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PACE
Global Haiku Tradition
Schedule & Assignments
Jan
5 • Jan 12 • Jan 19 • Jan 26 • Feb 2
Informal
Assignments & Participation 20%
Contemporary Author Form Study 10%
Contemporary Author Significance Study 20%
Rengay 10%
Haiku Collection 20%
Haiku Collection Preface (poetics) 05%
Haiku Project or Ginko 10%
Haiku submission ready in SASE 05%
All
writing assignments are to be submitted by email attachment.
Please save your files as RTF "Rich Text Format" documents
and include your initials or name with each file sent.
Send
them to: rbrooks@mail.millikin.edu
General
Weekly Course Structure & Procedures
1.
Sharing and discussing favorite haiku from the reading assignments
(emailed responses due midnight the day before
the class).
2.
Collaborative haiku writing (various linked verse haikai traditions).
3.
Critical reading discussion on history of haiku and haiku poetics.
4.
Haiku editing workshop. (emailed attempts due midnight day before
class after first week)
5.
Kukai selection of favorites by each other.
Required
Books Week One
To
Hear the Rain by Peggy Lyles, 2002 Brooks Books; ISBN: 192982003
Almost
Unseen by George Swede, 2000 Brooks Books; ISBN: 0913719994
Mayfly
magazine (from Brooks Books)
The
Haiku Anthology by Cor Van Den Heuvel. Paperback edition
(2000) W.W. Norton & Company; ISBN: 0393321185
To
Hear the Rain by Peggy Lyles, 2002 Brooks Books; ISBN:
1929820038
Almost
Unseen by George Swede, 2000 Brooks Books; ISBN: 0913719994
Required
Books Week Three
Matsuo
Basho by Makoto Ueda. Paperback Reprint edition (May
1983) Kodansha International; ISBN: 0870115537
Shirane,
Haruo. Traces of Dreams: Landscape, Cultural Memory,
and the Poetry of Bashô. Stanford, CA: Stanford
University Press, 1998.
The
Wordless Poem by Eric Amann. (handout copy)
Love
Haiku: A Lifetime of Love by Masajo Suzuki (translated
by Lee Gurga & Emiko Miyashita), 2000 Brooks Books;
ISBN: 0929820003
Shirane,
Haruo. Traces of Dreams: Landscape, Cultural Memory,
and the Poetry of Bashô. Stanford, CA: Stanford
University Press, 1998.
1.
Sharing and discussing haiku from Mayfly & Lyles' To
Hear the Rain.
2.
Collaborative haiku writing (tan-renga).
3.
Introduction to the history of haiku and haiku poetics.
4.
Haiku writing and editing workshop.
5.
Matching contest selection of favorites by previous students.
assignments
for week two:
in
class reading: Lyles'
To Hear the Rain and Swede's Almost Unseen
in
class response writing: select
favorite haiku from each poet and briefly write your imagined,
felt response to 2 favorites by Lyles and 2 favorites by Swede.
Be ready to discuss why you like them.
in
class haiku writing (with Dr. Brooks' help): go into more
depth describing a memory from your own life (one page) and write
1-2 haiku which captures some moment from within that memory
haiku
writing for next week: write 6 additional haiku based
on memories rising up in your mind from reading haiku
reading
for next week: Lyles
& Swede books and The Haiku Anthology
response
writing for next week:
find 5 favorite English haiku including 3 from the Haiku Anthology
at least 1 from Peggy Lyles and 1 from George Swede and write
a short imagined response paragraph to each of them
1.
Sharing and discussing favorite haiku from The Haiku Anthology,
Lyles' To Hear the Rain, and Swede's Almost Unseen.
(emailed responses due midnight the day before the class).
2.
Collaborative haiku writing (tan-renga & introduction to rengay).
3.
Critical reading discussion on history of haiku and haiku poetics
(especially form issues).
poetics
statement: characteristics of best, most effective haiku
"things
found" in the best, most effective haiku. Characteristics
the students in that group like, with acouple of haiku for examples.
4.
Haiku editing workshop from attempts. (emailed attempts due midnight
day before class)
5.
Kukai selection of favorites by each other.
assignments
for week three:
writing:
write an essay about one aspect of form in haiku (space, line breaks,
the pause, one-liners, visual haiku, minimalism) with response to
at least 5 examples) due week four (due week three)
reading
for next week:Matsuo
Bashô (chapters 1-3) and Traces of Dreams: Landscape, Cultural
Memory, and the Poetry of Bashô (chapters 1-4)
response
writing for next week:
select 6 favorite haiku from the Basho reading and write your imagined,
felt response to 3.
response
writing for next week:
write a short paragraph response about 1 favorite haiku from kukai
1.
haiku
writing for next week:write 5-10 seasonal based haiku (deliberately
include nature or an image that places us in a seasonal context).
Send them to your haiku buddy for edit suggestions.
1.
Sharing and discussing favorite haiku from Matsuo Bashô
(emailed responses due midnight the day before
the class).
2.
Critical reading discussion on history of haiku and haiku poetics
from Traces of Dreams.
3.
Discuss form in haiku essays.
4.
Collaborative haiku writing (haikai no renga).
ninjô
verses—people or emotion verses (self, other or both) (I,
you, us, he or she, they perspectives)
ninjô
-nashi—non-peeople or place verses
We
will write a 36 link kasen renga (mixing ninjô and ninjô-nashi
verses with no more than three links being ninjô and ninjô-nashi
verses in a row):
(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
5.
Kukai selection of favorites by each other.
assignments
for week four:
reading:
Matsuo
Bashô (chapters 4-5 and Traces of Dreams: Landscape, Cultural
Memory, and the Poetry of Bashô (chapter 5) and Love Haiku:
A Lifetime of Love
response
writing for next week:
select 3 favorite haiku by Masajo and write your imagined, felt
response to at one by each. Try setting one matched pair of haiku
between Lyles and Masajo using Bashô’s critical commentary
approach.
response
writing:
write short response paragraphs to one of your favorite haiku from
Kukai 2
rengay
writing for next week: write 2 rengay (one with family or
friends) and (one with email partners from class) follow the principle
of no more than three links being ninjô or ninjô-nashi
verses in a row.
haiku
writing for next week: 3-5 attempts using imagination from
different perspectives and 3-5 from direct experience or memories
1.
Sharing and discussing favorite haiku from Love Haiku
(emailed responses due midnight the day before
the class).
2.
Haiku editing workshop from attempts. (emailed attempts due midnight
day before class)
3.
Critical reading discussion on history of haiku and zen haiku poetics
from The Wordless Poem.
4.
Kukai 3 selection of favorites by each other and Matching Contest
Kukai.
assignments
for week five:
reading:
reading and response on your author for your essay (seeking point
of significance to emphasize in your essay
reading:
The
Wordless Poem (handout)
response
writing for next week:
select 2 pairs of matched haiku by your author and someone else and write a comparison of each
response writing for next week: write short response paragraphs to a pair of favorite haiku from
the class matching contest kukai
haiku
writing for next week: Ginko—a haiku walk by a group
of friends in which everyone just enjoys the walk together, stopping
to notice things and to write haiku from shared experience. write
at least 10 on-the-spot Ginko walk haiku by you and your friends.
(It can take the form of rengay or you may substitute rengay or kasen-no-renga writing if you'd like.)
1.
Sharing and discussing favorite haiku from Global Haiku Anthology
(emailed responses due midnight the day before
the class).
2.
Critical reading discussion on zen in haiku from Eric Amann's Wordless
Poem.
3.
Haiku editing workshop from attempts. (emailed attempts due midnight
day before class)
4.
Kukai selection of favorites by each other and from the Ginko sequences.
5.
Sharing final collections and essays.
assignments
due:
haiku
author study:
an essay on a particular contemporary author, discussing their approach
to writing haiku, including response-discussion of 6-8 examples.
haiku
collection: your best haiku and renga from the course, collected
with a preface about your understanding or approach to writing haiku.
haiku
submission ready: five of your best haiku in an envelope
including SASE
signature haiku gift exchange: your favorite or best haiku you've written made into a bookmark or some small gift for exchange (bring 7)
Contemporary
Haiku Author Study (essay & web profile)
o
focus on a point of insight or question about that author’s
unique contribution
o include response discussions of 5-10 haiku by the author
o may include interview questions & poetics from author's prose
work
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