for
8/27 (in class)
haiku
reading: reading and sharing resonse to haiku from MAYFLY magazine. how does a haiku work from a reader's perspective?
for
9/3 (email your haiku and reading responses to me by midnight Sunday 12/31)
reading:
Zen Art, introduction &
tenet #1
(write a ¶ response to one favorite haiiku or painting)
watch the video with friends and read along: Haiku: The Art of the Short Poem, (write a ¶ response to two favorite haiiku)
haiku
writing: write
five haiku attempts in response to associations and memories from
haiku you read this week in MAYFLY and/or from tenet #1 in Zen Art
for 9/10 (emails due by midnight on Sunday 9/7)
reading response assignment: Zen Art, tenet #2
(choose 1 favorite haiku or painting and write a ¶ and a haiku in response to it)
reading & response: Haiku: A Poet's Guide, "Haiku: The Poetry of Seasons" pages 1-12 (write a ¶ response to one favorite haiiku)
haiku editing assignment: write variations of 2 haiku from the Haiku to Edit 1
workshop response assignment: select your favorite haiku from Kukai 1 and write a paragraph response to 2 of them.
writing haiku: write five new haiku "on the spot" capturing perceptions from various locations and times. try to follow the concept of tenet 2 "Everything exists according to its own nature." by capturing moments of perception AND trying to avoid your own INSTANT pre-judgements, values, attitudes. write haiku of noticing things in their own natures. email your new haiku to me by Sunday midnight, 9/7
for 9/17 (emails due by midnight on Sunday 9/14)
reading response assignment: Zen Art, tenet #3
(choose 1 favorite haiku or painting and write a ¶ and haiku in response to it)
reading: Haiku: A Poet's Guide, "The Art of Haiku" pages 13-32
(write short ¶ responses to 2 favorites)
edits: do alternative variations for at least one more haiku from haiku to edit 2
workshop response assignment: write a ¶ response to your favorite 2 haiku from kukai 2 and email them to me (I will email the kukai haiku to you)
writing haiku: email five new haiku attempts trying to exemply the tenet that everything exists in relation to other things (or just write some good chilly autumn haiku)
for 9/24 (email due midnight 9/21)
reading response assignment: Zen Art, tenet #4 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
reading: Haiku: A Poet's Guide, "The Art of Haiku" pages 33-54
(write short ¶ responses to 2 favorites)
writing haiku: email five or more new haiku attempts to Dr. Brooks on autumn memories including at least one or two on SABI contented aloneness (like from tenet 4). Invoke your sensory imagination and provide a context of place in each haiku! Where are you and why are you there? And what do you feel there (from your senses)?
The next kukai is going to emphasize solitary peacefulness—think of times and places where you were all alone but contented to be there, to take in the beauty of that moment, to have that quiet time of just being there with no worries, not a care to the world.
for 10/1 (email due midnight 9/28)
reading response assignment: Zen Art, tenet #5 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
reading: Haiku: A Poet's Guide, "Senryu & Craft of Haiku" pages 55-84
(write short ¶ responses to 2 favorites)
writing senryu: email 5 or more haiku or senryu from "people watching" and try to get a sense of place & significance of cultural contexts
writing haiku: write 5 or more haiku where the BIG thing is something alive and vibrant in nature or in reality around you and the small thing is you or the human or the man-made?
for 10/8 (email due midnight 10/5)
reading response assignment: Zen Art, tenet #6 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
reading: Haiku: A Poet's Guide, "Craft of Haiku" pages 85-105
(write short ¶ responses to 3 favorites)
WRITE three or four haiku in response or as spin-offs to favorites by any authors you've read in the Millikin University Haiku Anthology
WRITE five haiku from an egoless perspective (include I but not yourself just a fictional perspective) so that it is a universal human perspective not really JUST you
for 10/15 (email due midnight 10/12)
reading response assignment: Zen Art, tenet #7 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
workshop response assignment: write a ¶ response to your favorite 2 haiku from kukai 3 and email them to me
writing haiku: email 10 new haiku attempts by Sunday midnight OCTOBER 12. Try at least 5 each for the two following prompts: I would like for you to try two approaches to haiku over the next two weeks—(1) going back to or remembering places of HIGH significance to you and capaturing the feeling of being there (this might involve a road trip or hike into the woods). And (2) haiku about homecoming (Millikin or high school or literally back home).
extra credit: attend the Millikin University Haiku Homecoming Reading and write an email about your response to the event: 4pm on Saturday, October 11 @ Pilling Chapel
for 10/22 (email due midnight 10/19)
reading response assignment: Zen Art, tenet #8 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
kukai response assignment: write a ¶ response to your favorite 2 haiku from the third kukai and email them to me.
writing haiku: email 10 new haiku on autumn
for 10/29 (email due midnight 10/26)
reading response assignment: homecoming haiku kukai 4. select all of your favorites and write a response to two favorites
reading response assignment: Zen Art, tenet #9 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
no spectator haiku allowed! Maybe haiku doesn't place you in the center of the scene, but it also assumes you're there, somewhere, in some small way . . .
reading response assignment: School's Out by Dr. Brooks
(write short ¶ responses to 3 favorites)
writing haiku: email 5-10 new haiku attempts by Sunday October 26 to Dr. Brooks on perceptions of missing something (no sound, not seeing, not feeling) including at least one or two on YUGEN mysterious emptiness or sublime vastness (like from tenet 10 we haven't read yet). Invoke your sensory imagination and provide a context of place in each haiku even though it's about something NOT BEING THERE! Where are you and why are you there? And what do you feel there (from your senses)?
an example from my collection, School's Out:
dirt farmer's wife
at the screen door—
no tractor sound
or
two lines in the water . . .
not a word between
father and son
The next matching contest 2 and matching contest 3 will focus on pairs of haiku noticing absence—think of times and places where you missed something or noticed something was gone or not there or out of place.
for 11/5 (email due midnight 11/2)
reading response assignment: Zen Art, tenet #10 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it. this is the sabi one!
reading: Haiku: A Poet's Guide, "Revising Haiku" pages 106-118
(write short ¶ responses to 2 favorites)
write about one favorite haiku from each of our recent matching contest 2 and matching contest 3 (or write about a favorite pair that came up)
writing haiku: email 5-10 new haiku attempts by Sunday November 2 to Dr. Brooks on perceptions of being alone but not necessarily sad. aloneness. alone in the sense of on your own. everything is up to you. it's your call
for 11/12 (email due midnight 11/9)
reading response assignment: Zen Art, tenet #11 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it.
reading the handout: How to Rengay (availabe as a download here or from Dr. Brooks). Yes, we will be writing Rengay soon!
writing haiku: email 5-6 new haiku attempts by Sunday November 9 to Dr. Brooks on perceptions of being absorbed, totally focused into the moment. haiku that show you or someone else totally immersed into what they are doing. Nothing else matters. Their whole being is drawn up into where they are what they are doing.
for 11/19 (email is due midnight 11/16)
reading response assignment: Zen Art, tenet #12 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it.
reading: Haiku: A Poet's Guide, Haiku Poetics, pages 125-145
(write short ¶ responses to 3 favorites)
rengay writing: write 1 rengay in a meeting or by email with a haiku buddy from this class or with a previous haiku student) follow the principle of no more than three links being ninjô or ninjô-nashi verses in a row. (due Sunday midnight 11/16)
writing haiku: email 10 new haiku attempts by Sunday November 16 to Dr. Brooks on perceptions of things that are more human, more significant, more valued because they are broken, used, worn, not new. the emotional resonance of things that have been around and been used for years. how they fit the human hand better. they make us feel at home in the world UNLIKE the new, stiff, plastic shrink-wrapped things. (due Sunday midnight 11/16)
for 12/3 (no class on 11/26 for THANKSGIVING BREAK)
write about two favorite haiku from Kukai 5
writing haiku: email 10 new haiku attempts by Sunday midnight 11/30 to Dr. Brooks
rengay writing for Thanksgiving week: write 1 rengay (one with family or friends) follow the principle of no more than three links being ninjô or ninjô-nashi verses in a row. Download the handout on How To Rengay.rtf (due Sunday midnight 11/30)
final kukai!
reading response assignment: Zen Art, tenet #14, choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
bring: your signature haiku bookmark gift for exchange (9 copies)
reading response assignment: select your favorite haiku to go into your collection and share them with your reading buddy (or have your reading buddy help you select haiku to include in your collection) and write a title and introduction for your own collection and a response to a favorite by your haiku buddy. email me the haiku in final edit form and your exchangeed introductions by midnight December 7.
Final Exam is a Reading
Monday evening, Dec 15, 2008 • 7:00-8:30pm @ Fireplace/Mertz Room - RTUC
or Friday afternoon, December 12 • 4:00-5:00pm
Kukai 6 • Rengay
bring: your haiku collection chapbook including your introduction, a title, and optional reader's introduction
bring: your haiku submission (5 haiku on a page with your name & address in upper left hand corner, in an envelope, with an Self Addressed Envelope inside). Please include two stamps in the envelope, but do not stick the on the envelope in case I submit your work to foreign countries. Leave the outside envelope blank and I will send it to the magazine I think will most likely be interested in publishing your work. See the MU Haiku magazines page for possible magazines to submit to.
bring: friends to the reading. extra credit for every friend you bring!