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Studies in Poetry: Global Haiku Tradition |
Millikin
University |
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Global Haiku Tradition Assignments All writing assignments are to be submitted by email attachment. Please save your files as "Rich Text Formt" RTF documents and include your initials or name with each file sent. When writing reader responses to haiku, always include the entire haiku you are responding to with exact line breaks and punctuation AND include the author's name, book title initials, and page number. Send assisnments by email to: rbrooks@mail.millikin.edu Haiku to Edit 1 & Edited Haiku to Edit 1 Kukai 3 & Kukai 3 Favorites Matching Contests Kukai: Tan Renga Capping 1 • Tan Renga Capped • Tan Renga Favorites Kukai 5 (Spring Break) & Kukai 5 Favorites Haibun Kukai & Haibun Favorites Matching Contests by Student Groups Final Kukai • Final Kukai Favorites Final Haibun Kukai • Favorite Haibun Reading & Writing Assignments by Dates: for 1/20 reading: Lull Before Dark, haiku and introductions (all prose matter) writing: select 3 favorite haiku and briefly write your imagined, felt response to them. be ready to discuss why you like them and write your first 3-5 haiku attempts on those transition times—lulls of dawn, of dusk, of relationships, of states of consciousness, of between semesters). (email your 3 responses & 3-5 haiku by midnight Thursday, January 19) for 1/23 reading: To Hear the Rain, pages 1-64, introductions, prose (and the interview in the back of the book) writing: find three favorite Lyles haiku—write your imagined felt responses to them (one paragraph each), then go into more depth with one of these haiku that especially triggered memories from your childhood or past (about one page memoir) describing a memory from your own life. THEN write 3-5 haiku which capture different moments or feelings from within that memory from your experience. You may want to especially explore a childhood memory as well as more recent memories. (email your responses & 1-page memior & 3-5 haiku by midnight Sunday, January 22) for 1/25 reading: another 65-128 pages of Lyle’s book writing: select 3 more favorite haiku and briefly write your imagined, felt response to them. be ready to discuss why you like them and write 3-5 haiku on the coldness (not ABOUT the cold but about a moment of encountering the cold--cold wind, cold walk, cold hands, cold car). (email your responses & 3-5 haiku by midnight Tuesday, January 24) for 1/27 reading: the Kukai 1 haiku writing response: select 10-12 favorites from the Kukai 1, and write a short imagined response to three. bring me your list of favorites to class and email your 3 response paragraphs by midnight, January 26 writing response 2: select one favorite haiku by Caroline Gourlay or Peggy Lyles and write a short analysis of the writing strategy and technique used in that haiku. (not reader response but analysis of writing techniques such as line break, word choice, arrangement, rhythm, sounds, emphasis, break, etc.). one page maximum for your analysis (half a page is fine). for 1/30 group or partner writing response: discuss 2 or 3 of the writing techniques employed in some of the best, most effective haiku by Peggy Lyles or Caroline Gourlay? (share your technique analysis writing you completed for Friday with each other to help do this) (four pages max) writing haiku: try 4-6 more haiku based on childhood memories using some of the techniques explored in your analysis (email a copy to Dr. Brooks by midnight January 29) for 2/1 reading: Haiku Handbook Chapter 2 by William J. Higginson response writing: find a favorite Japanese & Lyles or Gourlay haiku—write your short imagination responses to them (one paragraph each), then note differences in the Japanese haiku and Lyles’ or Gourlay's work editing haiku: based on the haiku editing workshop in class on Monday, send me variations and edit suggestions for two haiku by others from the HAIKU TO EDIT 1 handout. writing haiku: try 3-5 haiku dealing with college life situations (email a copy to your group members and to Dr. Brooks by midnight January 31) for 2/3 - editing group meeting instead of class meeting writing response: write about 1 favorite haiku by Peggy Lyles or Caroline Gourlay with a clear sense of seasonal element or "kigo"—discuss the use of season in a haiku by Peggy or Caroline. what does the seasonal element contribute? send me your 1 paragraph to me by midnight, February 2 editing group haiku: based on the techniques of writing haiku and approach to haiku editing, meet as a group on friday (or a time of your choice) and edit each others' haiku from childhood memories and college life situations. Authors send me at least 3 haiku with possible variations and indicate your favortie final versions to to me by midnight, Sunday, Feb. 5. for 2/6 reading: Almost Unseen by George Swede, Introduction and haiku from pages 1-60 reading response: What is one of the most essential elements of haiku Swede or Tom Lynch emphasize in the introductions? writing: find two favorite haiku from Swede and write a short response paragraph to both of them. Write 3-5 new haiku that came to mind in response to Swede's work. (email your 2 response paragraphs and 3 response haiku to me by midnight Sunday, Feb. 5) for 2/8 reading: Almost Unseen by George Swede, haiku from pages 61-128 reading response: find two more favorite haiku from the Swede and write a short response paragraph to both of them and make one of your responses an extended memory response followed by 3-4 haiku from your memory. OR feel free to focus your haiku on someone else's experience and imagine being in their shoes. (email your 1 response paragraph an d 1 extended memory response and haiku haiku to me by midnight Tuesday, Feb. 7) for 2/10 (kukai) writing response: select 10-15 favorites from kukai 2 on childhood memories and college life. write a short imagined response to three favorite haiku. bring your list of favorites to class and email your 2 response paragraphs by midnight, February 9 for 2/13 reading: Mayfly issue 40 reading responses: write a paragraph response to two favorite haiku from Mayfly 40 for 2/15 writing haiku : write 5-6 love/Valentine's Day or Love or dating haiku in honor of the holiday. Not necessarily all lovey-dovey cliches, but love, lust, crushes, unrequited love, first kiss, breaking up, bitterness about love, winter dance, sock hop and so on . . . Send your Valentine's Day and love haiku to Dr. Brooks by midnight, February 14. in class group dialogue: what are the essential elements of the very best haiku? What makes some haiku better than others? How would you define or describe the characteristics of the best haiku? What must a highest-quality haiku do (for? with?) for readers to be effective?
for 2/17 writing response: select 10-15 favorites from the kukai 3 on Love & Valentine's Day and write a short imagined response to three. bring me your list of favorites to class and email your response paragraphs by midnight, Feb. 16 for 2/20 reading: Love Haiku by Masajo Suzuki, introduction and haiku from pages 1-64 reading responses: find three favorite haiku by Masajo and write a short response paragraphs to them. (at least one of your responses should talk about a favorite in terms of imagined response andat least one should address a favorite because of its high quality of the writing/translation) (feel free to mix it up and talk about both the aesthetic response as well as the admiration of high quality writing) (email your 3 response paragraphs to me by midnight Feb. 19) group report: reading group representative write your group's statement of the essential elements, techniques, characteristics of the best, well-crafted, well-written haiku . . . what are characteristics of your favorite, most effective haiku (use at least 3 examples from readings so far). This is the first half of a genre study of haiku. Also, let me know what your group is planning to compare the art of haiku to. Email the group statement on high quality haiku in the genre by midnight Sunday, February 19.
for 2/22 reading: Love Haiku by Masajo Suzuki, haiku from pages 64-128 reading responses: find two more favorite haiku by Masajo and write a short response paragraphs to them. Let one of your responses be a more extended imaginative (fictional) piece about someone spinning off the Masajo haiku as its starting point. End your fictional wandering with a haiku. writing haiku: write 3-5 haiku about relationships (ninjo haiku) but be sure to include some aspect of nature or season or context-setting thing (ninjo-nashi) element in each haiku. (email your 2 Masajo picks, your 1 ficition spin-off with a haiku, and your 3-5 relationships haiku by midnight, Feb 21) for 2/24 group report part 2: reading group representative write your group's comparison of haiku genre to the other genre . . . similarites, differences in these performances/productions? (use at least 1 main example from the comparison thing). This is the second half of a genre study of haiku. Also, let me know what your group is planning to compare the art of haiku to. writing haiku: write 3-5 "winter calm" haiku conveying a sense of winter calm & quiet. (email the group statement on the genre comparison and your 3-5 winter calm haiku by midnight, February 23) for 2/27 extra credit opportunity: Spring Literary Festival reading Friday and/or Saturday evening at 7:30pm in Pilling Chapel. Go and send me an email response to the reading for extra credit. February 24 and February 25 readings. writing response: Select 10-15 favorite haiku and 3 haibun from Kukai 4, and write a ¶ of imagined response to 2 favorites and a ¶ on 1 favorite haibun. bring me your list of favorites to class and email your response paragraphs by midnight, Feb. 26 writing haiku: write 3-5 haiku or senryu (open topic) due by email midnight, Feb. 26 for 3/1 reading: Chapters 1-2 of Matsuo Bashô by Ueda (pages 1-68). Select four favorites from Bashô (including one from Ueda's conception of four different phases of his work). Write a paragraph response to two haiku. writing haibun response: Write an extended memory response (2-3 paragraphs) to one of Bashô's haiku, and end your extended memory with an original haiku or two. send me your 2 paragraph responses and original haiku by email by midnight, Feb. 28) for 3/3 reading: Chapter 2 of Matsuo Bashô by Ueda (pages 1-68) again. Find two matching haiku to Basho--one representing the aesthetic of sabi and one the aesthetic experience of karumi. Write a paragraph response comparing these haiku by others with two by Basho. One sabi haiku not by Basho compared to one sabi haiku by Basho. And one karumi haiku not by Basho compared to one karumi haiku by Basho. send your two comparison pairs to me by email by midnight, March 2. writing haiku: write 3-5 haiku on Fat Tuesday or Mardi Gras or Ash Wednesday or Lent or Jazz music due by email midnight, March 2 for 3/6 reading: The Haiku Anthology, pages 1-60. select 4 favorites and write a paragraph response to 3 favorite haiku. send it to me by email by midnight, March 5. writing haiku: write 3-5 haiku on the coming of spring time with at least 1 conveying the aesthetic of sabi and 1 demonstrating the aesthetic of karumi (no cliche's please!) due by email midnight, March 5 extra credit opportunity: Book reading Monday evening at 7:00pm in the Kirkland Fine Arts Center. Jenny and Jackie Spinner are reading from their book TELL THEM I DIDN'T CRY: A YOUNG JOURNALIST'S STORY OF JOY, LOSS, AND SURVIVAL IN IRAQ. Go and send me a haiku or two related to the war in Iraq in response to the reading for extra credit. Monday, March 6, 7pm for 3/8 reading: The Haiku Anthology, pages 60-157. select 5 favorites and write a paragraph response to 2 favorite haiku and write a haiku technique analysis to 1 favorite. send me your three paragraphs by email by midnight Tuesday, March 7) for 3/10 matching contests kukai: Contest 3 - Winter Calm • Contest 4 - War Torn World writing response: share with friends and select favorites from the matching contest kukai and write a short imagined response to one matched pair from each contest. bring me your completed contests to class and email your 2 matched pairs response paragraphs by Thursday midnight, March 9 for 3/13 matching contests kukai: Contest 1 - Lent • Contest 2 - Almost Spring writing response: share with friends and select favorites from the matching contest kukai and write a short imagined response to one matched pair (any two) from each contest. bring me your completed contests to class and email your 2 matched pairs response paragraphs by Sunday midnight, March 12 haiku writing: write caps to the 1 tan-renga starts handout. email by midnight Sunday, March 12. for 3/15 reading: Bashô (Chapter 3 The Renku), pages 69-111 and email a ¶ me about one favorite link (or image switch) in one of the renku examples. email by midnight Tuesday, March 14. for 3/17 haiku editing writing: with partners/groups select favorite caps for your group's ONE tan-renga capped and someone from your group write a paragraph why it is your group's favorite tan-renga. email by midnight Thursday, March 16. reading & writing: How to write rengay handout. write 2 rengay (one with someone in or who has taken haiku class) and (one with friends or family outside haiku class). email by midnight Thursday, March 16. spring break! enjoy! for 3/27 reading response writing: Share 10-20 of your best haiku with family and friends over spring break, and see which ones they like the best. Write an email to me about favorites selected by your family and friends. Which ones did they like best and why? email by midnight Sunday, March 26. haiku writing: write 10-20 haiku or a couple of rengay over Spring Break about your life's reality during spring break or about special locations and places of significance to you in your home town. Don't write a bunch of cliches or stereotypical spring break stuff. Write from the reality of YOUR actual spring break. email by midnight Sunday, March 26 for our kukai! Yes, spring break kukai will be Wednesday. It will be a traditional kukai (not matching contest nor tan-renga style). AND HAVE FUN ON SPRING BREAK! Enjoy the daily gifts and blessings of being. alive! sharing spring break rengay & family and friends favorites for 3/29 reading: The Haiku Anthology, pages 158-327. select 5 favorites and write a paragraph response to 2 favorite haiku and an extended memory response to 1 favorite (ending with 2-3 haiku from your memory). send me your three paragraphs and extended memory haiku by email by midnight Tuesday, March 29. haiku author study: email the name of the author you plan to study by midnight Thursday, March 30. (also let me know what book(s) you have borrowed from the Decatur Haiku Collection):
for 3/31 writing response: Select 10-15 favorite Spring Break haiku from Kukai 5, and write a ¶ of imagined response to 3 favorites. bring me your list of favorites to class and email your response paragraphs by midnight, March 30 for 4/3 - outside of class time meeting (no class in Mac lab that morning but see April 5 guide) reading: Traces of Dreams, Chapters 1 through 5, pages 1-159 on writing Kasen-no-renga. find and write about one example of a favorite haiku in English (by a fellow student or from your books) that demonstrates each of the following 3 types of aesthetic linking (yes, three haiku and a paragraph for each) email them to me by midnight April 3:
for 4/5 Read the student kasen renga by Bri Hill and students from Spring 2003 Global Haiku Traditions at: http://www.brooksbookshaiku.com/MillikinHaiku/haiku/studentrenga/Grasshoppers&Tobacco.html Plan a Spring haiku writing gathering with classmates and/or friends (groups of 4-7). This can be any day including advising day with the assignment due midnight, April 4. This is a gathering for writing linked verse—if it's nice out you could gather in the park or at Rock Springs or at someone's place. Allow the spirit of the place where you gather to be a springboard for the haiku, but don't limit yourself to that place once you get into the linking. Let your links go out through time and seasons moving from person (ninjo) focused to non-person (ninjo-nashi) focus to avoid too much continuity of persons or scenes. Try to avoid more than three ninjo or ninjo-nashi links in a row. Remember, every two links make a new poem. Using the following guide, try writing a kasen-no-renga. OR if that totally freaks you out, write 3-4 rengay.
Write a 36 link kasen-no-renga:
email me your kasen-no-renga due Tuesday, Midnight April 4. and bring one copy to class (properly folded and belted) for sharing in class on April 7 for April 7 meet and do a final edit and preparation of your Kasen Renga & Renku 1 for presentation to class (folded properly with belt) and edited one more time for excellent movement of links & quality of individual links. make a copy for each member of your writing team and one for me, and email the final edited version to me by midnight April 6 for April 10 reading: Bashô (Chapter 4 Prose), pages 112-146 and email discussing the three approaches to haibun by Bashô and a ¶ response to a favorite haibun Bashô wrote. writing: write 2 haibun (one to capture the sense of being somewhere special) and (one that let's us see and understand the attitude or lifestyle or personality or atmosphere surrounding someone's life). email your haibun to me by midnight, April 9 for April 12 reading: Matsuo Bashô by Ueda, (chapter 5 the critical commentaries), pages 147-169. reading response: using Bashô's technique of matching pairs of haiku, find two haiku you want to place side by side for discussion and comparison. (one by your author and one by someone else). Write a short paragraph discussing them and waht you see by placing them together. due midnight April 11 haibun editing: share your haibun with someone and edit to (1) tighten the prose, cutting anything not essential and adding imagistic sensory detail, and (2) to make sure the haiku extends or reverberates beyond the prose. Can the haiku stand on its own as a quality haiku? Does it link by adding (1) new content not in the haibun? or (2) by word-connection to a single word in the haibun?, or (3) by scent linking in tone or attitude? Send me your haibun edits by midnight April 10 so I can get them into the haibun kukai. haiku project proposal: The purpose of the haiku project is to apply haikai arts to something that means a lot to the student—usually something related to their major field of study. Bring your passion to this project and connect it to haiku (photography & haiku) (music & haiku) (history and haiku) (psychology & senryu) (a kasen renku) (baseball haiku) (a collage of haiku) (haiku web site) (anthology of love haiku) . . . have fun with this. make it your dream assignment. email me a paragraph explaining your project plan by midnight April 11 Easter break (no class April 14 & 17) for April 19 writing response: Select 3-5 favorite haibun from the haibun kukai, and write a ¶ about 1 or 2 of your favorite haibun. send me your list of favorites (use the opening 3-4 words of the haibun) and email your response paragraphs by midnight, April 18 reading & responding to your author: write a paragraph response to 3-5 favorite haiku by your author. share these haiku with friends and collect a variety of responses to them over Easter break. email your paragraphs by midnight April 18 writing haiku: matching contest submissions due (2 haiku or senryu per group). send your entries to me by midnight April 19 and I will get them ready (anonymous) for the groups. Here's the contest guides and contact for questions:
for April 21 reading: A Hidden Pond: Anthology of Modern Haiku. select 3-5 favorites and write a paragraph response to 2 favorite haiku. match one haiku from A Hidden Pond to a haiku by your author and write a response paragraph comparison. send your three paragraphs to me by email by midnight, April 20 for April 24 reading: The Wordless Poem, by Eric Amann. Just read it. This may help you find something to focus on for your contemporary author essay. no reading response assignment due. This may help you discover a point of significance or question you want to raise in your haiku author study. haiku writing: write 6 haiku, one based on each of the key Zen principles for haiku aesthetics discussed by Eric Amann in The Wordless Poem: wordless, suchness, nothing special, season word, selfless, oneness. email to me by midnight, April 23 Group matching contests results with judges' comments & awards! Send me your group's contest results (the matched pairs, the winners of each pair, through to the champion). You may use this print this blank matching contest form if you'd like. Each group member should write about a different pair that shows up in the contest. Be ready to share the contest and results & give awards to the champions. Judging results due by email, midnight April 23 (or earlier if possible especially if you want me to print out copies for the class).
for April 26 reading: Masoka Shiki: His Life and Works, chapters 1-2 (pages 1-73). write a paragraph response to 2 favorite haiku. send your paragraphs to me by email by midnight, April 25 for April 28 writing response: Select 10-15 favorite haiku from Kukai 6, and write a ¶ of imagined response to 2 favorites. bring me your list of favorites to class and email your response paragraphs by midnight, April 27 for May 1 Contemporary Haiku Author Study (essay guidelines) - presentations begin May 1
for May 3 Contemporary Haiku Author Study - presentations day two reading: School's Out: Haiku by Randy Brooks. select 3 favorites and write a paragraph response to 2 favorite haiku. write an extended memory haibun response (including at least one haiku by you) to 1 haiku. Responses to Randy Brooks haiku. send your three responses to me by email by midnight, May 2 writing haiku: Send me 5 of your best haiku (new ones or any of your haiku from the entire semester) for our final kukai. All submissions for the final kukai are due by midnight, May 4. writing haibun: Send me 1 of your best haibun (new ones or any previous revised haibun from the entire semester) for our final haibun kukai. All submissions for the final haibun kukai are due by midnight, May 4. for May 5 haiku projects are due by email midnight May 4 & in class for sharing presentations May 5. Email a description and/or the content of your project by midnight, Thursday, May 4.
for May 8 (last day of class) Final Kukai 9—Select your favorite 15 haiku from the Final Kukai & write a paragraph about three favorite haiku. email your list of 15 favorites and your paragraphs to me by Sunday midnight, May 7. Voting will be by email only with announced winners in class. Signature haiku gift exchange and haiku chapbook collections are due Monday, May 8th.
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.
for Friday, May 12 (final exam reading) at the Fireplace Room in RTUC Global Haiku Reading, Friday May 12, 10:30am-12:30pm. I will bring your chapbooks and return them to you at the final Global Haiku Reading at the Fireplace Room in RTUC
Submission Ready Final. Bring a selection of 5 of your best haiku typed with your name and address on the upper left hand corner of the page. Also bring an envelope with your name and address in the upper left hand corner. Also include a self addressed envelope with your name and address in both the upper left hand corner and the addressee spot. Include one dollar for postage in one of the envelopes. (Many will be submitted to magazines overseas.) |
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extra credit opportunity: we need help with the final class Spring 2006 Haiku Reading. extra credit is available for helping with publicity, MC, gathering author bios, creating a program for the reading. ALSO, you get extra credit for every 2 guests you bring to the reading.
extra credit opportunity: the April World Haiku kukai. Participate in the April kukai and you will receive extra credit when the results are posted. The deadline is April 15 for submission of your kukai entries by email. Here are the guidelines for the April World Haiku Kukai. Good luck! extra credit opportunity: the Millikin Women's Ensemble is performing "Sakura Sakura" a haiku song at the Spring Choral Concert on Sunday, April 23 at 7:30pm in Kirkland. Go and send me a response to the Sakura Sakura song for extra credit.
2 extra credits opportunity: road trip ginko to the Japan House in Urbana, IL. go and enjoy the public tours available every other Thursday afternoon and write 3-5 haiku from your observations. that can count as one extra extra credit. participate in the tea ceremony and write 3-5 haiku about the tea cermony experience for a second extra credit. See the Japan House web site for details, directions or reservations. If enough of the class wants to do this we can go together.
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