1/16
reading:
Almost
Unseen, introductions, prose
writing:
select
3 favorite haiku and briefly write your imagined, felt response
to them. be ready to discuss why you like them
1/18
reading:
another 25-30 pages of Swede’s book
writing: find three more favorite Swede
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 which captures a moment
from within that memory.
1/21
reading:
The
Haiku Handbook, Chapters 1-3 and finish reading Swede’s
collection
writing: find a favorite Japanese & Swede haiku—write your
short imagination responses to them (one paragraph each), then note
differences in the Japanese and Swede’s work
writing haiku: try 5-10 haiku based
on memories rising up in your mind from reading George Swede’s
haiku (due for exchange Wednesday and for workshop on Friday). (five
to ten haiku attempts due for our first workshop day—copies
for group, email Brooks as an RTF attachment)
1/23
reading:
exchanged haiku from group
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
1/25
reading
& writing: 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: revise your haiku for Monday
and send your 3-4 best haiku to Dr. Brooks by email (we will be
doing a class kukai of favorites next Wed!)
1/28
reading
for Friday:
Haiku Handbook,, chapters 7 & season word lists
response writing for Friday: find 2
favorites among Swede’s nature haiku & write ¶ on
one
Kukai reading & response writing from
workshop 1 for Wednesday: select your favorites (4-8 haiku
from class) and write ¶ response to THE top favorite
1/30
reading
for Friday:
Haiku Handbook, chapters 7 & season word lists
response writing for Friday: find 2
favorites among Swede’s nature haiku & write ¶ on
one
group statement: characteristics of
best, most effective haiku
"things found" in the best, most
effective haiku. Characteristics the students in that group like,
with a couple of haiku
for examples.
2/1
reading:
haiku by Lee Gurga in Global Haiku Anthology & The Haiku Anthology
response writing: 3 favorites by Gurga
& 1 favorite reader’s response paragraph
writing haiku: 3-5 "winter wind"
or "freezing rain" or "new snow" haiku for Monday
(deliberately include nature or an image that places us in a seasonal
context)
writing haiku: 2-3 "memory trigger"
haiku about an object or thing or particular place that has a lot
of emotional investment or memories clinging to it
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.
extra credit group work: Ginko walk
haiku (at least 3 haiku per person on the walk)
2/4
bring your exchange
haiku Wednesday—we share responses & edit variation ideas
in groups in the class (seek ways to enrich context of place &
time & season)
reading for Friday 2/8: Love Haiku by Masajo Suzuki
response writing for Friday 2/8: 3 favorites from Massjo’s
Love Haiku and an extended memory response to one ending with your
own original haiku
writing
for Friday 2/8: 2-3
attempts using imagination from different perspectives and 3 from
direct experience or memories (especially related to theme of love
and valentine’s day)
2/6
exchange your
haiku for workshop editing in groups. (seek ways to enrich context
of place & time & season)
reading:
Love Haiku
by Masajo Suzuki (we will continue reading Suzuki through 2/13)
response
writing: 3
favorites from Masajo’s Love Haiku and an extended memory response
to one ending with your own original haiku
writing
for Friday: 3-5
from memories or direct experience (especially related to theme
of love and valentine’s day)
2/7 SPECIAL
WORKSHOP EVENT!
Lee Gurga, Associate
Editor of Modern Haiku & former President of HAS will be at
Millikin University for a haiku workshop, reading and Valentine’s
day kukai.
Workshop from
3:30-5:00 pm—Shilling 322
Reading from 7-8pm—Kirkland 128 (bring 2 friends for an extra
credit point)
2/8
response
writing due Monday after the workshop: 1
favorite (why paragraph) from each person in your group AND 1 variation
edit or edit suggestions that would make 1 from each member in your
group better than it currently is. (use the haiku attempts exchanged
on Wednesday, Feb. 6)
any revisions
of your love & Valentine's day haiku are due SUNDAY night.
2/11
writing
for Wednesday: revised
haiku are due by Tuesday, 2/12 for the Second Kukai on Wednesday
2/13
2/13
Valentine's
Day kukai: Each
group selects a top 2 Valentine's day haiku (only 2) and bring a
treat for the winners on Friday.
Valentine's
Day Kukai selections (births to be celebrated) will be announced
on Wednesday (Gurga's selections announced Friday). We will have
3 selectors besides the groups—Chelsey Peters, Lee Gurga and
Dr. Brooks
2/15
response
writing from Kukai selections 2:
5-6 favorites and a response paragraph to one best favorite
(extra credit to do extended memory in response to absolute favorite
ending with your own haiku)
for 2/18
reading:
Love
Haiku by Masajo Suzuki and the preface & Chapter 1 of
Matsuo Bashô by Ueda
response
writing: 1
more favorite from Masajo’s Love Haiku and 1 that you
don't like (explain why).
extra
credit: a
haiku on Ash Wednesday or lent
for 2/20
reading:
Chapter
2 of Matsuo Bashô by Ueda
response
writing: 3
favorites by Bashô with paragraph responses why for each
( do extended memory paragraph in response to one of your favorites
ending with your own haiku)
French
students assignment:
read and possibly improve the translations of the Lent Kukai (machine
translations) Lent || and write
a paragraph of your imagined response to 2 favorites
(Valentine's
kukai have also been translated by machine translation and could
use improvemetns)
for 2/22
reading:
Haiku
Handbook, chapters 4, 5 & 8 (on form) and chapter 9 (craft)
group
writing: definitions
of genre, lyric, sonnet, narrative, epic, ballad, poetic form
haiku
writing: take
an existing haiku you’ve done and create 2-3 variations experimenting
with the use of space and alternative ways of conveying its form
on the page
French
students haiku writing assignment: 3-5
original haiku with versions in English & French
for 2/25
reading:
The
Haiku Anthology, intro-through page 88 (Amann through Hotham)
response & haiku writing: three
favorites with short response paragraphs to 2 & 1 extended memory
response followed by 2-3 original haiku in response to your favorites
(experiment with the form)
critical
analysis of form:
compare three haiku from THA on your issue related to form
for 2/27
reading:
The
Haiku Anthology, 89-188
response & haiku writing: three
favorites with short response paragraphs to 2 & 1 extended memory
response followed by an original haiku in response to your favorite
haiku
writing: 5
snow haiku for our next kukai (exchange copies in groups Wednesday)
for Friday edit and response exchanges
for 3/1
reading:
The
Haiku Anthology, 189-end
response
& haiku writing: three
favorites with short response paragraph to1 followed by an original
haiku in response to your favorite
haiku
editing & responses: 1
favorite from each person in your group with response paragraph
and make edit suggestions especially emphasizing possibilities or
variations with form for at least 1 from each person in your group.
(exchange these favorites and edit suggestions with each other by
email and cc to me)
haiku
editing: turn
in all edits to your snow haiku by email by 6pm Sunday evening,
March 3
upcoming
assignment:
select a contemporary author of choice for further research or email
me for suggestions of certain authors you may wish to study. by
3/8 you must select an author for further study
for Sunday 3/3
haiku
editing: turn
in all edits to your snow haiku by email by 6pm Sunday evening,
March 3
for 3/4
reading:
The
Haiku Handbook, chapter 13
response
& haiku writing: three
favorites by a single author from The Haiku Anthology or
Global Haiku with short response paragraphs to all three
followed by an original haiku in response to one or two
for 3/6
response
kukai selections: snow
haiku kukai day! read the snow haiku kukai and select your 5-6 favorites.
write a response paragraph to 2 favorites
tan-renga
writing:
cap 2 snow haiku of your choice
for 3/8
reading:
Matsuo Bashô,
chapter 3 on renku and linked verse and the rengay handouts
3/11-17 SPRING
BREAK
for 3/18
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 17 (for
handout on Monday March 18th)
writing
rengay: two
rengay (a 2 person rengay and a 3 person rengay)
(1) one with class members or former haiku roundtable students
(2) and one with at least one newcomer to haiku writing (you’ll
have to guide them)
extra
credit:
share 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 extra credit
for 3/20
reading:
Traces of
Dreams, Introduction (pages 1-29)
response
kukai selections: spring
break kukai day! read the spring break haiku kukai and select your
5 favorites. write a response paragraph why 2 are top favorites
for 3/22
reading:
Traces of
Dreams, chapter 4 (pages 82-115) find an example of a favorite
haiku in English (by a fellow student or from your anthologies)
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
response
rengay selections: spring
break rengay! read the rengay and select your 2 favorites. write
a response about the linking between verses in your favorite
for 3/25
reading:
Traces
of Dreams, chapter 5 (pages 116-1)
writing
response rengay selections:
select your favorite rengay from the rengay 2 handouts and write
a short paragraph about why you like it best, especially discussing
the movement of the links.
for 3/27
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.
(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
reading:
Matsuo
Bashô by Ueda, chapter 5 the critical commentaries, pages
147-169
for 4/3
group
writing response selections:
matching haiku contest grand champion (and final four) with critical
commentary from the group on why these are the top 4 or the grand
champion
writing
response selections:
matching senryu contest (choose your winning pairs) and write a
critical commentary of two pairs (a paragraph discussing what is
excellent about each and why one is better)
writing:
6-10 haiku
on a related theme or approach of your choice—not a sequence,
but related in some way to each other (by scent, by certain types
of movements between images, by approach ie childhood, or camping,
or Easter, etc) Turn these in to me via email
by Tuesday, April 2nd.
for 4/5
reading:
Matsuo
Bashô, chapter 4 the prose, pages 112-146 and
the Haiku Handbook, 209-221on haibun
matching contest
kukai plans to be announced (each group announces their matching
contest kukai theme on 4/5 and who to email the entries to) (copy
your entry to me as well)
for 4/8
writing
group kukai entries instructions:
matching contest
entries (each group announces their matching contest kukai theme
on and who to email the entries to) (copy your entry to me as
well) ENTRY DEADLINES 4/10 awards
of champions on 4/12
matching kukai
topics and person to email your entries to:
water •
Joseph Kramp (jkramp)
empty • Brianne Marsel (bmarsel)
yellow jacket • Maggie Hart
storm • Stevan Doll (sdoll)
hands • Meg Schleppenbach (mschleppenbach)
chocolate • Krista Duffett (kduffett)
fruit • Natalie Kussart (nkussart)
Entries to
each kukai are due Wednesday, April 10—one per kukai from
each student. These will be judged in matching contest style,
starting with 8 matched pairs, each being discussed and compared
with written response paragraphs down to the final winning pairs.
Setting up
reading partners for final collections. 1 haiku for each
group’s matching contest kukai (also due next Wednesday, April
10th), fully worked and revised with your reading partner.
writing
response selections: select
2 favorite haiku by your contemporary author and find matching pairs
from other authors (write a critical commentary comparing the two
haiku)
writing
haibun: 2
haibun due Monday . . . one focused on a person and one from a special
place
for 4/10
writing:
matching
contest entries (each group announces their matching contest kukai
theme on and who to email the entries to) (copy your entry to me
as well)
writing:
a
short paragraph on your comparison question topic
writing
& editing: revision
of your two haibun (with reading partners) and 1 new haibun from
any of Bashô’s three approaches (person, place or event)
for 4/12
group
awards
from matching contest due
reading:
The Wordless Poem by Eric Amann
writing
assignment: your
day of silence rengay (and any additional Spring day haiku from
your ginko that didn’t make it into the rengay)
extra
credit version
instead of rengay: a 36 link Kasen Renga version of the day of
silence. (follow the guidelines if you are going to try this:
(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 4/15
reading:
Chiyo-ni:
Woman Haiku Master
response
writing: find
three favorites by Chiyo-ni and write your paragraph of appreciation
with special attention to the Zen principles as demonstrated in
her haiku
for 4/17
reading:
read the
haibun by fellow students at:
http://faculty.millikin.edu/~rbrooks.hum.faculty.mu/globalhaikuSpring2002/haibun2002.html
writing:
Price
is Right senryu (or television based senryu)
group
writing: overview
on your zen aesthetics principle and haiku (with examples of haiku
demonstrating this principle)
writing
response selections:
select 3-5 favorite haiku by your contemporary author that demonstrate
Amann's Zen principles and write short paragraphs in response to
them 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 more than other types?
Does your
author lean more towards the person (and emotion) based haiku
or objective nature (no person there) kind of haiku?
for 4/19
reading:
Issa
writing
response selections:
select 3-5 favorites by Issa and write a short response to one and
a longer association of memory to a second one (followed by your
own original haiku)
extra
credit event: tea
ceremony at the Japan House (Urbana) on Saturday, April 20th 10am
– 4 pm
(write a few haiku about your tea ceremony / Japan House experience)
2000 S. Lincoln Ave., Urbana
11am & 2pm—Professor
Emeritus A. Doyle Moore on "A Primer for American Tea Experience"
for 4/22
writing
response: find
2 pairs of matched haiku (by your author and someone else) for critical
commentary
in
class Zazen meditation on the 22nd:
wear pants to class (we are sitting outside for Zazen meditation)
for 4/24
writing:
Contemporary
author study (and web profile) due for class presentations.
some tips
and guidelines for your essay:
o what counts as significance for your author (which moments worthy
of becoming haiku)?
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)
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 5-8 haiku
by author
Eric Sharp—Carl
Patrick
Erin Crow—Alan Pizzarelli
Gia Drouzas—Michael Dylan Welch
Joan Loach—Pamela Miller Ness
Jodee Whitlock—Margaret Chula
Joe Kramp—Jack Kerouac
Medea
Mosxona—Carlos Fleitas
Meg Schleppenbach—Dee Evetts
Nikki Garry—Barbara Ressler
Natalie Kussart—Elizabeth Searle Lamb
for 4/26—contemporary
authors presentations
Alexis Iffert—John
Dunphy
Andrew Kirchgesner—Lee Gurga
Angie Williams—John Dunphy
Brianne Marsel—Bernard Lionel Einbond
Brock Peoples—O. Mabson Southard
Darrin Thurman—Nicholas Virgilio
Shannon Kroner—Penny Harter
Jane Millikin—Alexis Rotella
Stephanie Ford—George Swede
Stevan Doll—Gene Doty
for 4/29—contemporary
authors presentations
Justin Matthews—paul
m (Paul Miller)
Krista Duffett—Francine Porad
Kristin Card—Garry Gay
Beth Stiner—Foster Jewell
Maggie Hart——Cor van den Heuvel
Matt Eichhorn—Arthur (Bud) Goodrich & Cor van den Heuvel
Rachel Perry—Alexis Rotella
AJ Cunningham—Garry Gay
Tonya Parrish—Lorraine Ellis Harr
reading:
School's
Out by Randy Brooks
writing
response: find
3-4 favorite haiku by Dr. Brooks and write a response to one
for 4/30 TUESDAY!
email
your FINAL KUKAI entries:
With your reading partner, review your collection and select 5-10
favorite haiku from semester for final class kukai (due by email
to me on April 30)
for 5/1
writing:
global
comparision essays due (comparing your contemporary author with
another cultural perspective)
•
raise the question or point of interest in matching these for comparison
•
include 4 or 5 matched pairs of haiku (bringing out the best of
each in the comparison)
•
be sure to draw some conclusion or points of significance overall
in the final page(s)
for 5/3 (FINAL
SEMESTER KUKAI)
writing
response: select
your 15-20 favorite haiku from the semester final kukai. write a
short paragraph about on your favorite haiku and a paragraph on
your favorite senryu
writing:
select your signature haiku and write a short paragraph why it is
your signature haiku.
writing
response: a
paragraph response to your reading partner’s signature haiku
writing
response with reading partners: exchange
your haiku for selections into final collections & identify
your signature haiku & write your appreciative introductions
of each other's work. COLLECTIONS ARE DUE ON 5/10 at the Haiku Reading.
for 5/6
writing:
haiku
projects due for class sharing day
writing:
signature haiku
gift exchange due (32 please)
for 5/10
2-4pm (final
exam meeting & reading & semester awards) in PILLING CHAPEL
Final Haiku
Reading Planning Team:
o signature
haiku book—Erin & Tonya
o publicity team—Brock, Dorina, JoDee, Medea & Matt
o emcee team—Meg, Kerry, Eric & Rachel
o refreshments team—Beth, Alexis & Shannon
o video recording—Maggie
writing:
haiku
collection, haiku poetics preface, reader's introduction & submission
ready haiku with SASE
guidelines
on final 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 © 2002 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!