Advanced Studies in Poetry: Global Haiku Tradition
EN340 Advanced Studies in Poetry - June 2016
CRN 50002

<http://www.brooksbookshaiku.com/MillikinHaiku/haiku/courses/globalJune2016/assignments.html>

Classroom: Shilling 422
MTWRF – 6/6, 6/7, 6/8, 6/9, 6/10, 6/13, 6/14
9:00 a.m. - 3:00 p.m. (with lunch break)

Informal Assignments & Participation (plus, check, minus) 40%
Contemporary Author or Topic Essay 20%
Haiku Collection 20%
Haiku Collection Preface (your haiku poetics) 05%
Haiku Project or Ginko 10%
Haiku submission ready in SASE 10%

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/

Frozen Butterfly • https://www.youtube.com/watch?v=kFR-Nrzdedk (YouTube)

6/6 morning --> Introduction to the art of reading haiku

In class reading: Mayfly magazine sample

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

In class reading: handout of Peggy Lyles' haiku, To Hear the Rain, 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

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. SHARE your extended memory with another student 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.

6/6 afternoon --> Introduction to the art of writing haiku

In class reading & writing: handout of haiku from Silence Between Us by Wally Swist Almost Unseen by George Swede (available from Moodle)

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

(5) writing response: find two favorite haiku from Wally Swist and write a short response paragraph to each of them

In class comparison: find an interesting "matched pair" of haiku (one from George Swede or Wally Swist 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 (half a page is fine).

Haiku reading & writing assignments for Tuesday:

(8) 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 Wally Swist or George Swede' haiku.

(9) start reading & finding favorite haiku from Haiku: The Art of the Short Poem. write response paragraphs to 3 favorites

ALL 9 writing assignments (1-5 & 7-9) from our first day should be emailed to me by midnight, Monday, June 6. Send them to: rbrooks@millikin.edu

6/7 morning --> Reading American haiku

In class comparisons (matched pairs) from Lyles & Swist & Swede and the genesis of discourse from Lyles & Swist & Swede

Discuss writing assignment (7) analysis of the writing strategies and techniquse used in these haiku.
Where do their haiku come from? What is their inspiration? Differences in writing haiku? Why do they choose to write haiku about these instances? What is the source of significance worth turning into these insights or observations for them?

In class Kukai 1 selection of favorites.

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

In class reading & DVD viewing: 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.

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

(12) 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.

In class team discussion & debriefing: characteristics of haiku?IN CLASS TEAM discussion: 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 about a favorite haiku from any of your books and handouts, as an example of one of the very best haiku and one okay haiku.

(6) Someone from team record bullet points & be ready to share.

6/7 afternoon --> Workshops on writing & editing haiku.

In class workshop on editing haiku.

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

(15) Read The Red Moon Anthology and write responses to 3 favorite haiku.

Haiku reading & writing assignments due for Wednesday by email midnight, Tuesday, June 7:

(16) write haiku: write 10-20 new haiku - open topic.

(17) ALSO try to write 5-10 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.

ALL 8 writing assignments (6 & 10-17) from our second day should be emailed to me by midnight, Tuesday, June 7. Send them to: rbrooks@millikin.edu

6/8 morning --> Reading Japanese haiku

In class reading: Guide for Beginning Haiku by Gail Sher (availabe as PDF from Moodle).

(13) Review Peggy's introduction and interview for her guidelines. Teams discuss & compare strategies for writing haiku from Lyles & Gail Sher’s Guide for Beginning Haiku. Have one team member keep bullet points and write up a summary as an email to me. (one page max)

In class reading & discussion of Introduction to Haiku (12 page handout from Moodle)

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

In class Kukai 2 selection of favorites.

(19) reading responses: write your imagined felt response paragraphs to two favorite haiku from kukai 2

In class reading and sharing favorite haiku and discussing Masajo Suzuki’s Love Haiku.

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

6/8 afternoon --> Japanese haiku continued

In class reading and sharing favorite haiku and discussing Masajo Suzuki’s Love Haiku.

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

Tonight read Matsuo Basho chapter 1 from Ueda's book.

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

in class matching contest on exercise and health.

(23) response writing: write about interesting match that came up in the matching contest (comparing the two haiku and making your point about which one "wins" the match.

Haiku reading & writing assignments due for Wednesday by email midnight, Wednesday, June 8:

(24) haiku writing: write 5-10 haiku on any topic and another 5-10 more haiku on relationships such as first dates, breaking up, autumn romance, girl friends, getting engaged, boy friends, love, lost love, etc.

(25) start reading & finding favorite haiku from The Haiku Anthology. write response paragraphs to 3 favorites

If you do not have The Haiku Anthology yet, please look the following authors and read as many of their haiku as you can: Bob Boldman, Garry Gay, LeRoy Gorman, Lee Gurga, J. W. Hackett, Gary Hotham, Jack Kerouac, Michael McClintock, Lenard D. Moore, Raymond Roseliep, Alexis Rotell , Nicholas Virgilio. Write responses to 3 favorite haiku from any of these authors.

ALL 9 writing assignments (13 & 18-25) from our third day should be emailed to me by midnight, Wednesday, June 8. Send them to: rbrooks@millikin.edu

6/9 morning --> Reading Basho & the Origins of Japanese Haiku

In class sharing and discussing favorite haiku from The Haiku Anthology, pages 1-159.

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

In class sharing haiku fiction short short stories.

(27) Teams read and revise the haiku to go along with the stories. Then we share the stories together. Send me an email copy of your revised story. Others on the team write a haiku in response to the story.

In class read Matsuo Basho chapter 2 from Ueda's book.

(28) reading response: find two more favorite haiku by Basho and write a short response paragraph to these haiku.

(29) 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).

In class Kukai 3 selection of favorites.

(30 & 31) reading responses: write your imagined felt response paragraphs to two favorite haiku from kukai 3 and a matched pair from the Matching Contest 1

6/9 afternoon --> Planning Contemporary Haiku Essays

In class sharing and discussing favorite haiku from The Haiku Anthology, pages 159-327.

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

At home (33) Write a Short Proposal for Author or Haiku topic Study:

Think about and propose 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 Monday, June 13. In order to loan you books from the Decatur Haiku Collection on Friday, June 10, I need to know your intended topic or author by midnight, June 9. 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 include at least one matching comparison to a haiku by another author (or more)
o may include email or phone or in-person interview questions to help address the haiku writer's poetics

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

On June 14, bring 12 copies on a single page (front and back is fine if needed) providing your audience with copies of all haiku in the essay.

Haiku reading & writing assignments due for Wednesday by email midnight, Thursday, June 9:

(34) haiku writing: write 2 haiku with a sense of sabi, 2 with wabi & 2 with karumi.

Out of class reading & writing for Friday morning: Haiku Guy, pages 1-71

(35) 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 2-3 haiku from your STOP LOOK LISTEN paragraph.

(36) 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.

(37) Write 3 haiku following Kuro's advice, and 3 haiku from Mido's.

ALL 12 writing assignments (26-34 & 35-37) from our fourth day should be emailed to me by midnight, Thursday, June 9. Send them to: rbrooks@millikin.edu

6/10 morning --> Basho and renku (linked-verse traditions)

Sharing contemporary haiku essay plans.

Alexa Duncan - George Swede
Briana Curtis - xxxxx
Christa Hunt - haiku on self-reflection
Daniel Koffman - Carolos Colon
Emily Holthaus - Peggy Lyles
Jasmine Gregory - relationships or love haiku
Mackenzie Larrick - Caroline Gourlay
Rakan Algatani - Basho
Teresa Brase - Masjo Suzuki
Tives Gardner - Richard Wright

Discussion of approaches to writing haiku from Haiku Guy, pages 1-71

Stop, Look & Listen approach?

Cup of Tea's approach? Mido, Kuro, Shiro's approaches?

Your motives to write? Genesis of best haiku, of haiku resonance or signifance?

In class reading: Bashô (from Chapter 3 The Renku) sample handout (provided in class)

(38) reader response: write a paragraph to me about one favorite link (a pair of links) in one of the renku examples.

In class writing workshop: tan-renga capping of select favorite haiku from previous kukai or matching contests

(39) write two-line caps to existing haiku. email the resulting tan-renga to me

In class write a Mad-verse (crazy intuitive linking) kasen renga, with round-robin writing.

(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

(40) type and email me your Mad-verse renga completed in class with this: 10 point kasen renga template

xxxxx - xxxxx

6/10 afternoon --> Writing renga and rengay

In class Kukai 4 selection of favorites.

(41) reading responses: write your imagined felt response paragraphs to two favorite haiku from kukai 4 and a pair of matched haiku from matching contest 2

Write a haiku project proposal:

(44) 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 12

You can see sample previous haiku projects at:

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

Haiku projects are due Tuesday, June 14.

(45) Write 5-10 haiku in response to or inspired by haiku from your author or essay topic.

(46) Write 5-10 haiku related to your proposed haiku topic

ALL 7 writing assignments (38-40 & 41-44 & 45-46) from our fifth day should be emailed to me by midnight, Sunday, June 12. Send them to: rbrooks@millikin.edu

6/13 morning --> Presenting Contemporary Haiku Reader Response Essays

Present your contemporary haiku reader response essay.

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 include at least one matching comparison to a haiku by another author (or more)

Bring 10 copies of a handout with all haiku included in the essay. Please put these, with proper citations, on a single page (front and back is fine if needed) for your presentation.

In class read School's Out by Randy Brooks.

(47) write a reading responses to 2 favorite haiku from School's Out due midnight, June 13

6/13 afternoon --> Writing a traditional kasen renga

In class partner rengay writing workshop:

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

In class share and discuss favorite haiku from The Millikin University Haiku Anthology.

(43) write response paragraphs for two favorite haiku from the The Millikin University Haiku Anthology

(48) reading responses: write your imagined felt response paragraphs to two favorite haiku from kukai 5

6/14 --> Sharing our original haiku

Signature Gift Exchange & Sharing Haiku Collections & Projects

Alexa Duncan - Princess Poisoned Haiku
Briana Curtis - The Black Woman
Christa Hunt - Corners of Haiku
Daniel Koffman - World War I Haiku
Emily Holthaus - Nursing Haiku
Jasmine Gregory - Passion Haiku
Mackenzie Larrick - Puzzle of the Heart
Rakan Algatani - Arabic Haiku
Teresa Brase - Ginko Photography Haiga
Tives Gardner - Boy to Man Haiku

(49) send me an email copy (or PPT) of your haiku project

Physical signature haiku gift exchange and haiku chapbook collections are due in class June 14.

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 10 copies to class! (including 1 for yourself)

Haiku Collection Chapbooks due: Select and organize your best haiku & senryu 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 © 2016 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). This is your FINAL EXAM on what you have learned about the Art of Writing Haiku.

For your preface or introduction, think about the source of your best haiku. Where do your haiku come from? Why do you notice, observe, feel, reflect or focus on those things for immediate impact and lasting significance? What's your haiku muse? Your inspiration to write? Why did you title the collection what you did?

Bring your Haiku Collection Chapbook to class Tuesday, June 14.

(50) Don't forget to e-mail a copy of the contents of your collection including your introduction to Dr. Brooks by midnight, Monday, June 13.

The June Global Haiku Reading

Sharing signature haiku & reading from your chapbook collections.

Dr. Brooks reads from School's Out.

Haiku ready for submission to haiku magazines:

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.

(51) Send me an email with a copy of your submission letter by midnight, Monday, June 13.