EN340
/ IN350 Global Haiku Tradition
Dr. Randy Brooks
Spring 2003 |
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The
Haiku Experiment
by
Alyson
Ludek
this
collection is called the haiku experiment because it is just
that: one student's voyage into the amazingly simple yet astoundingly
complex world of haiku. when i first began writing haiku,
i was bogged down by the familiar notions of a 5-7-5 syllable
pattern, a seasonal reference, and so on. i soon discovered
that haiku is so much more, yet so much less than that: it
is the encapsulation of one moment or one feeling that creates
an understanding between the author and all who read it. some
create this moment out of imagination, while others use their
own personal experiences.
i
have discovered that when i write haiku, it is a combination
of both of these sources that works best for me. i also discovered
while conducting my experiment that the realm of humans is
a preferred subject: although i can relate to nature haiku,
i am most comfortable with the main subject matter being humans,
with perhaps a seasonal reference to create setting.
i
cannot judge myself whether or not this haiku experiment was
successful; that is up to the readers to decide. it is my
hope for the readers of this collection that they can find
at least one haiku that they understand, that speaks to them
on some level, and that they can take that haiku and make
it part of their own interpretation o fthe world.
alyson
ludek
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While
reading Alyson Ludek's haiku you immediately notice her ability
to describe a simple moment that can relate to. Whether it's
being a kid and scorching your feet on the hot deck or discarding
your shoes for the last dance, Alyson's descriptive lexicon
always puts you directly into the moment. She uses both experience,
such as seeing her dress as a puddle on the floor, and imagination,
such as a dog's bark echoing across the water, to take the
reader where she wants them to go. Alyson's attention to every
detail in her haiku are what make them so fun to read.
Billy
Flowers
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night's
end
her dress a puddle
on the bedroom floor
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twinkling
melody
the ballerina twirls
in her plastic mirror
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warmth
of his hand
as he helps me
over a puddle
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slow
dance
back of his shirt
damp with sweat
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spring
morning
I shave my legs
for no one
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morning
fog
dog's bark echoes
across the water
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Halloween
House
From
the outside, one would never guess
what lies within. At a glance it
is a small, one-story house nestled
in between other houses on a gaping
cul-de-sac. Getting closer reveals
a hodgepodge of childrens
skates and knee pads tossed carelessly
on the stained and cracking cement
near the front door. The grass grows
a little higher than one is accustomed
to, and the remnants of plastic
Easter eggs are still snarled in
the trees on tangled strings. Inside
the house little balls of dog hair
blow across the hardwood floor like
tumbleweeds in a desert, and a firm
coat of dust rests on nearly every
surface. The couches are festooned
with slightly dingy throws and the
stairs creak when you walk on them.
A picture in the hallway is consistently
just a little bit crooked, and nine
times out of ten you can find a
mostly-emptied ash tray tucked inconspicuously
under the bathroom sink. It is an
imperfect house, complete with dents
and dings that make it flawed, yes,
but also make it comfortable. It
is a house as real as its residents,
who have been known to scream at
each other on weekends and holidays
but also to support each other when
the going gets tough. Just as it
is not just a house, but also a
home, its residents are not just
people, but also a family, and the
place in which they live speaks
of their ordinary everyday beauty.
creaky
porch swing
traces of Halloween spider webs
still caught in its chains
weed-filled
garden
a rusted bike
as decoration
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©2003
Randy Brooks, Millikin University, Decatur, Illinois || all rights
reserved for original authors
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