Advanced Studies in Poetry: Global Haiku Tradition
EN 340/IN350 Spring 2005
Dr. Randy Brooks
Millikin University
MAC 014a
rbrooks@mail.millikin.edu

Global Haiku Tradition Assignments

All writing assignments are to be submitted by email attachment. Please save your files as "Rich Text Formt" RTF documents and include your initials or name with each file sent.
Send them to: rbrooks@mail.millikin.edu

Haiku to Edit 1

Kukai 1 & Kukai 1 favorites

Kukai 2 Childhood & Kukai 2 favorites

Kukai 3 Mardi Gras & Lent & Kukai 3 favorites

Kukai 4 Love & Kukai 4 favorites

edits for Winter Calm haiku

kukai 5 on Winter Calm & Kukai 5 favorites

tan renga 1 & tan-renga capped & tan-renga favorites

rengay attempts 1 & favorite rengay 1

kukai 6 Spring Break & Kukai 6 favorites

Kasen Renga Spring 2005

Matching Contest 1 Silence
Pair Comments 1 & Favorites 1

Matching Contest 2 Human Affairs
Pair Comments 2 & Favorites 2

Kukai 8 Haibun & Haibun Favorites

Final Kukai & Final Kukai Favorites

Reading & Writing Assignments by Dates:

for 1/21

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 3-5 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 & 3-5 haiku by midnight Thursday, January 20)

for 1/24

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 3-5 haiku which capture different moments or feelings from within that memory from your experience. (email your responses & memory & 3-5 haiku by midnight Sunday, January 23)

for 1/26

reading: the Kukai 1 haiku

group writing response: why does Peggy Lyles choose to write haiku about these moments?

writing response: select 8-10 favorites from the haiku kukai 1 on the Cold, Kukai 1 Cold, write a short imagined response to one. bring me your list of favorites to class and email your response paragraph by midnight, January 25

for 1/28

group writing response: what are characteristics of the best, most effective haiku by Peggy Lyles?

writing haiku for Friday, January 28 : try 5-8 more haiku based on childhood memories rising up from Peggy Lyles' haiku (email them to the members in your group and email a copy to Dr. Brooks by midnight January 27)

for 1/31

reading: Haiku Handbook Chapter 2

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

editing group haiku: based on the haiku editing workshop in class on Friday, send me variations and edit suggestions for two haiku from the HAIKU TO EDIT 1 handout. AND write edit suggestions and variations of at least one haiku by each member in your group. Send your edit variations to each other in the group and copy to me by midnight, Sunday, January 30

for 2/2

writing response: write about 2 favorite haiku by Peggy Lyles—discuss the use of season in a haiku by Peggy Lyles. what does the seasonal element contribute? send me your 1 paragraph to me by midnight, February 1

edited haiku: send me final edits of your own childhood memory haiku (and final edits of haiku from the "haiku to Edit 1" page by midnight, February 1

for 2/4 (kukai)

writing response: select 10-15 favorites from kukai 2 on childhood memories. write a short imagined response to two favorite haiku. bring your list of favorites to class and email your 2 response paragraphs by midnight, February 3

for 2/7

reading: Almost Unseen by George Swede, Introduction and haiku from pages 1-60

reading response: What is one of the most essential elements of haiku Swede or Tom Lynch emphasize in the introductions?

writing: find two favorite haiku from the reading and write a short response paragraph to both of them and write a response haiku to 3 favorites from the reading. (email your 2 response paragraphs and 3 response haiku to me by midnight Sunday, Feb. 6)

for 2/9

reading: Almost Unseen by George Swede, Introduction and haiku from pages 61-128

writing: find two more favorite haiku from the Swede and write a short response paragraph to both of them and write a response haiku to 2 favorites from the reading (email your 2 response paragraphs and 2 response haiku to me by midnight Tuesday, Feb. 8)

for 2/11

writing: 5 new haiku on Mardi Gras or Fat Tuesday or Lent or Ash Wednesday (email by midnight Feb. 10)

for 2/14

writing response: select 10-12 favorites from the kukai 3 on Mardi Gras & Ash Wednesday or Lent and write a short imagined response to two. bring me your list of favorites to class and email your response paragraph by midnight, Feb. 13

for 2/16

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. (email your2 response paragraphs to me by midnight Feb. 15)

writing haiku : write 5-6 love/Valentine's Day haiku in honor of the 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 17.

for 2/18 (meet in groups instead of class)

writing haiku : write 5-6 love/Valentine's Day or Love or dating haiku in honor of the holiday. Not necessarily all lovey-dovey cliches, but love, lust, crushes, unrequited love, first kiss, breaking up, bitterness about love, winter dance, sock hop and so on . . . Send your Valentine's Day and love haiku to all members of your group and to Dr. Brooks by midnight, February 17.

reading groups meet on Friday 2/18 (wherever you want to and whenever before Sunday midnight) 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 3 examples from readings so far). Email the group edits and 1 group statement on haiku essentials by midnight Sunday, February 20.

writing haiku : submit 2-3 or your own best love haiku (after thorough editing in your group) for our Valentine's day kukai. email your 2-3 edited haiku by midnight, Sunday February 20

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 2/21

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)

for 2/23

writing response: select 10-12 favorites from the kukai 4 on Love & Valentine's Day and write a short imagined response to two. bring me your list of favorites to class and email your response paragraph by midnight, Feb. 22

for 2/25

reading: Love Haiku by Masajo Suzuki, Introduction and haiku from pages 1-64 and Mayfly 38

reading responses: write a paragraph response to a favorite haiku from Mayfly 38.

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 and your 1 response paragraph from Mayfly to me by midnight Thursday, Feb. 24)

for 2/28

writing "winter calm" haiku: write 5-10 haiku conveying a sense of winter calm & quiet. you may use the photographs on this feeling temporarily available to you. (email your5-6 winter calm haiku to your group members and to me by midnight Sunday, Feb. 27)

for 3/2

writing response: select 3-4 favorites from the kukai 5 on Winter Calm and write a short imagined response to three. these are your only votes for this kukai! please only vote for 1 from your own group. bring me your list of favorites to class and email your response paragraphs by midnight, March 1

haiku edits : Email the group edits for Winter Calm haiku by midnight tonight, February 28.

for 3/4

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 3)

for 3/7

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 Sunday, March 6.

in class 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 7.

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. Send me your bullet points and 2-3 haiku examples for presentation by midnight Tuesday, March 8.

for 3/9

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 9.

for 3/11

reading: The Haiku Anthology, pages 60-157. select 5 favorites and write a paragraph response to 2 favorite haiku and write a haiku in response to 2 favorites. send me your two paragraphs and two haiku by email by midnight Thursday, March 10)

3/11 & 3/12 extra credit reading opportunity: Spring Literary Festival reading Friday and/or Saturday evening at 7:30pm. Friday in LRTUC multipurpose room. Saturday in the RTUC Fireplace room.

for 3/14

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 Sunday, March 13.

haiku author study: email the name of the author you plan to study by midnight Sunday, March 13. (also let me know what book(s) you have borrowed from the Decatur Haiku Collection):

Angie—Wally Swist (2 books)
Ashlee—Alexis Rotella (5 books)
Ashley—Jack Kerouac (1 book)
Brooke—David Cobb (3 books)
Chris—Lee Gurga (books)
Cory—Lenard D. Moore (2 books)
Dan S.—Mike Dillon (1 book)
Dan T.—John Stevenson (1 book) or Jeff Winke (1 book)
David K—Banya Natsuishi
David M—Akito Arima
James—David Lanoue (1 book)
Jennifer—Ed Rielly (2 books)
Jill—Carol Purington (1 book)
Joanne—May Sky (1 book concentration camp haiku)
John— Jean Jorgenson
Julie— George Swede
Katie—Anita Virgil (3 books)
Laura—Bernard Einbond (2 books)
Matt—Paul O. Williams (2 books)
Molly—Francine Porad
Mike—Alan Pizzarelli
Nick—Bashô (no books)
Nicole—Death Haiku (1 book)
Rachel—Lidia Rozmus (2 books)
Sarah—James Hackett (5 books)
Tony—Clark Strand (1 book)
Zack—Akito Arima (1 book)

for 3/16

reading & writing: write 4-5 caps to the tan renga 1. email by midnight Tuesday, March 15.

haiku author study: email the name of the author you plan to study if YOUR NAME ISN'T LISTED above

for 3/18

haiku editing/writing: selecting/editing favorite caps for tan-renga capped write about one favorite tan-renga your group discussed. email by midnight Thursday, March 17.

reading & writing: How to write rengay handout. write 2 rengay (one with someone in or who has taken haiku class) and (one with friends or family outside haiku class). email by midnight Thursday, March 17.

for 3/30

3/29 extra credit reading opportunity: Paul Muldoon, Pulitzer Prize Winning Poet, reads new haiku at Einstein's Cafe in Lincoln, Illinois to celebrate the publication of a new Modern Haiku Press chapbook, 7pm March 29. If you attend send me your paragraph response by midnight Tuesday, March 29. READING WAS CANCELLED DUE TO ILLNESS (PAUL IS IN IRELAND).

reading response writing: Share 10-20 of your best haiku with family and friends over spring break, and see which ones they like the best. Write a short note to me about favorites selected by your family and friends. email by midnight Tuesday, March 29.

haiku writing: write 10-15 haiku or a couple of rengay over Spring Break about Spring or Spring Break. Don't write a bunch of cliches or stereotypical spring break stuff. Write from the reality of YOUR actual spring break. email by midnight Tuesday, March 29 for our kukai! Yes, I'll stay up all night Tuesday getting the kukai ready.

AND HAVE FUN ON SPRING BREAK!

for 4/1

reading: Bashô (Chapter 3 The Renku) , pages 69-111 and email a ¶ me about a favorite link or image switch in one of the renku.

reading responses: kukai selections from Rengay Attempts 1. read the rengay as a group and each person write about favorite rengay 1 (email due midnight March 31)

for 4/4

reading responses: kukai selections from Kukai 6 Spring Break and pick 10-15 Kukai 6 favorites and write an imagined response paragraph to 2 favorites. send me your list of favorites and your 2 response paragraphs by midnight, April 3

writing: write 5-7 spring haiku (get past the clichés) and make it real (still cold, wet, windy, 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) but letting the actual place be a springboard for memories of other places springtime places you've been. email them to me by midnight, April 3

for 4/6

reading: Traces of Dreams, Chapters 1 and 4, pages 1-29 and 82-115. find and write about one 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 (yes, three examples and paragraphs) email them to me:

(1) word links—puns, objects
(2) content links—narrative, scene, progression
(3) scent links—emotion, atmosphere, social status

for 4/8

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 overall response to Grasshopers & Tobacco (discuss a couple favorite links?) due Thursday, Midnight April 7

haiku project proposal: email me a short paragraph on your project plan by midnight April 7

Angie — a country haiku windchime
Ashlee — a kukame with roommate Kirsten
Ashley — Mitch Hedberg's comedy and haiku
Brooke — sports haiku
Chris — baseball game play by play haiku
Cory — kickball kasen renga
Dan S. — a haiku song
Dan T.— haiku done to jazz to an artist not yet decided as long as I can do it to prerecorded music
David K — kickball kasen renga
David M —Decatur Landmark haiku & photos web site
James — acting technique on reading haiku
Jennifer —
Jill — singing and haiku a powerpoint presentation
Joanne — Haiku for Dummies, a mock-technical manual of haiku, like a car manual or a large haiku tree
John — photos and haiku of things important to me
Julie — haiku and advertising
Katie — haiku in response to my sculptures and paintings in a book
Laura — haiku based off John Knowles' novel A Separate Peace
Matt — haiku with/related to boxing
Molly — unit plan on teaching haiku
Mike — children's book
Nick — haibun series
Nicole — haiku collages
Rachel — haiku to capture a moment that relates to or adds to my narrative paintings.
Sarah — haiku to programmed cell phone rings
Tony — football haiku
Zack — video ginko

for 4/11

reading: The Worldess Poem, by Eric Amann. Just read it. This may help you find something to focus on for your contemporary author essay. no reading response assignment due. (work on your kasen-no-renga)

for 4/13
[team work instead of class Monday April 11]

(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

Write 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

email me your kasen renga due Tuesday, Midnight April 12. and bring one copy to class (properly folded and belted) for sharing in class on April 15

for April 13 (in class on April 13)

Day of silence (meditation, ginko and haiku). We will do zazen meditation for 10-15 minutes (outside if it is nice out) or inside on the floor if it is nasty outside. Please enter the class silently, find a comfortable place on the floor, follow the handout DAY OF SILENCE guidelines and meditate. The only break in meditation would be to write a haiku in your notebook, then resume meditating.

Then as a group go on a campus ginko (keep the silence) stopping and communicating only by writing haiku, senryu, a haiku sequence or rengay as a group.

Send me an email response to zazen meditation and your group's ginko haiku that arose from it by midnight, April 13.

for April 15

reading: Bashô (Chapter 4 Prose) , pages 112-146 and email a ¶ about three different types of haibun Bashô wrote.

writing: write 2 or 3 haibun (at least one to capture the sense of being somewhere special) and (at least one that let's us see and understand the personality and atmosphere surrounding someone's life). email you haibun to me by midnight, April 14

April 16 - extra credit opportunity! (Go and write me an email or a couple haiku about it for extra credit.)

Japan House Open House • April 16 • 10am - 4pm
2000 South Lincoln Avenue, Urbana, IL 61802

Tea ceremony will be performed throughout the day (special exhibits & talks at 11 & 2).
OPEN TO PUBLIC & FREE

For April 18

reading: enjoy the Kasen Renga Spring 2005 (no response assignment, just enjoy reading them)

reading: Matsuo Bashô by Ueda, chapter 5 the critical commentaries, pages 147-169.

writing: try again on haibun if you feel you didn't succeed the first time on the assignment: write 2 or 3 haibun (at least one to capture the sense of being somewhere special) and (at least one that let's us see and understand the personality and atmosphere surrounding someone's life).

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 Sunday, Midnight April 17

for 4/20

matching contests: complete Matching Contests 1 & 2 and write about one of the most interesting matching pairs that occured in your results from each contest, due midnight Tuesday, April 19

Matching Contest 1 Silence and Matching Contest 2 Human Affairs

for 4/22

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 Thursday, April 21

matching critisicm response: find an interesting matching haiku to one of your author's haiku and write a matching comparison of these, due midnight Thursday, April 21

for 4/25

reading: Masaoka Shiki by Janine Beichman, preface and chapter 2, pages 30-73. find a favorite haiku by Shiki and write a response paragraph.

reading & responding to your author: write a paragraph response to 2-3 favorite haiku by your author. share these haiku with friends and collect a variety of responses to them. email your paragraphs by Sunday April 24

for 4/27

reading & responding to haibun kukai:choose favorite or kickball kasen renga

Kukai 8 Haibun & write a paragraph about your favorite haibun. email it to me by Thursday, April 28

for 4/29

kickball kasen renga :or reading & responding to haibun kukai:choose favorite

Kukai 8 Haibun & write a paragraph about your favorite haibun. email it to me by Thursday, April 28

for 5/2

Contemporary haiku author reader response essays are due Monday, May 2nd. Email a copy to me by midnight Sunday May 1. We will start author presentations on May 2.

for 5/4

More author presentations.

writing: Send me 3-5 of your best haiku (new ones or any that have not yet been born in kukai) for our final kukai. All submissions for the final kukai are due by midnight, May 3.

for 5/6

Haiku projects are due Friday, May 6th. Email a description and/or the content of your project by midnight, Thursday, May 5. Haiku project presentations on May 6.

for 5/9

Final Kukai 9—Select your favorite 15 haiku from the Final Kukai & write a paragraph about two favorite haiku. email your list of 15 favorites and your paragraphs to me by Sunday midnight, May 8. Voting will be by email only with announced winners in class.

Signature haiku gift exchange and haiku chapbook collections are due Monday, May 9th.

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.

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 © 2005 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!

for May 13

Global Haiku Reading, May 13, 10:30am in the Fireplace Room of RTUC.I will bring your chapbooks and return them to you at the final Global Haiku Reading, May 9, 10:30am in the Fireplace Room of RTUC.

Submission Ready Final.

Bring a selection of 5 of your best haiku typed with your name and address on the upper left hand corner of the page. Also bring an envelope with your name and address in the upper left hand corner. Also include a self addressed envelope with your name and address in both the upper left hand corner and the addressee spot. Include one dollar for postage in one of the envelopes.