|
PACE
Global Haiku Tradition
Schedule & Assignments
Jan 10 • Jan 17 • Jan 24 • Jan 31 • Feb 7
All
writing assignments are to be submitted by email attachment by midnight the day 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
Kukai Favorite Selections
& Matching Contests:
Haiku to Edit 1 • Haiku 1 Edited
Kukai 1 • Kukai1 Favorites
Kukai 2 • Kukai 2 Favorites
Tan-Renga 1 • Tan-Renga 1 Capped
Matching Contest 1
Matching Contest 1 Results
Kasen Renga - Traveling Feathers
Haiku to Edit 2 • Haiku 2 Edited
Rengay 1
Matching Contest 2
Matching Contest 2 Results
General
Weekly Course Structure & Procedures
1.
Sharing and discussing favorite haiku from the reading assignments
(emailed responses are 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. E-mail attempts due midnight Wednesday (two days before
class each week).
5.
Kukai selection of favorites by each other.
Required
Books Week One
To
Hear the Rain by Peggy Lyles, 2002 Brooks Books
The Silence Between Us by Wally Swist, 2005 Brooks Books
Handout of haiku by George Swede
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 Swist's Silence Between Us.
2. Response paragraphs & memories haiku writing.
3.
Introduction to the history of haiku and haiku poetics.
4.
Haiku writing and editing workshop.
in class reading: Lyles' To Hear the Rain
assignments
for week two (due by email by 11:59pm Tuesdays):
(in class work) email your in class response writing: select favorite haiku from Lyles and briefly write your imagined, felt response. Be ready to discuss why you like them.
(in class work) email your in class memory haiku writing: 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 6-10 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 Wally Swist and (note your questions about haiku from the introduction)
response writings due for next week:
4 favorites from Lyles (you may count ones written in class)
4 favorites from Swist
3 favorites from The Haiku Anthology
EMAIL your paragraphs & haiku by 11:59pm Tuesday to me at: rbrooks@mail.millikin.edu
Class
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.
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.
3.
Haiku editing workshop from attempts.
4.
Kukai selection of favorites by each other.
assignments
for week three (due by email midnight Wednesday):
reading for next week: Matsuo Bashô (chapters 1-5)
response writing for next week: select 6 favorite haiku by Basho and write your imagined response to 3.
response writing: write short paragraph responses to an interesting links from one of Basho's renku in Chapter 3
response writing: write a short response paragraph to one of your favorite haiku from Kukai 1
capping Tan-renga: write capps for 1 of the kukai 1 hokku
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 heat, summer, picnics, fishing, swimming, vacation. try some from childhood memories and some from now
EMAIL your writings to me by 11:59pm Tuesday at: rbrooks@mail.millikin.edu
1.
Sharing and discussing favorite haiku from Matsuo Bashô
(emailed responses due midnight the day before
the class).
2. Collaborative
haiku writing (tan-renga capping verses) & introduction to writing rengay.
3.
Critical reading discussion on history of haiku and haiku poetics
from Traces of Dreams
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
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 (due by email 11:59pm Tuesday):
reading: Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashô (chapter 5) and Matsuo Bashô (chapters 4-5) 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. Find a matching pair using one of Masajo's haiku and one by another author.
response writing: write short response paragraphs to one of your favorite haiku from Kukai 2
response writing: find an example of a favorite haiku in English by fellow students or any book that demonstrate each of the following three types of linking within the two images of a haiku:
(1) word links - puns, homonyms
(2) content links - narrative, scene, progression (extends or changes the story)
(3) scent (intuitive) links - emotion, atmosphere, social scene
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 possible picks (if not selected in class send me an email of the author you would like to study in more depth).
EMAIL your writings to me by 11:59pm Tuesday Night at: rbrooks@mail.millikin.edu
Class
Four - Snowstorm (class canceled)
1.
Sharing and discussing favorite haiku from Love Haiku
2.
Rengay Kukai 1 selection of favorites by each other and Matching Contest Kukai.
3. Reading Rengay & discussing renga tradition.
assignments
for week five (due by email midnight Wednesday):
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 rengay from Rengay 1 and write a response paragraph to one interesting pair from Matching Contest 1
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 or kasen-no-renga if you'd like.)
EMAIL your writings to me by midnight Tuesday at: rbrooks@mail.millikin.edu
SNOWDAY MAKEUP HOMEWORK:
1. Email matching contest kukai— read the haiku in the matching contest kukai 1 and write about your favorite 4 haiku (1 from each row of haiku). EMAIL your favorites to me asap.
2. Read the rengay on Rengy Attempts 1 and write about your favorite rengay and why you like it best. EMAIL your paragraph to me asap. AND read Christina's 36-link Kasen-no-renga Traveling Feathers and write a response to it.
3. Send me the name of the author you are studying for your contemporary author study, unless your name and author are listed below:
Andrea - xxxxx
Barry - Baseball Haiku Anthology
Becky - Dee Evetts
Christina - Einbond
Glenna - xxxxx
Jane - Geert Verbeke
Marcie - Wally Swist
Mary - Jeff Winke
Peggy - Penny Harter
Sarah - Tom Clausen
Sean - Matsuo Basho
Tia - xxxxx
4. Download and print and read Eric Amann's The Wordless Poem handout and bring it to class next week.
5. NOTE that you need to email me versions of your haiku essay, the contents of your booklet of best haiku written this class, your preface to your booklet, and the haiku in your final writing haiku project.
6. and BRING your physical booklet, your essay, MY BOOKS YOU BORROWED, your haiku project, your signature bookmarks for exchange, and your submission ready haiku.
7. Questions about the haiku project? The haiku project can be a series or sequence of haiku on a single topic (snow, divorce, marriage, school, civil war, etc.).
OR you may do a Ginko (haiku walk with friends where you write haiku that come from perceptions and feelings from the walk).
OR you may write 2 more rengay or a Kasen-no-renga with friends or classmates or family.
8. Write and send me 5-10 new snow haiku!
SEE YOU NEXT THURSDAY!
• • •
1. Sharing and discussing favorite haiku from Love Haiku
2.
Critical reading discussion on zen in haiku from Eric Amann's Wordless Poem.
3.
Haiku editing workshop from attempts. (emailed attempts due Tuesday midnight 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 [12 copies]
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 [1 page of 5 haiku and your address] [2 envelopes] [two stamps]
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 6-8 haiku by the author
o include one matching comparison to a haiku by another 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.
|