Advanced Studies in Poetry: Global Haiku Tradition
IN202 Creative Arts Honors Seminar - Fall 2019
Dr. Randy Brooks

<http://www.brooksbookshaiku.com/MillikinHaiku/courses/globalFall2019/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: 12/19/2019
Thursday 2-4pm - 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.

MILLIKIN HAIKU HOMECOMING
Saturday, September 28, 2019
2:00 – 3:30 pm – Kaueper Hall, Millikin University

(3) Haiku Cut - tba

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

for 8/27 - haiku of the day --> Dr. Brooks

reading: Mayfly magazine sample

for 8/29 - haiku of the day --> Madeline

(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 28)

for 9/3 - haiku of the day --> Rebecca

in class: Kukai 1 Favorites

reading: To Hear the Rain by Peggy Lyles (handout 2)

(4) writing responses: find 3 favorite Lyles haiku—write your imagined felt responses to them (one paragraph each) and briefly write your imagined, felt response to them. Be ready to discuss why you like them.

(5) writing extended memory & memory haiku: choose a fourth favorite haiku by 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.

(6) 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, 9/1)

for 9/5 - haiku of the day --> Michael

(7) reading response: write your imagined felt response to three favorite haiku from Kukai 1 Favorites (three paragraphs)

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

(email Dr. Brooks (rbrooks@millikin.edu) your favorites from kukai 1 & 10 new haiku by midnight Wednesday, 9/4)

for 9/10 - haiku of the day --> Alex

in class: kukai 2

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

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

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

(11) haiku write: go for a walk (by yourself or with friends) and write haiku that come to you from just being out there. (8-10 haiku from the outdoors)

(email Dr. Brooks <rbrooks@millikin.edu> send your responses and haiku by by midnight Sunday, 9/8)

for 9/12 - haiku of the day --> Gillian

haiku to edit 1 in class

(12) reading response: write your imagined felt response to three favorite haiku from Kukai 2 Favorites (three paragraphs)

(13) writing haiku: open topic 6-8 haiku

(14) write 2-3 haiga: (photograph or drawing with a haiku placed on the artwork) Some apps: Phonto or After Photos

Due by email midnight Wednesday, September 11. (email Dr. Brooks <rbrooks@millikin.edu> send your responses and haiku by midnight Wednesday, 9/11)

for 9/17 - haiku of the day --> Jessi

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

(15) send me 4-5 of your haiku edits from haiku to edit 1

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

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

(18) haiku write: write 8-10 new haiku on college life or the angst of being human — like some of George's haiku.

(19) reading response: write your imagined felt response to two favorite haiga (from our class MOODLE web site)

(email Dr. Brooks <rbrooks@millikin.edu> send your responses and haiku by midnight Sunday, 9/15)

for 9/19 - haiku of the day --> Joel

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

(20) 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?

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

(22) 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 your responses and haiku by midnight Wednesday, 9/18)

for 9/24 - haiku of the day -->

reading: handout of haiku from School's Out by Randy Brooks

(23) writing response: find three favorite haiku from Randy Brooks and write a short response paragraphs about them.

(24) reading response: write about your favorite match from Matching Contest 1 (one paragraph)

(25) writing haiku: open topic 5-8 haiku

(email Dr. Brooks <rbrooks@millikin.edu> send your responses and haiku by by midnight Sunday, 9/22)

for 9/26 - haiku of the day --> Lizzie

(26) reading response: write your imagined felt responses to three favorite haiku from Kukai 3

(27) write 4-5 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. Also try 1 "strugglebus" haiku.

(28) 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.

(email Dr. Brooks <rbrooks@millikin.edu> send your responses and haiku by midnight Wednesday, 9/25)

for 9/27 (extra credit) - attend the Millikin Haiku Homecoming

MILLIKIN HAIKU HOMECOMING
Saturday, September 28, 2019
2:00 – 3:30 pm – Kaueper Hall, Millikin University

Let me know if you plan to attend. I would like to include some haiku for our kukai from those who will be there (I will select some of your best)! You do not have to be part of the kukai to attend & get extra credit. We will also be reading haiku from the new book, THE ART OF READING & WRITING HAIKU. Come meet former haiku students & alumni!

To get extra credit attend and write me an email about your response to the Millikin Haiku Homecoming.

for 10/1 - haiku of the day --> Dr. Brooks

(29) reading responses: write about 2 favorites from the Millikin Haiku Homecoming Kukai

reading: The Millikin University Haiku Anthology

(30) reading responses:write about 3 favorite haiku from the MU Haiku Anthology

(31) write 5-8 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, 9/29)

for 10/3 - haiku of the day --> Meghan

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

(33) reading response: find an interesting "matched pair" of haiku (one from Kukai 4 and one from MU Homecoming Kukai or the MU Haiku Anthology 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).

(34) writing haiku: open topic 5-8 haiku

(email Dr. Brooks <rbrooks@millikin.edu> send your responses and haiku by midnight Wednesday, 10/2)

for 10/8 - haiku of the day --> John D.

(35) reading response: write about a favorite match of haiku that came up in Matching Contest 2 (one paragraph)

(36) reading response: write about a favorite match of haiku that came up in Matching Contest 3 (one paragraph)

reading: Love Haiku by Masajo Suzuki, Introduction and haiku

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

(38) reading response: find one more favorite haiku by Masajo. Let your response be a more extended imaginative memory or purely fictional piece about someone spinning off the third Masajo haiku as its starting point. End your short fictional piece with a 2-3 haiku. Two pages pages max!

(39) writing love haiku or senryu: write 5-10 love or anti-love haiku. Not necessarily all lovey-dovey cliches, but love, crushes, first date, breaking up, unrequited love, good friends, bitterness about love, winter dance, sock hop, blind date, romance, vampire love, and so on . . .

OPTIONAL: try to write 1-2 Sponge Bob Square Pants haiku

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 10/6)

for 10/10 - TEAM MEETING DAY - choose your own meeting place and time (2-3:15 is always available!)

(40) reading response: write your imagined felt responses to 2 of your favorite haiku from Kukai 5 Favorites

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.

(41) 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

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

(email Dr. Brooks (rbrooks@millikin.edu) send your team genre comparison choice and your team's comparison activity plans by midnight Thursday, 10/10)

TEAM presentations/games/actvities start Tuesday, 10/15

for 10/15 - haiku of the day --> Maddie

Team haiku comparison activities presentations

Cassie, Rebecca, Charlize - random word generator haiku

Our haiku activity will be like a haiku freestyle. We will use a random word generator to pick random words to create haiku. It is similar to that of a freestyle rap. Usually in a haiku you get to pick the words you use as it helps you create something and tell a story. With the random word generator, you don’t really get the option to create your own story. You kind of have to be create in trying to work around the words given. I think this will definitely be a fun and interesting type of haiku game.

Gillian, Morgan, Nawaj - haiku improv

We are comparing the genre of haiku to the acting style of improv. We think that these two genres pair nicely together because improv is quite literally getting thrown into a specific time and place and having to create a scene from very little, while haiku writing is normally about a specific snapshot in time.

Hree's the outcome: Haiku Line Is It Anyway?

Ben, Michael, Jon - baller-ku
 
For our class activity, we have a designed Baller-ku. Each person in the class will be tasked with writing a haiku (or two or three) on individual pieces of paper, crumbling them into a ball, and placing them in a bowl with every other classmates’ haiku. Each person will then get the chance to toss one of the crumpled up haiku from either a near line or a far line into a trash can. If the shot is made, the person will then uncrumple the haiku, read it aloud, and then have the opportunity to guess who in class wrote the haiku. If the shot is made from the near line it is 1 point, from the far line is 2 points, and if the person correctly guesses who wrote the haiku they are awarded 3 additional points. If the shot is not made then the person does not read the haiku and the paper is replaced in the bowl and the next person is up.

(43) write 5-8 haiku related to your comparison or upcoming activity.

(email Dr. Brooks (rbrooks@millikin.edu) send your team genre comparison choice and your team's comparison activity plans by midnight Sunday, 10/13)

for 10/17 - Fall Break (no class)

for 10/22 - haiku of the day --> Ben

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

Team haiku comparison activities presentations

Tori, Jessi, Lizzie - haiku pictionary

We compared haiku to Pictionary or drawings. In Pictionary one is able to express their emotions and feelings through imagery and haiku are used to express feelings of certain moments in life in this same way. In addition, Haiku is similar to Pictionary as this game paints an image in the reader’s mind. For our activity we will give a person a haiku, and they will draw it. This person’s team would have to write haiku based upon the drawing, and if they are close to the original haiku then this group gets a point. Each team would do this trying to score as many points as possible. Points will be judged and awarded by the rest of the class.

Madeline, Alex, Joel - haiku graffitti

Graffittti appears in a certain moment, on a certain place, written or painted in an artistic, expressive manner. It makes a public statement. Our Activity is for students to make a statement through putting your haiku somewhere in the world that does not naturally call for artistic expression. Post-it notes. Taple to random places. Take a picture of it and send to madeline at mu edu.

(finish with results 10/17)

Maddie, Megan, John - 19th Century Painting

Our group is comparing haiku to late 19th-century art. This era of art is comparable to the art of haiku because of how minimalist and real they are. The artists of these paintings tried to capture just one small moment. Similar to haiku, they don’t try to tell an entire story, merely the part of it that they observed. Each is subtle in their own way, with small details that tell so much. As forms of expression, they both paint a picture of a scene the artist wanted to capture. With our activity, we’re trying to portray the quick “snapshots” that the artists captured in a different way. Paintings, like Haiku, are the artist trying to capture one small, fleeting moment. We want our class to view each painting, and write 6 haiku total about the paintings they view. This can mean one for each painting, 6 for one, or however they want to do it. With their Haiku, they must capture the same moment the painting portrays, different aspects of it or whatever the paintings remind them of.

(finish with results 10/17)

(45) write or email haiku that come out of class activities

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 10/20)

for 10/24 - haiku of the day --> xxxxx

Autumn Moon matching contest

Autumn Moon Haiku Journal  and Autumn Moon Haiku Contest 2019: call for submissions

The annual Autumn Moon Haiku Contest 2019: Please submit one autumn-themed haiku by email with the subject line: Autumn Moon Haiku Contest 2019, to dr_bruce_ross@hotmail.com. No attachments allowed (submit in the body of the email please). Deadline: October 31, 2019. 

(46) write & email mel haiku that come out of class activities & some moon haiku if you haven't sent any yet!

(47) reading & responses: A New Resonance 10. select 4 favorites and write a paragraph response on each.

(48) haiku writing: write 5-8 haiku from your recent Fall Break or perceptions of what it feels like in autumn

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. These essays are due November 7. 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 30. If you already have 1 book by an author you may focus your reader response essay on haiku from that book. I will also bring a selection of new books you may borrow for your essay for a quick (haiku book viewing fair in class).

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

The Haiku Foundation has a Haiku Poets Registry that may be helpful in getting a preview of cerntain authors: <https://www.thehaikufoundation.org/haiku-registry/>

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 and new haiku by midnight Wednesday, 10/22)

for 10/29

(49) 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 30.

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. You may also go to the or a Millikin classroom to watch the DVD. Most of the haiku cited by the haiku poets are included in the anthology usually in the same order as the video. (There may be a poet you would like to write about for your reader response essay.

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

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

(52) reading response: write your imagined felt responses to your favorite haiku from Kukai 6 (one paragraph)

(53) writing haiku: open topic 3-6 haiku on Halloween and 3-6 haiku on Christmas, Hanukkah or the holiday season

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 11/3)

for 10/31

Halloween & Christmas/Hanukkah season kukai!

(54) reading response: write your imagined felt responses to one favorite haiku from Kukai 7 and one favorite from Kukai 8

reading: Haiku Guy, pages 1-53

(55) 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.

(56) 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.

(57) Write 4-5 haiku following Kuro's advice, and 4-5 haiku following Mido's approach.

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

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Wednesday, 10/30)

for 11/5 - scheduling day (no class)

Work on your contemporary haiku essays!

(58) reading response: write your imagined felt responses to one favorite haiku from Kukai 7 Halloween Favorites

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 11/3)

for 11/7

Contemporary Haiku Reader Response Essays due midnight Wednesday, November 6.

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.

(59) On November 7, 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.

Alexander Bergland - O Mabson Southard

Gillian Genardo - Christopher Herold

Jessi Kreder - Bruce Fiengold

First, I enjoyed the specific haiku that Jessi chose to respond to. I thought that they all painted a very clear image in my mind of calm or funny moments. I enjoyed how Jessi analyzed phrases and concepts in the essay. She dove deeper into what the haiku was saying by elaborating on certain phrases. Furthermore, Jessi would often quote certain phrases that she liked and would explain what she thought the author meant. She also discussed how observant the author was in daily life, and how this allowed him to create great haiku. Therefore, I enjoyed learning about how the author used everyday experience to write peaceful haiku. Tori Stuart, Fall 2019

Joel Ochoa - Anna Maris

I read Joel’s essay about Anna Maris, and I found it insightful to hear about Anna’s experience writing haiku. It was interesting to learn that she did not have a haiku master. Instead, she only learns how good her haiku are by wether they are published are not by editors. I think that is sort of similar to if our haiku make it into kukai or not and then we know which ones are our best. In her book, it was nice to know she purposely connected each of her haiku by themes of life and death. I think as a reader that made it easier for me to understand each haiku and create my own ideas from that understanding. What I realized after reading Joel’s essay was that Maris’ diction perfectly fit her themes. It was clear that she chose each word of her poems thoughtfully. After reading about each haiku, I understood how every word impacted the haiku and my perception of it. As a writer, that is important for me to keep in mind going forward. ~ Jon Kuebler, 2019

Jon Kuebler - Rob Scott

Jon’s essay helped me realize a lot of things. We are both very similar in that we have played a sport all of our lives. It has been a part of the core definition of us since as long as we can remember. But how can something so integral to us be so hard to write about? I honestly thought that sports and haiku just couldn’t go together in a beautiful and sophisticated way. I thought that all they could be was just surface level haiku with no deep and raw emotion behind them. After reading Rob Scott’s haiku I realized I was wrong. I loved all of his haiku that I got to read from John’s essay. I think that they are so beautifully written and not only capture the feelings of many soccer players, but many athletes in general. We all can relate to that ugly win or that huge upset. His selection helped me realize that the gap between haiku and sports can be destroyed. ~Cassie Reed, Fall 2019

I read Jon’s essay entitled “Rob Scott’s Footy Haiku.” After reading through Jon’s essay, I realized a lot of things which I thought were quite cool. Jon talked about how all of Scott’s haiku were birthed from watching matches of the Collingwood Football Club which I thought was super interesting. Jon talked about how his haiku were able to encapsulate what a full soccer game feels like which I thought was a super interesting and new idea I had not seen before. I have seen author’s focus on specific themes for haiku which work, but I thought it was cool how Scott took literal events and was able to make an entire collection of haikus work just as well as following a theme would. He used the games as his theme which is something I found super interesting while reading Jon’s essay. The comparisons Jon pulled out of each haiku were super cool as well and it made me realize just how much can be said in such a small amount of words even by focusing on an event like a soccer game. Scott’s collection was very interesting and Jon’s essay elaborated on it a lot and made me realize more about how haikus work focusing on more than just a theme as they are written. ~Joel Ochoa, Fall 2019

Meghan Hayes - O Mabson Southard

Morgan Bode - Peter Yovu

Tori Stuart - Killer Ku edited by kjmunro & Jessica Simon

I thought Tori’s topic of “killer-ku” is very interesting. Haiku is usually about emotion and a moment in time; they do not typically instill fear into the reader. After reading her essay I found that there are many different ways to write about murder or the acts of murder without explicitly stating that murder has happened. The situations described were truly frightening and so different from typical haiku. Jessi Kreder, Fall 2019

(60) Write 5-8 new haiku on topics similar to your essay or in response to haiku discussed in your essay.

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Wednesday, 11/6)

for 11/12

Contemporary Haiku Reader Response Essays (continuted sharing)L

Ben Kuxmann - Glen Coats

I read Ben’s paper on Glen G. Coats haiku in the new resonance 6 and he work was a little different that what we have read. His approach to sporadic writing makes his works very appeasing to read because you can infer different events in the poems. At the same time, his poems also seem like they are connected completely with the first and maybe the second line being similar with the last line being different. However, he seems to try and connect them with events that are similar or ideas that are similar, but his poems were fun to read. It was cool how you can make haiku fun and strategic in different ways. ~Michael Hoelting, Fall 2019

Cassie Reed - Ruth Yarrow

I enjoyed that Cassie built a story for the author in her essay. Although I am not familiar with the poet, Ruth Yarrow, seeing her possible life experiences through the chronological composition of haiku was an interesting approach to the analysis. The collection also lends itself to an analysis based on region and time in the author's life, and that is embraced in the essay. Location is presented as central to the experience of understanding the haiku. Although we may not be as well travelled as the author, or not know as much about a nature-based lifestyle, we can still experience the world through her eyes and the unique feelings which arise in certain regions. ~Morgan Bode, Fall 2019

John DeAngelo - Jack Kerouac

For this assignment, I read John DeAngelo’s essay on Jack Kerouac. I learned so much about an author that I had so many wrong preconceived notions about. Kerouac’s writing is actually not just about roughing it on the road, he has really mastered the English language. His writing is beautiful, especially the final haiku John includes about the clouds. I also didn’t realize Jack Kerouac wrote haiku, or that he had such an incredible impact on the world of writing. I definitely want to read more of his writing after reading these haiku. ~Maddie Curtin, Fall 2019

Maddie Curtin - Time & Space Haiku

I thought Maddie’s essay about space and time haiku was absolutely beautiful. Through her writing, she manages to find answers to questions that seem unanswerable. I really liked her answer to the question about how humans can be juxtaposed with images from space and time. She argues that humans are infinite because we constantly leave our marks on the universe just as stars do to us. It’s such an interesting concept to think about. I felt so incredibly small while reading her essay. Her talk about stars being light years away and our universe being incredibly big made me feel as if I were a speck of dust. I think my favorite thing about Maddie’s essay is the way she elaborates upon the haiku. Each haiku has an explanation that both explains the haiku in greater detail and connects to her questions about juxtaposing images of space and human beings. One of my favorite explanations that she gives is the one about gibbous moon and the pregnant woman. She explains how and why the woman is being compared to the gibbous moon, but she also takes time to explain what juxtaposing these two images does for the reader—how putting these two images together places the pregnant woman on a pedestal. Overall, I thought her essay was brilliant and I loved her writing. Each haiku that she picked added an interesting element to her thesis and I thought her explanations of those haiku were really well-done. ~ Gillian Genardo, Fall 2019

I read Maddie Curtin’s haiku essay and let me just say from the beginning, I think she is a phenomenal writer. She has a great understanding as to what the haiku are saying and really getting to the crux of what they are. And she is especially good at this because it is about time and space, something that she is clearly passionate about. I think she did a really great job, especially incorporating other topics that aren’t haikus into her essay. I just loved reading this. ~John DeAngelo, Fall 2019

I read Maddie Curtin’s Time and Space essay because I loved how impassioned she was while talking about it in class and also because I love haiku about these two topics. I think my favorite part about Maddie’s essay was the point that she made in which she talks about the fact that there is beauty in seeing ourselves in the grand, majestic celestial bodies that make up this universe. But despite these comparisons, we cannot appreciate these grand things if we do not look at what is right in front of us. Basically, we cannot be grand and beautiful without being present in the right now. I think that is such a beautiful sentiment that is often overlooked, especially by people like me that tend to romanticize everything. Madeline Wilson, Fall 2019

Madeline Wilson - Chase Gagnon

I really liked and am not surprise that Madeline chose a poet that talked about such traditionally sensitive topics such as death, suicide, and self-harm. She did a great job analyzing each poem’s literary techniques and the story the haiku might be telling. She wrote in a style that complemented Gagnon’s own, she too did not shy away from discussing the issues that were brought up and did so with a splash of imagery and creativity. It was also interesting to see how she compared some of Gagnon’s haiku to not only another poet, but to art as well. Alex Bergland, Fall 2019

Michael Hoelting - Gary Hotham

I read Michael’s essay analyzing Gary Hotham style for writing haiku. The poet typically used very specific images or scenes to help connect to a larger theme within the haiku. What I really appreciated about Michael’s analysis of Hotham was the distant feeling that his haikus give you. Michael points out that the poet places the reader at a distance from the scene within the haiku and does not offer a pay-off to the scene. This is very different from how most haiku writers approach writing. Most poets plop the reader right in the middle of whatever their writing about and have the reader appreciate that moment. Hotham’s approach still takes readers to a particular moment in time much like other poets, but there is simply no resolution to the haiku. As a result, the haiku is very open ended and open for interpretation from the readers. This is not something you see from many poets and getting the chance to read some of the haiku form Hotham along with Mike’s analysis was enjoyable. ~Ben Kuxmann, Fall 2019

Rebecca Jaffe - Joyce Walker Currier

(61) reading response: write your imagined felt responses to 3 favorite haiku from essay handouts

(62) Write 5-8 new haiku on topics in response to haiku discussed in essay presentations & handouts

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

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 11/10)

for 11/14

matching contest: Kuro vs. Mido

(64) 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)

(65) read 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.

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

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Wednesday, 11/13)

for 11/19

(67) 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.

(68) haiku writing: write 3 haiku based on sabi and 3 based on wabi and 3 haiku based on karumi

(69) write about a favorite matched pair from our Kuro versus Mido matching contest

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 11/17)

for 11/21

in class mad verse kasen-renga

(70) Read the handout: An Introduction to Tan-Renga from Grace Guts web site. (handout on Moodle)

(71) tan-renga capping: write two-line caps for 3 favorite haiku from kukai 10

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

(73) write 5-8 open topic haiku

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Wednesday, 11/20)

for 11/26

(74) write about a tan-renga Favorite

(75) type up a copy of your in class Mad-verse 30-link renga and send it to me. PDF copies are available in MOODLE.

Alexander Bergland - Glass Eyes
Ben Kuxmann - Medication
Cassie Reed - Cocoon
Charlize Pate - Stray Cat
Gillian Genardo - Tone Deaf
Jessi Kreder - Pocket Buzzing
Joel Ochoa - Oxygen
John DeAngelo - Moon Pie
Jon Kuebler - Wooden Swords
Maddie Curtin - Fireworks
Madeline Wilson - Cosmic Rain
Meghan Hayes - Sheet Music
Michael Hoelting - Postpartum
Morgan Bode - Kneecaps
Randy Brooks - Painting Rage
Rebecca Jaffe - Confidant Stride
Tori Stuart - Never Ending Conversations

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

(76) 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 11/24.

Type up a copy of your Kasen-renga using this template: kasen WORD template OR write it by hand (folded with an OBI belt). If that drives you nuts, just type it in one long list approach, indicating authors of links inbetween each link. 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)

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 11/24)

for 11/28 no class - Thanksgiving

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

for 12/3

Thanksgiving break kukai!

(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 5-8 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) 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 by email midnight, Sunday, December 8
Project presentations are Tuesday, December 10

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

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Sunday, 12/1)

for 12/5

in class: rengay writing

(81) reading response: write your imagined felt responses to 3 favorite haiku from Kukai 11 (one paragraph each)

(82) write 8-10 more haiku related to your proposed haiku project

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Wednesday, 12/4)

for 12/10 - Project Proposals Day

(83) submit your 2 rengay to me by Sunday midnight

In class: Share your project with the class: (4-5 minutes max for each presentation). I will BUZZ you if you run over.

Alexander Bergland - haiga memoir
Ben Kuxmann - shifting relationships tan-renga
Cassie Reed - sad / happy haiga
Charlize Pate - bouncing
Gillian Genardo - historic women haiku
Jessi Kreder - love and nature
Joel Ochoa - nature haiga
John DeAngelo - haiku seasons
Jon Kuebler - accounting life
Maddie Curtin - mental health support
Madeline Wilson - maiku marginalia
Meghan Hayes - all types of love
Michael Hoelting - soccer life
Morgan Bode - interdependence
Rebecca Jaffe - haikureography
Tori Stuart - calligraphy haiku

(email Dr. Brooks (rbrooks@millikin.edu) send your rengay and copy of your HAIKU PROJECT by midnight Sunday, 12/8)

for 12/12 - Last Day of Class

In class: Share your signature gift haiku & collection.

Signature Gift Exchange & Sharing Haiku Collections

(84) Signature haiku gift exchange (digital photo sent to me) and haiku chapbook collections (email to me) are due Wednesday Midnight, December 11.

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 © 2019 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!

(85) 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!

(86) Don't forget to e-mail your short bio statement to Dr. Brooks by midnight, December 11. This bio statement will be used at our Global Haiku final exam Reading.

(email Dr. Brooks (rbrooks@millikin.edu) send your responses and new haiku by midnight Wednesday, 12/11)

for 12/19 - FINAL

final exam reading --> Final Exam: Thursday, December 19 @ 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)

(87) Submissions to haiku magazines Final. (one email submission copied to me)

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 (rbrooks@millikin.edu) send your email submission copy by midnight Wednesday, 12/18)

Post-class evaluation (SIRs & Reflections)

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

(89) 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)

(90) 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 88 and 89 reflection writings to me by midnight Sunday, December 22 at: rbrooks@millikin.edu