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PACE
Global Haiku Tradition
Schedule & Assignments
Jan 11
· Jan 18 · Jan 25 · Feb 1 · Feb 8
All
writing assignments are to be submitted by email attachment by midnight the day before each class period. Please
save your files as RTF "Rich Text Format" documents
and include your initials or name with each file sent.
Send them to: rbrooks@mail.millikin.edu
•••
Haiku to Edit 1 • Haiku 1 Edited
Kukai Favorite Selections
& Matching Contests:
Kukai 1 • Kukai 1 Favorites
Tan-Renga 1
Kukai 2 • Kukai 2 Favorites
Rengay Attempts 1
Matching Contest 1 (Wabi) • Matching Contest 1 Favorites
General
Weekly Course Structure & Procedures
1.
Sharing and discussing favorite haiku from the reading assignments
(emailed responses are due midnight the day before
the class).
2. Collaborative
haiku writing (various linked verse haikai traditions).
3.
Critical reading discussion on history of haiku and haiku poetics.
4.
Haiku editing workshop. E-mail attempts due midnight Tuesday (two days before
class each week).
5.
Kukai selection of favorites by each other.
Required
Books Week One
To
Hear the Rain by Peggy Lyles, 2002 Brooks Books; ISBN: 1929820038
Almost
Unseen by George Swede, 2000 Brooks Books; ISBN: 0913719994
Mayfly magazine (from Brooks Books)
Required
Books Week Two
The Haiku Anthology by Cor Van Den Heuvel. Paperback edition
(2000) W.W. Norton & Company; ISBN: 0393321185
To Hear the Rain by Peggy Lyles, 2002 Brooks Books; ISBN: 1929820038
Almost Unseen by George Swede, 2000 Brooks Books; ISBN: 0913719994
Required Books Week Three
Matsuo
Basho by Makoto Ueda. Paperback Reprint edition (May
1983) Kodansha International; ISBN: 0870115537
Shirane,
Haruo. Traces of Dreams: Landscape, Cultural Memory,
and the Poetry of Bashô. Stanford, CA: Stanford
University Press, 1998.
Required
Books Week Four The Wordless Poem by Eric Amann. (handout copy)
Love
Haiku: A Lifetime of Love by Masajo Suzuki (translated
by Lee Gurga & Emiko Miyashita), 2000 Brooks Books;
ISBN: 0929820003
Required
Books Week Five
Shirane, Haruo. Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashô. Stanford, CA: Stanford University Press, 1998.
Week
One
1.
Sharing and discussing haiku from Mayfly and Lyles' To
Hear the Rain and Swede's Almost Unseen.
2. Response paragraphs & memories haiku writing.
3.
Introduction to the history of haiku and haiku poetics.
4.
Haiku writing and editing workshop.
in class reading: Lyles' To Hear the Rain
assignments
for week two (due by email midnight Monday):
email your in class response writing: select 2 favorite haiku from each poet and briefly write your imagined, felt response to 2 favorites by Lyles and 2 by Swede. Be ready to discuss why you like them.
email your in class haiku writing (with Dr. Brooks' help): go into more depth describing a memory from your own life (one page) and write 2-3 haiku which captures some moments from within that memory
haiku writing for next week: write 6 additional haiku based on memories rising up in your mind from reading haiku
reading for next week: The Haiku Anthology and prose introductions from Peggy Lyles and George Swede books (note your questions about haiku from the introduction)
response writing for next week: find 5 favorite English haiku including 3 from the Haiku Anthology and write a short imagined response paragraph to each of them
EMAIL your paragraphs & haiku by midnight Tuesday to me at: rbrooks@mail.millikin.edu
Class
Two
1.
Sharing and discussing favorite haiku from The Haiku Anthology,
Lyles' To Hear the Rain, and Swede's Almost Unseen.
(emailed responses due midnight the day before the class).
2. Collaborative
haiku writing (tan-renga & introduction to rengay).
3.
Critical reading discussion on history of haiku and haiku poetics
(especially form issues).
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.
4.
Haiku editing workshop from attempts. (emailed attempts due midnight
day before class)
5.
Kukai selection of favorites by each other.
assignments
for Thursday July 20 (emails due next Wednesday midnight):
reading for next week: Matsuo Bashô (chapters 1-5)
response writing for next week: select 6 favorite haiku by Basho and write your imagined response to 3.
response writing: write short paragraph responses to an interesting links from one of Basho's renku in Chapter 3
response writing: write short response paragraphs to two of your favorite haiku from Kukai 1 and write edit variations for 2 haiku from haiku to edit 1
capping Tan-renga: write capps for 3-4 of the tan-renga 1 hokku
haiku writing for next class: write 10 seasonal based haiku (deliberately include nature or an image that places us in a seasonal context). write about the heat, summer, picnics, fishing, swimming, vacation. try some from childhood memories and some from now
EMAIL your writings to me by midnight Tuesday at: rbrooks@mail.millikin.edu
1.
Sharing and discussing favorite haiku from Matsuo Bashô
(emailed responses due midnight the day before
the class).
2.
Critical reading discussion on history of haiku and haiku poetics
from Traces of Dreams.
3. Collaborative
haiku writing (haikai no renga).
ninjô
verses—people or emotion verses (self, other or both) (I,
you, us, he or she, they perspectives)
ninjô
-nashi—non-peeople or place verses
We
could write a 36 link kasen renga (mixing ninjô and ninjô-nashi
verses with no more than three links being ninjô and ninjô-nashi
verses in a row):
(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
4.
Kukai selection of favorites by each other.
assignments
for class four:
reading: Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Bashô (chapters 1-5) and Love Haiku: A Lifetime of Love
response writing for next week: select 3 favorite haiku by Masajo and write your imagined, felt response to two.
response writing: write short response paragraphs to one of your favorite haiku from Kukai 2 and write two tan-renga (2 link poem based on favorite haiku from kukai 2)
rengay writing for next week: write 2 rengay (one with family or friends) and (one with an email partner from this class or previous haiku students) follow the principle of no more than three links being ninjô or ninjô-nashi verses in a row.
Read instructions on writing Rengay: How to Rengay.rtf
haiku writing for next week: 5 haiku attempts writing about things that are better because they are not perfect, are somewhat worn out, are broken but still valued, etc.
Contemporary author studies picks:
Annie Jones - Foster Jewell
Jerry Bobbett - George Swede
Kara Manning - xxxxx
Kathy Carter - Lee Gurga
Shannon Williams - baseball haiku
Wayne Longwill - Matsuo Bashô
EMAIL your writings to me by midnight Tuesday at: rbrooks@mail.millikin.edu
1.
Sharing and discussing favorite haiku from Love Haiku
2.
Critical reading discussion on history of haiku and zen haiku poetics
from The Wordless Poem.
3. Kukai 3 selection of favorites by each other and Matching Contest Kukai.
4. Reading Rengay & discussing renga tradition.
assignments
for week five:
reading:
reading and response on your author for your essay
reading: The Wordless Poem (handout)
response writing: write short response paragraphs to one of your favorite haiku from Kukai 3 and write a response paragraph to one interesting pair from Matching Contest
haiku
writing for next week: Ginko or haiku project—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. write
at least 10 on-the-spot Ginko walk haiku by you and your friends.
(It can take the form of rengay or kasen-no-renga if you'd like.)
EMAIL your writings to me by midnight Tuesday at: rbrooks@mail.millikin.edu
1.
Sharing and discussing favorite haiku from Global Haiku Anthology
(emailed responses due midnight the day before
the class).
2.
Critical reading discussion on zen in haiku from Eric Amann's Wordless Poem.
3.
Haiku editing workshop from attempts. (emailed attempts due midnight
day before class)
4.
Kukai selection of favorites by each other and from the Ginko sequences.
5.
Sharing final collections and essays.
assignments
due last class:
haiku project: a focused haiku writing project, related art, ginko, or renga
signature haiku gift: (usually a bookmark, signed, with one of your best haiku) please bring a copy for each fellow student and the teacher
submission ready haiku: five of your best haiku typed on a page with your name & address in upper left-hand corner, folded and inserted in a number 10 envelope, with another number ten envelope folded in third inside, two first class stamps included loose in the envelope
haiku
author study:
an essay on a particular contemporary author, discussing their approach
to writing haiku, including response-discussion of 6-8 examples. this can focus on one book by the author in the form of a book review essay.
o
focus on a point of insight or question about that author’s unique contribution
o include response discussions of 6-8 haiku by the author
o include one matching comparison to a haiku by another author
o may include interview questions & poetics from author's prose work
haiku
collection: your best haiku and renga from the course, collected
with a preface about your understanding or approach to writing haiku.
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