PACE Global Haiku Tradition Schedule & Assignments Jan 11 o Jan 18 o Jan 25 o Feb 1 o Feb 8 All writing assignments are to be submitted by email attachment by midnight Mondays two days before each class period. 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 Haiku to Edit 1 ••• Kukai Favorite Selections & Matching Contests: Kukai 1 • Kukai 1 Favorites Kukai 2 • Kukai 2 Favorites Matching Contest • Contest Results Rengay 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: 1929820038 Almost Unseen by George Swede, 2000 Brooks Books; ISBN: 0913719994 Mayfly magazine (from Brooks Books) Required Books Week Two 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. Required Books Week Four 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 Required Books Week Five Shirane, Haruo. Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashô. Stanford, CA: Stanford University Press, 1998. Week One 1. Sharing and discussing haiku from Mayfly and Lyles' To Hear the Rain and Swede's Almost Unseen. 2. Response paragraphs & memories haiku writing. 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 (if we have time). in class reading: Lyles' To Hear the Rain and Swede's Almost Unseen assignments for week two (due by email midnight Monday): email your in class response writing: select 4 favorite haiku from each poet and briefly write your imagined, felt response to 2 favorites by Lyles and 2 by Swede. Be ready to discuss why you like them. email your in class haiku writing (with Dr. Brooks' help): go into more depth describing a memory from your own life (one page) and write 2-3 haiku which captures some moments 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: The Haiku Anthology and prose introductions from Peggy Lyles and George Swede books (note your questions about haiku from the introduction) 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 EMAIL your paragraphs & haiku by midnight Monday to me at: rbrooks@mail.millikin.edu Week Two 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 (emails due next Monday): 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 and write your imagined response to 3. response writing: write a short response to one of the renga in the Basho book. write short paragraph responses to 2 of the most interesting links from each response writing: write short response paragraphs to two of your favorite haiku from Kukai 1 and write edit variations for 2 haiku from haiku to edit 1 haiku writing for next class: write 10 seasonal based haiku (deliberately include nature or an image that places us in a seasonal context). write about the cold, the snow, winter. try some from childhood memories and some from now EMAIL your writings to me by midnight Monday at: rbrooks@mail.millikin.edu Week Three 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. 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 could 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 4. 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 two. Try setting matched pairs using Bashô’s critical commentary approach. response writing: write short response paragraphs to one of your favorite haiku from Kukai 2 and write two tan-renga (2 link poem based on favorite haiku from kukai 2) rengay writing for next week: write 2 rengay (one with family or friends) and (one with an email partner from this class or previous haiku students) follow the principle of no more than three links being ninjô or ninjô-nashi verses in a row. Read instructions on writing Rengay: How to Rengay.rtf haiku writing for next week: 5 haiku attempts writing about things that are better because they are not perfect, are somewhat worn out, are broken but still valued, etc. Contemporary author studies: Connie Volpe - Maggie Chula Crystal Lutz - Michael Dylan Welch Jill Friesner - Tom Clausen John Byler - Alan Pizzarelli Katrina Farris - Ruth Yarrow Kelley Larrick - Cor van den Heuvel (baseball) Lesleee Finney - Dee Evetts Lisa Wilder - Alexis Rotella Matt Lee - Jeffrey Winke Stephanie Meis - Rod Wilmot Terry Mallory - John Stevenson Tracy Nash - Eric Amann EMAIL your writings to me by midnight Monday at: rbrooks@mail.millikin.edu Week Four 1. Sharing and discussing favorite haiku from Love Haiku 2. Critical reading discussion on history of haiku and zen haiku poetics from The Wordless Poem. 3. Kukai 3 selection of favorites by each other and Matching Contest Kukai. 4. Reading Rengay & discussing renga tradition. assignments for week five: reading: reading and response on your author for your essay reading: The Wordless Poem (handout) response writing: write short response paragraphs to one of your favorite haiku from Kukai 3 and write a response paragraph to one interesting pair from Matching Contest response writing for next week: response writing for next week: select 3 favorite haiku from The Haiku Anthology (could be your author) and 3 favorite haiku by Basho or other Japanese authors and write a comparison of 1 haiku by each response writing: find an example of a favorite haiku in English by fellow student or from anthologies that demonstrate each of the following three types of linking:     (1) word links—puns, objects     (2) content links—narrative, scene, progression     (3) scent links—emotion, atmosphere, social status     (examples highlight linking or movement between the two images of the haiku) haiku writing for next week: Ginko or haiku project—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 if you'd like.) EMAIL your writings to me by midnight Monday at: rbrooks@mail.millikin.edu Week Five 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 last class: haiku project: a focused haiku writing project, related art, ginko, or renga signature haiku gift: (usually a bookmark, signed, with one of your best haiku) please bring a copy for each fellow student and the teacher submission ready haiku: five of your best haiku typed on a page with your name & address in upper left-hand corner, folded and inserted in a number 10 envelope, with another number ten envelope folded in third inside, two first class stamps included loose in the envelope haiku author study: an essay on a particular contemporary author, discussing their approach to writing haiku, including response-discussion of 6-8 examples. this can focus on one book by the author in the form of a book review essay. 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 haiku collection: your best haiku and renga from the course, collected with a preface about your understanding or approach to writing haiku.