for
1/23
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 haiku
on the coldness (not ABOUT the cold but about a moment of encountering
the cold--cold wind, cold walk, cold hands, cold car). (email your
responses & 3 haiku by midnight Thursday, January 22)
for
1/26
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
(about one page) describing a memory from your own life THEN write
2-3 haiku which capture different moments or feelings from within
that memory from your experience. (email your responses & memory
& 2-3 haiku by midnight Sunday, January 25)
for
1/28
reading:
Haiku A Poet's Guide, Intro & Chapter 1 (through page
12) and the Cold Kukai haiku
group writing response: why does Peggy Lyles choose to write haiku
about these moments?
writing
response: select
3-5 favorites from the haiku kukai 1 on the Cold, Kukai
1 Cold, write a short imagined response to one. send me your
list of favorites and your response paragraph by midnight, January
27
for
1/30
reading:
exchanged snow & cold haiku for edits and responses on Friday
writing:
try 4-5 more haiku on snow or based on memories of snow (email your
snow haiku to the other members of your group and copy them to Dr.
Brooks by midnight January 29)
for
2/2
editing
group haiku:
from the haiku attempts for edits and responses Two-Cold
we looked at in class on Friday (or on your own later) send me variations
and edit suggestions of at least one haiku by each member in your
group (copy your edit variations to each other in the group) by
midnight, Feb. 1
editing
group haiku:
send me edits and variations for 3-4 other haiku by writers not
in your group by midnight, Feb. 1
for
2/4
reading:
Haiku A Poet's Guide, first half of Chapter 2, pages 13-32
(form & season)
reading
responses: send
me 2 questions you have about the essentials of haiku and select
a favorite haiku from chapter 2 and write a short imagined response
to it. send me your 2 questions and your response paragraph by midnight,
Feb. 3
writing
response: write
about 2 favorite haiku by Peggy Lyles—discuss the form of one
and discuss season in the other Peggy Lyles' haiku. send me your
2 paragraphs to me by midnight, February 3
editing
group haiku:
send me your final edits of your own haiku
for
2/6
reading:
Haiku A Poet's Guide, rest of Chapter 2, pages 33-53 (context,
juxtaposition, nouns & sensory images)
reading
responses: send
me 1 question you have about the essentials of haiku from 2nd part
of Chapter 2
writing:
find a favorite haiku from your reading—write your short imagined
felt responses to that haiku (one paragraph), then go into more
depth (3-4 paragraphs) describing a felt memory from your own life
THEN write 2-3 haiku which capture different moments or feelings
from within that memory from your experience. (email your response
& memory & 2-3 haiku by midnight Thursday, Feb. 5)
be
sure to follow this example for responding to a favorite haiku:
second
husband
painting the fence
the same green Carol
Montgomery, HAPG, 26
Be
sure to capitalize the haiku exactly as in the book, and give the
author's name and the book abbreviation, and page number. You can
spell out the name of the book if you wish:
Valentine's
day
her reaction
is my gift Matt
Eichhorn , Haiku: A Poet's Guide, 26
for
2/9
reading:
memory kukai selections from Kukai
2 Memories & pick 6-10 favorites and write a imagined response
paragraph to 1 favorite and a new haiku back to the other favorite.
send me your list of favorites and your response paragraph and response
haiku by midnight, February 8
for
2/11
reading:
Global Haiku Anthology by Swede & Brooks, Introduction
and haiku from pages 5-51
reading
responses: compare
this introduction to the essential elements of haiku to Lee Gurga's
"Art of Haiku" What is one of the most essential elements
according to Swede?
writing:
find two favorite haiku from the reading and write a short response
paragraph to both of them and write a response haiku to one favorite
from the reading. (email your response paragraphs and 1 response
haiku to me by midnight Tuesday, Feb. 10)
for
2/13
writing
haiku :
write 5-6 love/Valentine's Day haiku in honor of the approaching
holiday. Not necessarily all lovey-dovey cliches, but love, lust,
crushes, unrequited love, bitterness about love, winter dance, sock
hop and so on . . . Send your Valentine's Day haiku to all members
of your group and to Dr. Brooks by midnight, February 12.
reading
groups meet on Friday or sometime before Monday 2/16
(wherever you want to and whenever) to (1) edit your group's Valentine
haiku and send me your edits for the Valentine's Day kukai, and
to (2) write your group's statement of the essential elements of
your favorite haiku . . . what are characteristics of your favorite,
most effective haiku (use at least 2 examples from readings so far).
Email the group edits and group statement on haiku essentials by
midnight Sunday, February 15.
group
writing response: what
are the essential elements of haiku? What makes some haiku better
than others? How would you define or describe the characteristics
of haiku? What must a haiku do (for? with?) for readers to be effective?
for
2/16
group
presentations: one
of the essential elements of haiku? What makes some haiku better
than others? What must a haiku do (for? with?) for readers to be
effective? (with examples from previous student work this semester
or previous semesters)
writing
haiku :
submit 2-3 best love haiku by each person (after editing in your
group) for our belated Valentine's day kukai. email your 2-3 edited
haiku by midnight, Sunday February 15
for
2/18
reading
responses:
kukai selections from Kukai 3 Love
& pick 6-7 favorites and write a imagined response paragraph
to 2 favorites (at least one from outside your own group). send
me your list of favorites and your response paragraphs by midnight,
February 17
for
2/20
reading:
Love Haiku by Masajo Suzuki, Introduction and haiku from
pages 1-64
reading
responses:
find two favorite haiku by Masajo and write a short response paragraph
to both of them and write one response haiku to a favorite from
Masajo. (email your2 response paragraphs and 1 response haiku to
me by midnight Thursday, Feb. 19)
for
2/23
reading:
Love Haiku by Masajo Suzuki, haiku from pages 65-128
reading
responses:
find another favorite haiku by Masajo and write a short response
paragraph to it. compare another favorite haiku by Masajo with a
favorite haiku by Peggy Lyles (email your response paragraphs to
me by midnight Sunday, Feb. 22)
for
2/25
reading:
Global Haiku, haiku by Raymond Rosliep, pages 81-84. write
a paragraph response to a favorite haiku and send it to me by email
by midnight Tuesday, Feb. 24)
writing
haiku :
Write a short memory paragraph about Mardi Gras or about Ash Wednesday
(or a moment of spiritual contemplation) and submit 5 haiku on Mardi
Gras, Lent or Ash Wednesday. Again do not just write cliche thoughts
about these. put us into moments of feeling and memory and reverence
(email your haiku to me by midnight Tuesday, Feb. 24)
for 2/27
reading: The Haiku Anthology, pages 1-60. select 4 favorites and write a paragraph response to 2 favorite haiku. send it to me by email by midnight Thursday, Feb. 26)
for 3/1
reading responses: kukai selections from Kukai 4 Mardi Gras & Lent and pick 6-7 favorites and write a imagined response paragraph to 2 favorites (at least one from outside your own group). send me your list of favorites and your response paragraphs by midnight, February 29 Kukai 4 Mardi Gras & Lent favorites
for 3/3
reading: The Haiku Anthology, pages 60-157. select 5 favorites and write a paragraph response to 2 favorite haiku and a haiku in response to 1 favorite. send me your two paragraphs and one haiku by email by midnight Tuesday, March 2)
for 3/5
reading: Chapters 1-2 of Matsuo Bashô by Ueda (pages 1-68). Select four favorites from Bashô (including one from Ueda's conception of four different phases of his work). Write a paragraph response to one.
writing: Write an extended memory response (2-3 paragraphs) to one of Bashô's haiku, and end your extended memory with an original haiku or two. send me your 2 paragraph responses and original haiku by email by midnight Thursday, March 4)
for 3/8
reading: Mayfly magazine issue 36. select one favorite haiku and write your imagined response to it. Write a haiku back to another favorite. email me your paragrph and one original haiku by midnight Sunday, March 7
group genre analysis: As a group (with your designated leader/writer), 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? This group discussion and work will be conducted during class on Monday, March 8.
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.
for 3/10
group genre analysis short essay: As a group write a short essay comparing your genre with the genre of haiku. Use at least one example of the genre being compared and three or four haiku as examples for various points of comparision. These will be presented to the class in quick-overview presentation on Wednesday, March 10.
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. email me your 2 original haiku and variations by midnight Tuesday, March 9
for 3/12
group genre analysis presentations
for 3/15
reading responses: kukai selections from Kukai 5 and pick 8-9 Kukai 5 favorites and write a imagined response paragraph to 2 favorites. send me your list of favorites and your
2 response paragraphs by midnight, March 14
for 3/17
reading: Haiku A Poet's Guide, pages 55-105
group form element analysis: As a group analyze the effectiveness of your group's element of form in the genre of haiku.. What are some good guidelines for the effective use of this formal element?
o team Ben—the pause—silence and movement between two images
o team Alison—kireji—the cutting word (or breaking point in English)
o team Leigh—grammatical incompleteness invites reader into the moment for completion
(not a sentence)
o team Sarah—the ellipsis & element of surprise
o team Travis—number of lines and line breaks
o team Molly—punctuation in haiku
reading responses: Each student find and analyze one effective haiku born in one of our previous class kukai and another example from any of our readings as 2 examples to discuss on your issue related to form. Again, write a short response to these haiku including a response to form elements in that haiku. Email your examples and responses to your group members and to me by March 16.
group genre analysis short essay: As a group write a short essay on the effective use of form in the genre of haiku. One page per group member max and one page for overall guidelines or insights about form in haiku. Submit these by email before you leave for spring break.
for 3/29
spring break kukai: write 5-10 haiku over spring break (okay, senryu too!) have fun! email your spring break haiku to me by Sunday night, March 28
reader responses to your haiku: share 10-12 of your own haiku with family, friends and others over spring break and ask them to pick favorites and why they like those. report back on which of your haiku are favorites
for 3/31
reading: Haiku A Poet's Guide, pages 119-123 (on renga and haibun)
writing rengay: write 2 rengay (a 2 person rengay and a 3 person rengay)
(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)
How to write rengay? Here's a guide (download RTF guide). Send me your 2 rengay by midnight, March 30.
for 4/2
reading responses: kukai selections from Kukai 6 Spring Break and pick 8-9 Kukai
6 Spring Break favorites and write a imagined response paragraph to 2 favorites. send me your list of favorites and your
2 response paragraphs by midnight, April 1
for 4/5
reading: Bashô (Chapter 3 The Renku) , pages 69-111 and email me about a favorite link in one of the renku.
writing: write 3-5 spring haiku (get past the clichés) and make it real (still cold, wet, stormy, warm, giddy).
For extra credit go on a Spring Ginko with friends (a walk or excursion outdoors with a small group with the intent of enjoying the place and writing haiku). A fifteen haiku ginko with 3 people equals one of our upcoming short essays.
for 4/7
reading: Traces of Dreams, Chapters 1 and 4, pages 1-29 and 82-115. find and write about an example of a favorite haiku in English (by a fellow student or from your books) 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 tan-renga: write a capping verse to at least three of the class starting verses
for 4/14
reading: The Haiku Anthology, pages 158-327. select 5 favorites and write a paragraph response to 2 favorite haiku and an extended memory response to 1 favorite (ending with 2-3 haiku from your memory). send me your three paragraphs and extended memory haiku by email by midnight Tuesday, April 13)
reading response: email me which is your favorite rengay from class and VERY BRIEFLY why discussing the links that are especially effective in your favorite rengay (April 13) (yes, use the Shirane's categories)
writing intent: let me know which author you would like to study in more depth for your single-author study. the author does not have to be in the anthologies, but let me know who you would like to study by midnight April 13
for 4/16
reading: Traces of Dreams, Chapter 5, pages 116-159. Read the student kasen renga by Bri Hill and students from Spring 2003 Global Haiku Traditions at: http://www.brooksbookshaiku.com/MillikinHaiku/haiku/studentrenga/Grasshoppers&Tobacco.html
reading response: email me your favorite cap for each of the tan-renga and write about 1 favorite tan-renga due Thursday, Midnight April 15
(1) ninjô verses—people or emotion verses (self, other or both) (I, you, us, he or she, they perspectives)
(2) ninjô -nashi—non-peeople or place verses
Extra credit version—try a 36 link kasen renga:
(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 4/19
reading: Bill Pauly's haiku in Global Haiku, pages 77-78 and handout. And read Raymond Roseliep's haiku in Global Haiku, pages 81-84 and in the Haiku Anthology, pages 160-167. Write a paragraph in response to a favorite by Bill Pauly and a favorite by Raymond Roseliep. Due Sunday night, April 18
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. Due Sunday night, April 18
for Tuesday, 4/20 & 4/21
reading response: select 5 favorite haiku from the Bill Pauly Workshop and write a paragraph about 2 favorites AND write variations for 2 haiku you think could be improved by editing. dueTuesday, Midnight April 19
SPECIAL guest haiku workshop and reading on April 20:
4pm haiku writing workshop with Bill Pauly • Shilling 322
7pm haiku reading • Pilling Chapel (friends welcome)
for 4/21
class interview with Bill Pauly on 4/21 and discussing some Bill Pauly Workshop Favorites
for 4/23
reading: Matsuo Bashô by Ueda, chapter 5 the critical commentaries, pages 147-169.
reading response: using Bashô's technique of matching pairs of haiku, find two haiku you want to place side by side for discussion and comparison. Write a short paragraph discussing them and why you like one better. due Thursday, Midnight April 22
for 4/26
reading & responding to your author: write a paragraph response to 3-4 favorite haiku by one author. share these haiku with friends and collect a variety of responses to them. do on an extended memory response to 1 favorite by your author (then write 2-3 haiku from your memory). send me your 3-4 favorites responses and extended memory haiku by email by midnight Sunday, April 25
matching critisicm response: find an interesting matching haiku to one of your author's haiku and write a matching comparison of these, due midnight Sunday April 25
for 4/28
for extra credit reading: Masaoka Shiki by Janine Beichman, chapter 2, pages 31-73. find a favorite haiku by Shiki and write a response paragraph or comparison response to another haiku by your author. emailyour paragraph by Thursday April 29
matching contest: Matching
Contest 1 comparisions in class
group sets final contest: each group sets a final contest matching contest DUE midnight, April 26
submit 1 haiku or senryu on the topic to the designated email person:
SUMMER LOVE — LKITCHELL
FACES — MRITTER
BASEBALL— ADOUGLASS
CAMPING — BKRESS
FIRE — JLSCHULTZ
POLITICS — CHanik
for 4/30 — group matching contest results
matching contest results : each group presents the results of their matching contest (the matched pairs, and paragraph discussions of at least one pair written by each member of the group). each group needs to send me the results of the contest (including names of authors) and the critical commentaries by email by Thursday midnight, April 29. See the resulting Matching
Contest Commentaries
for 5/3 — Contemporary haiku author reader response essays are due by email, May 2nd, Sunday midnight. Kasen-no-renga are due by email, May 2nd Sunday midnight. Bring your essays and renga to class for sharing
for 5/5 — final kukai submissions due by midnight, Tuesday May 4
5/7 — Haiku projects are due in class Friday, May 7th. (Email copy of text elements by midnight May 6.)
for 5/10—Final Kukai & select 10 Final Kukai Favorites and send me a paragraph response to 2 favorites by Sunday midnight. Also send me an email version of your final collection (including the introu and your reading buddy's intro.)
Don't forget to bring your signature gift exchange haiku (29 copies) Monday.
5/10 — Signature haiku gift exchange and haiku chapbook collections are due Monday, May 10th. Final kukai day.
5/14 — Final Exam Reading & manuscript submission ready (includes SASE)
10:30-12:30pm
Fireplace Room, RTUC (bring your chapbook and 2-3 friends for our class reading).
Contemporary haiku author reader response essays and Kasen-no-renga are due Monday, May 3rd.
Haiku projects are due Friday, May 7th.
Signature haiku gift exchange and haiku chapbook collections are due Monday, May 10th.
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.
Guidelines on final haiku chapbook collections:
Select and organize your best haiku & senryu & haibun & renga into a collection (with your reading partner's help). You may want to write them in a little booklet, or print them in a binder.
Give your collection a title and a © 2004 page. (often signature haiku are connected to the title)
Include a dedication 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).
Ask your reading partner to write a short introduction to your collection, maybe pointing out one or two favorites--or their observation about something unique about your haiku (the reader's introduction). The reader's introduction should help strangers appreciate and value your collection.
Don't forget to e-mail a copy of the collection to Dr. Brooks!
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
Each student chooses a haiku author for more in-depth study. The following authors have been selected:
Alan Pizzarelli--Cliff Ault
Alan Pizzarelli--Abe Millikin
Michael McClintock—Mike Mays
Peggy Lyles--Jenny McGeehon
Peggy Lyles--Alison Burns
Peggy Lyles--Jennifer Rule
Gary Steinberg--Travis Meisenheimer
John Stevenson--Alida Duff
George Swede--Colby Hanik
George Swede--Casey Wilen
Gary Steinberg--Travis Meisenheimer
Jack Kerouac--Nick Curry
Alexis Rotella--Sylvia Hilton
Alexis Rotella--Molly Pufall
Bob Boldman--Katie Steimann
David Cobb--Tony Douglass
Caroline Gourlay--Maureen Ritter
Cor Van Den Huevel--Brianne Dilbeck
Raymond Roseliep--Ben Kress