Advanced Studies in Poetry: Global Haiku Tradition
EN340 Advanced Studies in Poetry - June 2015
CRN 50047

<http://www.brooksbookshaiku.com/MillikinHaiku/haiku/courses/globalJanuary2015/assignments.html>

Classroom: Shilling 308
MTWRF – June 1 through June 17
8:00 a.m. - 10:50 a.m.

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.)

COURSE SCHEDULE:

This web-based assignment blog is the ONE and ONLY official course schedule. The professor reserves the right to alter course content, class assignments/activities, and/or dates, as deemed necessary to maximize learning for the students. The professor will announce assignments and due dates in class and through this web-based blog. The student is responsible for attending class to know what assignments will be required and when. Announcements in class or via email will take precedence over the written schedule.

When referring to a haiku by any author, please use the following means of citation. Always type the entire haiku (DO NOT CHANGE CAPITAL LETTERS, PUNCTUATION, nor WORD SPACING!). Then include the author and an abbreviation of the publication source. For example, here is a haiku by Peggy Lyles from her book, To Hear the Rain:

I brush
my mother’s hair
the sparks

Peggy Lyles, THTR, 93

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/
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/

6/1 --> Introduction to the art of reading & writing haiku

No assignments due for 6/1/2015. Bring your books & writing notebook.

June 1st in class reading: Mayfly magazine sample

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

June 1st in class reading: To Hear the Rain, pages 1-128, introductions, prose (and the interview in the back of the book)

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

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

cucumbers
soaked in vinegar—
the heat

Lyles, THTR, 48

June 1st in class writing: an extended memory approach to writing haiku.

(3) select a favorite haiku (from MAYFLY or Peggy Lyles) then write an extended memory & related memory haiku:

Go into more depth with a haiku that especially triggered memories from your childhood or past describing that memory from your own life. This extended reponse may be imaginary (make up the rest of the story for the haiku). SHARE your extended memory with the class and identify some key images that are "resonating" with sensations or feelings.

THEN write at least 3 haiku that capture different moments or feelings from within that longer memory from your experience. You may want to especially explore a childhood memory as well as more recent memories.

(email your in class response paragraphs to me by midnight, Monday, June 1)
Send them to: rbrooks@millikin.edu

 

for 6/2 --> reader responses & first haiku attempts

Homework: Read handout of haiku from Almost Unseen by George Swede (available from Moodle).

(4) writing response: find two favorite haiku from the Swede handout and write a short response paragraph to each of them

(5) AND write a longer memory response with 3-5 new haiku to a third favorite haiku by George Swede.

Homework: (6) write haiku: write 10 or more haiku attempts on memories from childhood or other topics that come up from reading MAYFLY or Peggy Lyle or George Swede' haiku.

(email your response paragraphs and new haiku to me by midnight, Monday, June 1)
Send them to: rbrooks@millikin.edu

for 6/3 --> comparing haiku authors

Find an interesting "matched pair" of haiku (one from George Swede and one from Peggy Lyles or a Mayfly author) to compare side by side.

(7) 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.

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

Observed characteristics of haiku?

(9) Write a 1-page overview on characteristics of haiku and email it to me.

Kukai 1 selection of favorites.

(10) reading responses: write your imagined felt response paragraphs to two favorite haiku from kukai 1

Workshop on editing haiku.

(14) Haiku to edit workshop: based on the haiku editing workshop in class, send me variations and edit suggestions for others from the HAIKU TO EDIT 1 handout.

Homework: (11) Read haiku from The Millikin Haiku Anthology and write response paragraphs to 3 favorites

Homework: (12) write haiku: write 10 or more haiku attempts on college life or responses to MU Haiku Anthology.

(email your response paragraphs and new haiku to me by midnight, Tuesday, June 2)
Send them to: rbrooks@millikin.edu

for 6/4 --> various authors & approaches to English language haiku

Read Guide for Beginning Haiku by Gail Sher (availabe as PDF from Moodle).

(13) Discuss and compare Gail Sher's suggestions for writing haiku with the inroduction and interview in Peggy Lyles' book. Revise or add to your overview of characteristics of haiku with a brief summary on the art of writing haiku. Two pages max.

Homework: Read haiku from The Haiku Anthology, pages 1-159.

(15) write response paragraphs for three favorite haiku from the first half of The Haiku Anthology

Homework: (16) write 10 or more haiku attempts on summer events or OPEN TOPIC.

(email your response paragraphs and new haiku to me by midnight, Wednesday, June 3)
Send them to: rbrooks@millikin.edu

for 6/5 --> The Haiku Anthology

Matching Contest 1 selection of favorites.

(16) reading responses: write your imagined felt response paragraphs to two favorite haiku from matching contest 1

Homework: Read The Haiku Anthology, pages 160-327.

(17) write response paragraphs for three favorite haiku from the second half of The Haiku Anthology

(18) What are the essential elements of the very best haiku? What makes some haiku better than others? How would you define or describe the characteristics of the best haiku? What must a highest-quality haiku do (for? with?) for readers to be effective? Write your summary answers with 2 haiku from The Haiku Anthology as examples.

Homework: (19) write 10 or more haiku on experiences/insights/feelings/perceptions of health and well-being activities—biking, running, swimming, weight-lifting, relaxing, Tai Chi, yoga, meditation, working out, sports, eating well, skin, muscles, abs, etc.

(email your response paragraphs and new haiku to me by midnight, Thursday, June 4)
Send them to: rbrooks@millikin.edu

for 6/8 --> DVD on English Language Haiku Community

Matching Contest 1 selection of favorites.

(20) reading responses: write your imagined felt response paragraphs to two favorite haiku from matching contest 1 (if you didn't do this for #16)

Homework: With friends or others in class watch the DVD: Haiku: The Art of the Short Poem, pages 1-88 (whole book). The haiku cited by the haiku poets are included in the anthology, in the same order as the DVD.

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

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

Homework: (23) write 10 or more haiku open topic or from favorite books, plays or movies. Also write 3 haiku on or related to superheroes.

(email your response paragraphs and new haiku to me by midnight, Sunday, June 7)
Send them to: rbrooks@millikin.edu

 

for 6/9 --> Japanese haiku by Masajo Suzuki

Homework: Read Masajo Suzuki’s Love Haiku.

(24) reading response: find three favorite haiku by Masajo and write a short response paragraph to two of these favorite haiku.

(25) 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 haiku. Two pages or three pages max!

Homework: (26) haiku writing: write 10 haiku on relationships such as first dates, breaking up, autumn romance, girl friends, getting engaged, boy friends, love, lost love, etc.

Contemporary Author or Haiku Topic Study Guidelines

Think about what or who you'd like to write about for your contemporary haiku reader response essay. Please browse the Registry of haiku poets at The Haiku Foundation: <http://www.thehaikufoundation.org/haiku-registry/>.

This is a formal essay introducing a particular contemporary author, topic or technical approach to contemporary haiku. 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. Matching comparisons with haiku by other authors are always valued in all approaches to this essay.

You may choose to write about a haiku topic instead of an author, with reader responses to 6-10 haiku related to that topic. This essay 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.

• focus on a point of insight or key question you are exploring in the essay

• include reader response discussions of 6-10 haiku by the author

• optional – include a matching comparison of haiku by another author

• optional – 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 citations. Yes, do include a works-cited page.

(27) In order to loan you books from the Decatur Haiku Collection, I need to know your intended topic or author by Wednesday by midnight, Tuesday, June 8.

You may also find online books for certain authors at the Haiku Foundation Digital Library at <http://www.thehaikufoundation.org/omeka/>.

The final essay is due Monday, June 15. Email a copy of your essay to Dr. Brooks. You will be sharing your essay on the due date in class, so bring a handout for each student and me containing all of the haiku discussed in your essay. Please include the citation information on your handout.

Please remember to return all loaned books on the essay due date.

(email your response paragraphs and new haiku to me by midnight, Monday, June 8)
Send them to: rbrooks@millikin.edu

for 6/10 --> Introduction to Japanese Haiku

Homework: Read handout on Japanese haiku

(28) reading response: find three favorite haiku by Japanese haiku writers and write a short response paragraph to these favorite haiku.

(29) reading response: find a matching pair of haiku by a Japanese haiku writer and an English language haiku writer and write a comparison paragraph to these two haiku.

Homework: Read Matsuo Basho chapters 1 & 2 from Ueda's book.

(30) reading response: find three favorite haiku by Basho and write a short response paragraph to these haiku.

(31) 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.

Homework: (32) haiku response writing: write 5 haiku in response to favorite Japanese haiku and 2 haiku about being on your own and 2 haiku about having fun with friends or family

(email your response paragraphs and new haiku to me by midnight, Tuesday, June 9)
Send them to: rbrooks@millikin.edu

for 6/11 --> Introduction to Renku

(During class on 6/11 we will write Mad-verse Renga!)

Matching Contest 2 selection of favorites.

(33) reading responses: write your imagined felt response paragraph to a favorite match from matching contest 2

Homework: Read Bashô (Chapter 3 The Renku), pages 69-111 and

(34) reading response: write about a favorite link (a pair of links) in one of the renga examples

Homework: (35) tan-renga capping: send me caps for the tan-renga hokku

Homework: (36) take turns with friends or family and write a sequence of 9 to 15 haiku (in person is most fun, but email is possible)

(37) haiku project proposal

The purpose of the haiku project is to apply haikai arts to something that means a lot to the student—usually something related to their major field of study. Bring your passion to this project and connect it to haiku (photography & haiku) (music & haiku) (history and haiku) (psychology & senryu) (a kasen renga) (baseball haiku) (a collage of haiku) (haiku web site) (anthology of love haiku) . . . have fun with this. make it your dream assignment. email me a paragraph explaining your project plan by midnight June 11.

You can see sample previous haiku projects at:

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

Haiku projects are due midnight, Wednesday, June 16
Project presentations are June 17

(email your response paragraphs and new haiku to me by midnight, Tuesday, June 10)
Send them to: rbrooks@millikin.edu

for 6/12 --> Kasen Renga

Homework: (38) type your Mad-verse Kasen renga completed in class with this: 10 point kasen renga template

Homework: Read the student kasen renga by Bri Hill and students at:

http://www.brooksbookshaiku.com/MillikinHaiku/haiku/studentrenga/Grasshoppers&Tobacco.html

Together we will compose a more traditional Kasen Renga (36-links) in class:

Here is a DOC file you can use to print your kasen-renga: renga layout guide (doc).

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

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

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

Write a 36 link kasen-no-renga:

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

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

Homework: (36) take turns with friends or family and write a sequence of 9 to 15 haiku (in person is most fun, but email is possible)

Homework: (39) write 10 new haiku OPEN TOPIC!

(email your response paragraphs and new haiku to me by midnight, Tuesday, June 11)
Send them to: rbrooks@millikin.edu

for 6/15 --> Contemporary Haiku Essay Presentations

The contemporary haiku essay is presented in class Monday, June 15. Email a copy of your essay to Dr. Brooks by midnight Sunday, June 14.

Homework: (40) You will be sharing your essay on the due date in class, so bring a handout for each student and me containing all of the haiku discussed in your essay. Please include the citation information on your handout.

Homework: (41) write 5-10 haiku in response to haiku related to your haiku essay and 10 or more haiku related to your project proposal

Final kukai on Monday, June 15

(email your essay and new haiku to me by midnight, Sunday, June 14)
Send them to: rbrooks@millikin.edu

 

for 6/16 --> Haiku by Dr. Brooks

Homework: Final Kukai favorites.

(42) reading responses: write your imagined felt response paragraphs to two favorite haiku from our final kukai

Homework: Read first half of Haiku Guy, pages 1-71

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

(44) haiku writing: write 3 haiku from this stop, look & listen exercise.

Homework: 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?

(45) writing response: Compare the advice given to Buck-Teeth by Mido (the Green Poet) versus Kuro (the Black poet). What do you think of each of their advice? Which appeals to you more? Explain why.

(46) Write 3 haiku following Kuro's advice, and 3 haiku following Mido's approach.

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

Homework: Read School's Out by Randy Brooks

(47) write reader responses to 2 favorite haiku from School's Out

Homework: (48) write 10 or more haiku related to your project proposal OR open topic

(email your reader responses and new haiku to me by midnight, Monday, June 15)
Send them to: rbrooks@millikin.edu

 

for 6/17 --> Sharing Haiku Collections & Projects

Signature Gift Exchange & Sharing Haiku Collections & Haiku Projects

Sharing haiku projects, gift exchange haiku, haiku collections.

(49) Signature haiku gift exchange (digital photo sent to me) and haiku chapbook collections are due in hand Wednesday, June 17.

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 4 copies to class!

(50) 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 © 2015 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 your Haiku Collection to class!

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

(email the contenst of your Haiku collection (including the Preface)
and the contents of your Haiku Project
and a photograph of your signature haiku gift exchange
and your submission ready haiku
to me by midnight, Monday, June 16)
Send them to: rbrooks@millikin.edu

 

no class on June 18, 2015