for
6/12
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
for
6/13
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.
for
6/14
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
for
6/17
reading:
The
Haiku Handbook, Chapter 7 & season word lists
writing haiku: try 5-10 haiku based
on memories rising up in your mind from reading George Swede’s
haiku. (five to ten haiku attempts due for our first workshop day—copies
for group, email Brooks as an RTF attachment)
for
6/18
reading
& writing: Re-read
the chapters 2-3 on Japanese haiku and chapters 4-5 in the Haiku
Handbook and write ¶ on imagined responses to 2 favorites
(1 from older times & 1 from modern)
writing: revise your haiku for Tuesday
after our editing workshop and send your 3-4 best haiku to Dr. Brooks
by email (we will be doing a class kukai of favorites next Wed!)
for
6/19
reading:
The Classic Tradition of Haiku Anthology
response writing: find 3 favorites
& write ¶ why you like them
Kukai reading & response writing from
workshop 1 for Wednesday: select your favorites (3-4 haiku
from class) and write ¶ response to THE top favorite
writing haiku: 3-5 "spring breeze"
or "thunderstorm" haiku (deliberately include nature or
an image that places us in a seasonal context)
for
6/20
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: 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
poetics
statement: characteristics of best, most effective haiku
"things found" in the best, most
effective haiku. Characteristics the students in that
group like, with acouple of haiku
for examples.
for
6/21 (first kukai day!)
reading:
exchanged haiku for kukai & edits
reading:
3 more favorite haiku by Lee Gurga in Global Haiku Anthology
& The Haiku Anthology
response writing: 3 favorites from
Kukai selections & reader’s response paragraphs for each
Ginko—a
haiku walk by a group of friends in which everyone just enjoys the
walk together, stopping to notice things and to write haiku from
shared experience.
extra credit group work (with friends or family)
for 6/24: Ginko walk haiku
for
6/24
reading:
Penny Harter's work in the Haiku Anthology & Global Haiku
Anthology
response writing: 3 favorites from
Penny Harter and an extended memory response to one ending with
your own original haiku
writing:
2-3
attempts using imagination from different perspectives and 3 from
direct experience or memories
for
6/25
reading:
Chapter 1of 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)
for
6/26
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
for
6/27
SPECIAL
EVENT! William
J. Higginson and Penny Harter will be reading at the coffee house
in Lincoln Illinois on June 27th at 7:00pm. The location is Coffee
with Einstien two blocks off the town square at 201 S. Sangamon.
for
6/28
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)
for
7/1
critical
analysis of form—compare three haiku from THA on your issue
related to form
for
7/2
reading:
The Haiku Anthology, 89-188
response
& haiku writing:
3-5 favorites with short response paragraphs to 2 & 1 extended
memory response followed by an original haiku in response to your
favorite 2 haiku
haiku
writing:
3-5 summer heat haiku for our next kukai (email copies to me tonight)
for Tuesday edit and response exchanges
for
7/3
response
writing :
4-5 favorites for summer heat kukai with short paragraphs of imagined
responses to at least 2 favorites
edit
suggestions:
try variations of at least 3 haiku and make edit suggestions on
others
research
start up:
identify the author you wish to study in more depth
for
7/5
haiku
writing:
fourth of July haiku & senryu (5-10 haiku & senryu) email
your haiku to me for Friday exchange. Kukai will be July 8
reading:
The Haiku Anthology, 189-end
for
7/8
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
writing:
short essay on form elements in contemporary English-language haiku
(with 4-5 examples from readings) and with suggestions for effective
use of form strategies
for
7/9
tan-renga
writing:
cap 4 haiku from class and 3 haiku from any previous class kukai
for
7/10
reading:
Basho, chapter 3 on renku by Ueda
response
writing:
compare the renga from Haiku Handbook (p. 202) to the renga
in the Basho book. write short responses to 2 of the most interesting
links from each
for
7/11
reading:
Traces of Dreams, Introduction (pages 1-29)
response
& haiku writing:
three more 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
for
7/12
reading:
Traces of Dreams, chapter 4 (pages 82-115) and
response
writing:
4-5 favorites from 4th of July kukai with short paragraphs of imagined
responses to at least 3 favorites
for
7/15
reading:
Traces
of Dreams, chapter 5 (pages 116-159)
response
writing:
find an example of a favorite haiku in English by fellow student
or from anthologies that demonstrate each of the following three
types of linking:
(1)
word links—puns, objects
(2)
content links—narrative, scene, progression
(3)
scent links—emotion, atmosphere, social status
(these
examples highlight linking or movement between the two images of
the haiku)
for
7/16—no class on Tuesday, July 16 (do the assignments for July
17th)
for
7/17
reading:
The Wordless Poem by Eric Amann
writing
rengay:
write two rengay (solo or with others) 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
for
7/18
reading:
Basho chapter 5 on critical commentaries (page 147-169)
response
writing:
find 2 matched pairs for comparison commentary (good idea to find
pairs for haiku by your contemporary author study) and do a critical
commentary comparison based on how your pair reflect the Zen aesthetics
from Amann's essay
writing
haiku:
4-6 haiku on summer memories from different ages and places in your
memory
for
7/22
reading:
Basho chapter 4 on Prose (pp. 147-169) & Haiku Handbook
chapter 14 (pp. 209-221)
writing
haibun:
2 haibun due Monday, July 22
writing:
finish your short essay on an element of form in contemporary English-language
haiku (with 4-5 examples from readings and at least 2 matched pairs
for comparison) and concluding with your suggestions for effective
use of form strategies in writing haiku
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)
for
7/24—no class
for
7/25
reading:
Issa and find 3-5 favorites and write your imagined responses
to 2 favorites
writing:
finish your essay on a contemporary haiku author (including web
profile) sharing some favorite haiku, discussing the author's source
of significance in their haiku, and providing an overview about
their contributions to haiku
reading:
Chiyo-ni and Masajo Suzuki Love Haiku find 3 favorites
and write your imagined responses to 2 matched pairs using Basho's
critical commentary approach
for
7/26
reading:
School's Out and find 3-5 favorites and write your imagined
response in the form of an extended memory of association to 1 favorite
writing:
your haiku collection of best work including a preface about your
understanding or approach to writing haiku
complete
your project:
a fun haiku project
submission
ready :
bring your submission ready with SASE and in envelop address to
magazine