for 1/17
reading:
To
Hear the Rain, pages 1-64, introductions, prose (and the interview
in the back of the book)
writing:
select
3 favorite haiku and briefly write your imagined, felt response
to them. be ready to discuss why you like them and write 2-3 snow
haiku (not ABOUT snow but about a moment of encountering snow).
(email your responses & 3 haiku)
for 1/20
reading:
another 65-128 pages of Lyle’s book
writing: find three more favorite Lyles
haiku—write your short imagined felt responses to them (one
paragraph each), then go into more depth describing a memory from
your own life (one page) THEN write a haiku for each one which captures
a moment from within that memory from your experience.
for 1/22
reading:
The
Haiku Handbook, Chapters 1-3 & snow haiku kukai
response
writing: select 4-5 of your favorite haiku from the snow
kukai & write a response paragraph for one
response writing: find a favorite Japanese
& Lyles haiku—write your short imagination responses to
them (one paragraph each), then note differences in the Japanese
haiku and Lyles’ work
for 1/24
reading:
exchanged haiku for edits from group (write variations of the haiku
& edit suggestions)
writing
haiku for Friday, January 26:
try 5-10 haiku based on childhood memories rising up in your mind
from reading Peggy Lyles' haiku (exchange for Monday and edits for
Wednesday). (five to ten haiku attempts due for our first workshop
day—send copies to your group, and cc email to Brooks as an
RTF attachment)
for 1/27
reading:
re-read the chapters 2-3 on Japanese haiku in the Haiku Handbook
and write ¶ on imagined responses to 2 favorites (1 from older
times & 1 from modern)
writing:
(select your favorite from each person and write a short
imagined response to it) & write an imagined memory from associations
from 1 haiku written by a classmate concluding with a new original
haiku by you (or variation of their original haiku by you) email
your responses to Dr. Brooks
for 1/29
writing:
revise your haiku and send them to Dr. Brooks by midnight
Tuesday January 28
for 1/31
writing: select your favorite 7-8 haiku
from the Childhood Memory kukai
and write a short paragraph response to at two of them. only 1 of
your paragraph response haiku should be from your own reading group.
send me your selections and response paragraphs by midnight Thursday
January 30
for
2/3
reading:
Chapter 7 in Haiku Handbook and the season word list (pages
267-286) and write a paragraph about one favorite haiku from chapter
7
writing:
write
2 or 3 haiku using an image ("kigo") from the season word
list for Winter or New Year's (pages 281-286 in the Haiku Handbook)
writing:
find 2 favorites among Lyles' haiku (one that seems to be very clearly
seasonal and one that doesn't seem to have the season element) &
write a paragraph response to these haiku including what the seasonal
or nature connection adds to the haiku
for
2/5
reading:
haiku by Lee Gurga in Global Haiku Anthology & The
Haiku Anthology
writing: select 2 favorites by Gurga
& write a short imagined response to 1 favorite and an extended
memory response to the other favorite. Extended response? (go ahead
and explore the memories one bring up for you fully writing about
that memory and writing 2-3 memory trigger haiku in response)
for
2/7
reading:
Love
Haiku by Masajo Suzuki
response writing:
3 favorites from Massjo’s Love Haiku and an extended
memory response to one including 2-3 haiku from your memory
for
2/10
haiku
editing : read haiku
attempts set 3, select 5-6 favorites that need no edits and
select 3 haiku that would be very good with edits (write variations
or edit suggestions for 3 attempts)
each
group with focus on a certain portion of the attempts pages (as
designated in class)
response
writing: read and select 1favorite
from the issue of Mayfly & write a paragraph response
for
2/12
haiku
editing :
send
your group edits to me and I will post them on the web site (visit
the web site to see edit suggestions for your haiku and send me
your final edits by Midnight Thursday
response
writing: 2 more favorites from
Massjo’s Love Haiku briefly discussing one that shows
how Masajo deals with issues of imagination and discussing another
one which deals with issues of morals or ethics. Do all of Masajo's
haiku have this dual layer of meaning and purpose—the immediate,
felt moment AS WELL AS another layer of meaning and significance?
for
2/14
reading:
Classical Tradition of Haiku and select 4-5 favorites. write
a short response to 2 favorites
writing:
2 haiku using imagination from different perspectives and 2 haiku
from direct experience memories (especially related to theme of
love and valentine’s day)
for
2/17
reading:
Classical Tradition of Haiku and select 4-5 favorites. write
a short response to 2 favorites (if you haven't done this yet)
writing:
2-3 more haiku from Valentine's Day or love and romance haiku moments
for
2/19
reading:
Preface and chapter 1 of Matsu Bashô by Ueda. Write
a paragraph response to 1 favorite by Bashô from this chapter.
writing:
Write a haiku in response to one of Bashô's haiku.
for
2/21
response
writing: Valentines
kukai. Select 10 favorites and write a response to 1. Send your
responses to Dr. Brooks by midnight, Thursday, February 20.
for
2/24
reading:
Chapter 2 of Matsu Bashô by Ueda. Select four favorites
from Bashô (including one from Ueda's four different phases
of his work).
writing:
Write an extended memory response to one of Bashô's haiku,
and end your extended memory with an original haiku or two.
for
2/26
reading:
Haiku
Handbook, chapters 4, 5 & 8 (on form) and chapter 9 (craft).
select 1 favorite and write a short response to it
haiku
editing/writing:
take two existing haiku you’ve written (but not edited or had
in a kukai) and create 2-3 variations of each experimenting with
the use of space and alternative ways of conveying its form on the
page
for
2/28
group
genre analysis: As
a group, compare the essentials of your genre with haiku as a genre.
What do you like best in top-quality examples of both your genre
and in haiku?
We
noticed that the definitions of genres, especially literary genres,
usually includes some expectations of form or structure, so our
next question is to consider the formal elements of haiku. But genres
also include certain expectation of content and aesthetic experience.
We
divided into groups with different focuses on form in haiku for
each group:
o
syllables or conciseness expectations
o two units (often two images in juxtaposition)
o kireji—the cutting word (or breaking point in English)
o grammatical incompleteness—invites reader into the moment
for completion
(not a sentence)
o natural speech or rhythmic expression of perceptual thought
o number of lines and line breaks and use of spacing
o punctuation in haiku
Bri (et al) group 1: the use of space on the page to control the
form of haiku
Jared
(et al) group 2: haiku as incomplete, not a sentence, as a defining
element of haiku form. (how the elements of natural English language
phrasing and word order used). may be related to verbs (or the
lack of verbs in haiku)
Paul
(et al) group 3: the use of punctuation in haiku to indicate formal
relations of parts
Tricia
(et al) group 4: the use of line breaks and phrasing in haiku
Miranda
(et al) group 5: the use of punctuation in haiku
reading:
The
Haiku Anthology, intro-through page 88 (Amann through Hotham)
select 4 favorites and write a short response to two
writing:
Write an extended memory response to a favorite from THA,
and end your extended memory with 2-3 original haiku experimenting
with elements of form.
for
3/3
critical
analysis of form: find and analyze two effective haiku from
The Haiku Anthology as examples to discuss on your issue
related to form. For each example, write a short response to the
haiku including a response to form elements in that haiku.
critical
analysis of form: find and analyze one effective haiku born
in one of our previous class kukai as an example to discuss
on your issue related to form. Again, write a short response to
this haiku including a response to form elements in that
haiku.
for
3/5
group
presentations: guidelines on form in haiku: be prepared to
share and discuss examples of your question on form variations in
haiku. be sure to include guidelines for effective use of form for
emphasis with examples from kukai haiku and haiku from The Haiku
Anthology.
writing:
Write 3-5 haiku for the next kukai which is going to be on Mardi
Gras and/or Ash Wednesday. send your 3-5 haiku to me by midnight
Wednesday, March 5.
for
3/7
response
writing: attempts 4 & Ash
Wednesday kukai. Select 10 favorites and write a response to 1 just
because it is a favorite and write a response to formal elements
in another 1 you like. Send your responses to Dr. Brooks by midnight,
Thursday, March 6.
for
3/10
reading:
The Haiku Anthology, 89-188. select three favorites with
short response paragraphs to 2. write a response to 1 just because
it is a favorite and write a response to formal elements in another
1 you like. (We will be looking at use of punctuation too.)
for
3/12
reading:
The Haiku Handbook, chapter 13
response
writing: 3-4 favorites by a
single author from The Haiku Anthology or Global Haiku with short
response paragraphs to all three
writing:
Write 3-4 original haiku in response to favorites from the Haiku
Anthology. You may want to try the borrowing one image approach
(reword it through your imagination). "wet snow—".
Send these haiku to your reading group members by email to be ready
for edit suggestions and capping choices.
for
3/14
writing:
tan-renga writing (cap the 6 haiku of your choice from the handout
and 2 from your reading group editing exchanges)
contemporary
author study:
select a contemporary haiku author of choice (any culture) for further
research or email me for suggestions of certain authors you may
wish to study. by 3/14 you should select an author for further study
for
3/24
haiku
writing for Spring Break kukai:
5-10 spring break haiku (wherever you are) please only moments
worth capturing and saving as haiku (or senryu) . . . those moments
of high awareness or significance or emotional impact or WHAT IS
THE BEST SOURCE FOR YOUR BEST HAIKU? have fun! email your spring
break haiku to me by midnight Sunday night, March 23 (for handout
on Monday March
extra
credit: share
a selection of your best haiku written so far with family, friends
and others over spring break and ask them what they imagine and
feel from them. Have them pick favorites and tell why they like
those. For extra credit. report back to me about the 3-5 top favorites
they like.
for
3/26
reading:
Ueda's Matsuo Bashô, chapter 3.
response
writing: write a short paragraph
about 2 favorite links from The Monkey's Cloak, especially
why you like the way the second link shifted or adjusted the feeling
of the previous link.
response
writing: write a short response
to 1 favorite from the Spring Break kukai (it can be one that wasn't
yet born or one we discussed) then write either a cap for it or
a haiku in response to it.
for
3/28
reading:
Traces of Dreams, introduction and chapters 1-2 (pages 1-51)
and email a question that arose for you during this reading
writing:
write two rengays (a 2 person rengay and a 3 person rengay) (1
due Friday; 1 due Monday)
(1)
one with class members or former haiku students
(2) and one with at least one newcomer to haiku writing (you’ll
have to guide them)
for
3/31
reading:
Traces of Dreams, chapters 3-4
response
writing: find an example of
a favorite haiku in English (by the author you are studying or from
one of our class kukai) that demonstrates each of the following
3 types of linking:
(1)
word links—puns, objects
(2) content links—narrative, scene, progression
(3) scent links—emotion, atmosphere, social status
writing:
write your second rengay 1 due Monday
extra
credit: attend
the Lee Gurga presentation on haiku at 7:45 in the Fireplace Room
of RTUC and writer a short response to Gurga's talk (1 page). This
talk is part of the Illinois Philogical Association meeting at Millikin
this weekend. (You are invited to the talk without registration
for the conference.)
for
4/2
response
writing: select your favorite
rengay from class rengay (1 or 2) and write a short response why
you like it. discuss why the linking or movement works for you
reading:
Traces of Dreams, chapter 5
extra
credit (by next Monday, 4/7): write
a rengay or a longer sequence of linked haiku with the principle
of no more than three links being ninjô or ninjô-nashi
verses in a row.
•
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
guidelines
for
a 36 link kasen renga (mix the ninjô & ninjô-nashi):
(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
for
4/4
reading:
Matsuo Bashô, chapter 5 (on critical commentaries)
response
writing: write a short paragraph
or two about Bashô's approach to critical commentaries. what
do his preferences show about Bashô's sense of excellence
in haiku? (discuss at least 1 pair)
writing:
2-3 spring haiku and 2-3 college student senryu
for
4/7
matching
contests pairs: write
a critical response to one of your matching pairs (appreciating
both and explaining why one was chosen for the next level) from
the college senryu & spring haiku matches
reading:
Matsuo
Bashô, chapter 4 the prose, pages 112-146 and the Haiku Handbook,
209-221on haibun (no response writing due)
for 4/9
writing
haibun: 2
haibun (one chapters a place vibrant with memories) (one conveys
the soul and inner essence of a person)
for
4/11
reading:
George
Swede's Almost Unseen. select 3 favorite haiku or senryu
and write about one in the following "matching pair" approach—match
a haiku
with one from George Swede and write a "matching comparison"
response appreciating both
reading
response: read
the 2 sets of haibun— people haibun
or place haibun —by students
in our class and write a paragraph about why one is your favorite
haibun OR write a new haibun instead
for
4/14
reading
response: read
Swede's introduction in Almost Unseen and in Global Haiku.
For Swede, what are characteristics of the the highest quality,
most valuable haiku? what does he value as significance in a haiku?
Summarize Swede's goal in a short paragraph, using at least one
example of Swede's own haiku to briefly discuss this.
contemporary
author reading response: a
short speculation about the underlying values or sense of significance
you find in the haiku of the author you are studying. what does
your writer see as the most important, valuable things to write
about? what does your writer seem to express as significance through
their haiku?
for
example, Bashô shifted his critical goal in writing haiku
from witty word games to nihilistic sabi to finally a sense of
social enjoyment of being alive—a lightness sometimes called
"karumi"
writing
haiku:
Entries to each kukai are due midnight Sunday, April 13—up
to 2 haiku per kukai from each student. These will be judged as
kukai or by matching contest method by the groups.
Six kukai competitions this spring:
group
1: storms— jgriebel@mail.millikin.edu
group 2: embarassing moments (senryu)— eosmus@mail.millikin.edu
group 3: two senses— mbaker@mail.millikin.edu
group 4: barbeque— aludek@mail.millikin.edu
group 5: birthday— sorr@mail.millikin.edu
for
4/16
reading:
The Wordless Poem by Eric Amann.
reading
response: For
Amann what is the significance conveyed by haiku? What are your
questions about Zen and haiku?
The
best haiku from each kukai will be announced, appreciated and awarded
by the groups on Wednesday, April 16.
for
4/23 (emails due Midnight 4/22)
reading:
Chiyo-ni: Woman Haiku Master
reading
response: find
three favorites by Chiyo-ni and write your paragraph of appreciation
with special attention to the Zen principles as demonstrated in
her haiku
wordless—brevity
and incompleteness of haiku derives from the Zen goal of "handling
the thing itself and not an empty abstraction"
suchness—things
are included as themselves, just as they are. we do not use things
to convey meanings.
nothing
special—haiku and Zen do not deal with the big ideas, the
grand moments, but simple, everyday events and things. ordinary
life
season
word—the seasonal element extends the haiku into the larger
cycle of changes and represents a completeness in each year’s
cycle
selfless—the
haiku is not about the haiku writer, his thoughts, his ego, his
private emotions. the haiku remains impersonal so that others
can enter into the moment for themselves.
oneness—everything
is connected. the goal is not to separate nor to distinguish the
self from the world or things from each other, but to bring them
into communion. the goal is to merge identity so that there is
no Self versus Nature, but merely self and nature.
reading
for contemporary author essay: select
3 favorite haiku by your contemporary author you have not discussed
before that demonstrate some of Amann's Zen principles and write
short paragraphs in response to why you like them. see if you can
find a variety of the types of links from your contemporary author.
Does
your author tend to use certain types of links betweeen their
images more than other types? Word links? Scent links? Content
links? Does your author lean more towards the person (and emotion)
based haiku or objective nature (no person there) kind of haiku?
haiku
writing: 5-10
new haiku coming from your own sense of significance in your life.
Write these out of your own tradition of deep contemplation or awareness
of moments of value to you . . . these may come from time with family,
time with friends, the beauty of the spring, Easter, spiritual perspectives,
meditation.
(Okay,
if you want to try writing some haiku from the Zen principles, that
would be fine as well. I just didn't want to force everyone to take
up that approach. I want you to start finding your own path in writing
haiku. Where do you go with your haiku on your own initiative?)
for
4/25
reading:
Masaoka Shiki: His Live and Works, preface & chapter
two
writing
response selections: select
2 favorites by Shiki and write a short response to one and a longer
association of memory to a second one (followed by your own original
haiku)
for
4/28
writing
response:
select 7-9 favorite haiku from the kukai and write about 2 favorites
|| Open Kukai
for
4/30
writing:
contemporary author essays due
FINAL
KUKAI submissions:
Select 4-5 or your best haiku and senryu from the semester for our
final class kukai (due by midnight 5/1) and also submit your entry
for the best haibun and best rengay/kasen competition.
for
5/2
writing:
matching comparison essays due
(comparing
your contemporary author with another cultural perspective)
o raise the question or
point of interest in matching these for comparison
o include 3 or 4 matched
pairs of haiku (bringing out the best of each in the comparison)
o be sure to draw some
conclusion or points of significance overall in the final page(s)
writing
response selections: final
kukai selections from the web site—select your 10 favorite
haiku or senryu and write about your favorite haiku and your favorite
senryu. Select your favorite haibun and linked verse. Final semester
awards will be based on favorites selected and Dr. Brooks' selections.
Final
Kukai || Final Haibun Kukai
|| Final Renku Kukai
for
5/5
projects:
bring your haiku projects & signature haiku for exchange
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 30 copies for
gift exchange.)
for
5/12
Personal
Best Collection—a
small booklet of your personal best haiku, including a preface about
your approach and feelings about writing haiku (why you selected
these for inclusion in your collection) AND a reader's introduction
(favorites and overview from a reading partner).
possible
extra credit assignments:
extra
credit 1: share
a selection of your best haiku written so far with family, friends
and others over spring break and ask them what they imagine and
feel from them. Have them pick favorites and tell why they like
those. For extra credit. report back to me about the 3-5 top favorites
they like.
extra
credit 2: attend
the Lee Gurga presentation on haiku at 7:45 in the Fireplace Room
of RTUC and writer a short response to Gurga's talk (1 page). This
talk is part of the Illinois Philogical Association meeting at Millikin
this weekend. (You are invited to the talk without registration
for the conference.)
extra
credit 3: Ginko—a
haiku walk by a group of haiku writers in which everyone just enjoys
the walk together, stopping to notice things and to write haiku
from shared experience. Put together a small collection of your
best Ginko haiku (photographs optional).
extra
credit 4: write
a rengay or a longer sequence of linked haiku with the principle
of no more than three links being ninjô or ninjô-nashi
verses in a row.
extra
credit 5: write
a third haibun (place or people or philosophical insight).
(three
extra credit assignments allows you to replace one
of the shorter assignments from the CHOOSE set below)
Upcoming
projects:
REQUIRED
BY EVERYONE:
Contemporary
Author Essay—discuss
a single contemporary author's haiku (6-10 haiku including your
responses and/or gathered responses) with an overview about the
essence or source of significance in that author's work (their approach
and content and style of haiku). due
April 30
check
the Millikin bibliography for possible book resources: http://www.brooksbookshaiku.com/MillikinHaiku/haiku/research.html
o
audience? informed haiku readers who want to know more about
an author
o point of focus about the author? (range, style, voices,
content, attitude, zen)
o organization strategy (back and forth, progression, range,
consistency?)
o open with an intriguing question that drew you into selecting
that author
or that draws readers into your essay
o provide some organizational preview or framing paragraph
o fully discuss and provide reader response help to 6-10
haiku by author
Personal
Best Collection—a
small booklet of your personal best haiku, including a preface about
your approach and feelings about writing haiku (why you selected
these for inclusion in your collection) AND a reader's introduction
(favorites and overview from a reading partner). due
May 12 (at final)
CHOOSE
2 of these 3:
Contemporary
Author Profile or Book Review—short
biographical interview and web profile of the author or a review
of one of the author's books due
April 30
Matching
Haiku Comparison—find
3 pairs of haiku by your author and another author for comparison
following Bashô's matching contest critical method. conclude
with overall comparison of the authors due
May 2
Haiku
Project—bring
your passion and connect it to haiku (photography & haiku) (music
& haiku) (history and haiku) (psychology & senryu) (a kasen
renku) (baseball haiku) (a collage of haiku) (haiku web site) (anthology
of love haiku) . . . have fun with this. make it your dream assignment.
due
May 5
o
variety of media and possible teams approach
o may be creative or critical
project ideas from previous semesters?
o haiku and original art (pen and ink haiga)
o photographs and haiku
o a study of aesthetic response to haiku
o death haiku
o haiku play on Alexis Rotella's relationships haiku
o travel journal haiku
o folk song haiku collection
o unit plan on haiku for 4-6th grade students
o a haiku-flute composition
o family history in haiku and photographs
o animated multimedia haiku show
o teaching objectives—haiku across the disciplines
• • •
Students
& contemporary haiku authors being studied:
Aaron
Meyer--Lee Gurga
Alyson Ludek--Michael Dylan Welch
Amy Soderberg -- Marlene Mountain
Bill Flowers --Alan Pizzarelli
Bri Hil --Peggy Lyles
Candace Golden --Alan Gettis
Chrissy Hulse --Alexis Rotella
Christopoher Bronke --Nicholas Virgilio
Courtney Ruffner --John Wills
Jennifer Griebel --Bernard Lionel Einbond
Jessica May --George Swede
Julie Forehand--Karen Sohne
Kelly Carruth --Lenard D. Moore
Lauren Taylor --Cor Van den Heuvel
Matt Whitsett --Tom Clausen
Michele LaBrose --Carol Montgomery
Miranda Baker --Betty Drevniok
Nate Carden--Art Goodrich
Paul Scherschel --Bruce Ross
Ryan Jones--Yatsuka Ishihara
Stacey Orr --John Stevenson
Tricia Scholl--Bill Pauly
Xiu Ying Zheng --Yoshino Yoshiko
extra
resources to read:
on
literary allusions, metaphor and haiku as literary imagination read:
http://www.lowplaces.net/beyond_the_haiku_moment.html
by Haruo Shirane