time with yourself.

for 11/27 - haiku of the day --> Mary

Thanksgiving kukai 11

(77) 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?

(78) haiku writing: write 8-10 haiku or a haiku sequence over Thanksgiving Break about your life's reality during Thanksgiving break or about special locations and places of significance to you in your home town or travel. Don't write a bunch of cliches or stereotypical spring break stuff. Write from the reality of YOUR actual Thanksgiving break.

(79) response writing: write about 3 favorites from snow kukai 10

(email Dr. Brooks (rbrooks@millikin.edu) send your responses & haiku by midnight Sunday, 11/25)

for 11/29 - haiku of the day --> Daria

(80) reading: handout of a Bashô led kasen-no-renga and write a response to a favorite link (two adjacent links)

(81) tan-renga capping: write two-line caps for 3 favorite haiku from any previous kukai or matching contests

in class mad verse kasen-renga

(82) 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

You can see sample previous haiku projects at:

http://www.brooksbookshaiku.com/MillikinHaiku/haiku/studentprojects.html

Haiku projects are due midnight, Sunday, December 2
Project presentations are Tuesday, December 4

(83) write 5 OPEN TOPIC haiku and 10 haiku related to your proposed haiku project

(email Dr. Brooks (rbrooks@millikin.edu) send your new haiku & responses & project proposal by midnight Wednesday, 11/28)

for 12/4 - haiku of the day --> xxxxx

(84) write about a favorite tan-renga from 1 Tan-Renga

(85) type up a copy of your in class Mad-verse half-kasen renga

Alissa Kanturek - Edges Blur
Daria Koon - Windstorm
Emily Sullins - Breath of Hope
Haley Vemmer - Shy Apollo
Hannah Haedike - Finding a Fit
Hannah Ottenfeld - Stars Not Aligned
Isabella Loutfi - Sunshine & Rain
Isabella Spiritoso - Saxophone on the Moonlit Path
Jenesi Moore - Danger or Strength?
Melanie Wilson - Hard to Reach
Naomi Klingbeil - Never-ending Story
Rachel Pevehouse - Ocean Waves
Randy Brooks - Reindeer Heels
Sophie Kibiger - Happy Face
Sydney Rudny - Experiencing Loss
Zachaery McReynolds - Island of Misfit Verse

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

(86) 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, Sunday December 2.

Type up a copy of your Kasen-renga using this template: kasen WORD template OR write it by hand (folded with an OBI belt). You can see the class Mad-verse Kasen on Moodle. Have fun! Break or make up your own rules.

This is a gathering for writing linked verse—if it's nice out you could gather at UC 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. Every three links should not disconnect or break a string of linking.

Using the following guide, 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)

(87) haiku projects due (to be shared in class). email the contents of your projects (the haiku at least and introduction & photographs or power point, etc) by Midnight Sunday, December 2 or sooner.

Alissa Kanturek - commitment haiku
Daria Koon - growing up with music
Emily Sullins - traveler's haiku
Haley Vemmer - Christmas haiku
Hannah Haedike - love & relationships
Hannah Ottenfeld - painting for matched haiku
Isabella Loutfi - family tree
Isabella Spiritoso - Italy haiku
Jenesi Moore - YA lit haiku
Logan Bader - Raptor Center haiku
Mary Callaghan - favorite songs haiku
Melanie Wilson - favorite lyrics haiku
Naomi Klingbeil - children & childhood haiku
Rachel Pevehouse - visual art & haiku
Sophie Kibiger - haiku expanding into poems
Sydney Rudny - snapshot haiku
Zachaery McReynolds - band haiku chapbook

email me a copy of your haiku project due Sunday midnight, December 2. and be ready for sharing in class on Tuesday, December 4

for 12/6 (last day of class) - haiku of the day --> xxxxx

Signature Gift Exchange & Sharing Haiku Collections

(88) Signature haiku gift exchange (digital photo sent to me) and haiku chapbook collections (email to me) are due Wednesday Midnight, December 6.

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.

BRING 18 copies to class! (including 1 for yourself)

Haiku Collection Booklets due: 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 © 2018 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.

BRING 1 copy of your Haiku Collection to class Thursday, December 6!

(89) Don't forget to e-mail a copy of the contents of your collection including your introduction to Dr. Brooks by midnight, Wednesday, December 5!

(90) Don't forget to e-mail your short bio statement to Dr. Brooks by midnight, December 5. This bio statement will be used at our Global Haiku final exam Reading.

(email Dr. Brooks your collection, photo of signature haiku, short bio by Wednesday midnight, December 5)

for 12/13

final exam reading --> Final Exam: Thursday, December 13 @ 2-3:30pm @ Kirkland 128

The Fall Global Haiku Reading

I will bring your haiku collections and return them to you at the final Global Haiku Reading.

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

Dr. Brooks - M.C. (introductions & bio notes)

(91) Submissions to haiku magazines Final. (one email submission copied to me & one snail mail submission brought to the final exam in envelopes)

Type a selection of 5 of your best haiku with your name and address on the upper left hand corner of the page.

(email Dr. Brooks your submissions page by Wednesday midnight, December 12)

Post-class evaluation (SIRs & Reflections)

(92) Don't forget to do your SIR course evaluation!

(93) Review haiku you have written from the kukai, matching contest, and from your final haiku collection. Write about why 5 of your haiku are your favorites. (3 pages maximum)

(94) Write a short reflection essay on how your life has been enriched by learning more about the literary art of reading and writing haiku. What has the art of haiku taught you that will be of value in your professional, social and personal life? (3 pages maximum)

EMAIL your 80 and 81 reflection writings to me by midnight Sunday, December 16 at: rbrooks@millikin.edu

EXTRA CREDIT - if you have time during Finals Week

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

(86) 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).

Type up a copy of your Kasen-renga using this template: kasen WORD template OR write it by hand (folded with an OBI belt). You can see the class Mad-verse Kasen on Moodle. Have fun! Break or make up your own rules.

This is a gathering for writing linked verse—if it's nice out you could gather at UC 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. Every three links should not disconnect or break a string of linking.

Using the following guide, 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)