Advanced Studies in Poetry: Global Haiku Tradition
IN203 Humanities Honors Seminar - Spring 2010
Dr. Randy Brooks

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.
Send them to: rbrooks@millikin.edu

Dear Randy & Aubrie,

Haiku Chronicles Episode 11: Q&A, will be up and running tomorrow (4-11-10).
We think you and your students will find it interesting, informative, entertaining and hopefully enlightening concerning haiku poetry and its related forms.

Thanks once again you for your participation in this episode of Haiku Chronicles.
We're sure this will also be an important episode for other students and teachers across the country and around the world who share an interest in haiku.

Yours truly,

Donna Beaver, host
Al Pizzarelli, co-host
Anita Virgil, Poet/Panalist
Cor van den Heuvel, Poet/Panalist

One of the best blogs on events & news in the contemporary haiku community is updated by Curtis Dunlap. Curtis is an Haiku Society of America member from North Carolina. The link:

http://tobaccoroadpoet.blogspot.com/

Also, additional excellent sources of learning more about the contemporary haiku community is through the following links:

Haiku Society of America • http://www.hsa-haiku.org/
American Haiku Archives • http://www.americanhaikuarchives.org/
The Haiku Foundation • http://www.thehaikufoundation.org/
Simply Haiku • http://www.simplyhaiku.com
Heron's Nest • http://www.theheronsnest.com/
Modern Haiku • http://www.modernhaiku.org/
World Kigo Database • http://worldkigodatabase.blogspot.com/
Haibun Today • http://haibuntoday.com/

for 1/21

reading: Mayfly magazine sample issue 47 (Summer 2009)

writing: select 2 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 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 Wednesday, January 20)

for 1/26

reading: To Hear the Rain, pages 1-64, introductions, prose (and the interview in the back of the book)

writing response: find 3 favorite Lyles haiku—write your imagined felt responses to them (one paragraph each)

writing extended memory & memory haiku: then go into more depth with a fifth haiku that especially triggered memories from your childhood or past (about a one page memoir) describing a memory from your own life. THEN write 3-5 haiku which capture different moments or feelings from within that longer memory from your experience. You may want to especially explore a childhood memory as well as more recent memories.

haiku write: 4-5 haiku on the coldness (not ABOUT the cold but about a moment of encountering the cold—cold wind, cold walk, cold hands, cold car, chill).

(email your 3 short responses & one 1-page memior & 7-10 new haiku by midnight Sunday, January 24)

for 1/28

writing response to Kukai 1: write your imagined felt responses to your favorite haiku from kukai 1 (one paragraph)

writing haiku from memoirs: write 2-3 additional haiku attempts from your memoir story (you probably did this in class)

reading: the other half of Lyles’ book (65-128 pages)

haiku reading responses: select 3 more favorite haiku by Peggy Lyles and briefly write your imagined, felt response to them. be ready to discuss why you like them.

REMEMBER to cite each haiku fully (do not add capital letters or punctuation) like this:

cucumbers
soaked in vinegar—
the heat

          Lyles, THTR, 48

haiku write: 4-5 haiku on perceptions of snow, ice, or frost.

(email your 3 responses & 5 haiku by midnight Wednesday, January 27) ALSO bring a printed copy of your extended memory to class for our editing session. And have someone from your group email me your list of characteristics of the best haiku.

haiku to edit workshop

for 2/2

reading: handout of haiku from Almost Unseen by George Swede

writing response 1: find two favorite haiku from the handout and write a short response paragraph to one of them AND write a longer memory response with 3-5 new haiku to your other favorite haiku by George Swede. (email your 1 response paragraph and 1 memory response with 3-5 new haiku to me by midnight, Sunday, January 31)

reading response 1: find an interesting "matched pair" of haiku (one from George Swede and one from Peggy Lyles or a Mayfly 47 author) to read side by side. write a short analysis of the writing strategies and techniquse used in these haiku. (not reader response but analysis of writing techniques such as line break, word choice, arrangement, rhythm, sounds, emphasis, break, voice, tone, attitude, etc.). one page maximum for your analysis (half a page is fine).

haiku write: 4-5 haiku on the nitty gritty side of winter and the angst of being human — like some of George's haiku.

for 2/4

editing haiku: based on the haiku editing workshop in class on Tuesday, send me variations and edit suggestions for at least two haiku by others from the HAIKU TO EDIT 1 handout.

reading response 1: compare the genesis of discourse for your two authors (George Swede and Peggy Lyles). why do they choose to write haiku about these moments? what is the source of significance worth turning into a literary artwork for them?

reading: Haiku Handbook Chapter 2 (handout)

response writing 2: find 1 favorite Japanese haiku & match it to 1 favorite English language haiku—write your short imagination responses to them (one short paragraph each), then write a short comparison of differences and similarities you notice in the Japanese haiku and English-langauge haiku

haiku writing: 3-6 new haiku with a clear seasonal connection (kigo) to things happening right now (snow melting, foggy night)

for 2/9

writing response to Kukai 2: write your imagined felt responses to your 2 favorite haiku from kukai 2 (one paragraph)

reading: Love Haiku by Masajo Suzuki, Introduction and haiku from pages 1-64

reading responses: find two favorite haiku by Masajo and write a short response paragraph to both of them. (email your 2 response paragraphs to me by midnight Sunday Feb. 7)

writing love haiku or senryu: write 6-8 love/Valentine's Day haiku. Not necessarily all lovey-dovey cliches, but love, lust, crushes, unrequited love, good friends, bitterness about love, winter dance, sock hop, blind date, romance, vampire love, and so on . . . Send your Valentine's Day haiku to Dr. Brooks by midnight, Sunday Feb. 7.

for 2/11

reading: Love Haiku by Masajo Suzuki, Introduction and haiku from pages 64-128

reading responses: find two favorite haiku by Masajo and write a short response paragraph to both of them. (email your 2 response paragraphs to me by midnight Wednesday Feb. 7)

writing love haiku or senryu: write another 4-6 love/Valentine's Day haiku.

for 2/16

kukai responses: write about a favorite match or pair of haiku that came up in either the Matching Contest 1 - Valentine's Day or the Matching Contest 2 - Snow

valentine haiku exchange: bring 10 copies of one of your favorite Love Haiku (can be by you or by someone else or a new haiku you just wrote or edited) and sign the 10 copies for a Valentine's Day gift exchange

reading: The Millikin University Haiku Anthology, pages 1-90

reader response: write response paragraphs for three favoriate haiku from the MU Haiku Anthology email your responses by midnight, 2/14

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?

genre n 1: a kind of literary or artistic work 2: a style of expressing yourself in writing [syn: writing style, literary genre] 3: a class of artistic endeavor having a characteristic form or technique. (dictionary.com)

literary genre n : a style of expressing yourself in writing [syn: writing style, genre] (dictionary.com)

genre (zhän`r?), in art-history terminology, a type of painting dealing with unidealized scenes and subjects of everyday life. Although practiced in ancient art, as shown by Pompeiian frescoes, and in the Middle Ages, genre was not recognized as worthy and independent subject matter until the 16th cent. in Flanders. There it was popularized by Pieter Bruegel, the elder. It flourished in Holland in the 17th cent. in the works of Ter Borch, Brouwer, Metsu, De Hooch, Vermeer, and many others, and extended to France and England, where in the 18th and 19th cent., its major practitioners were Watteau, Chardin, Greuze, Morland, and Wilkie. In Italy genre elements were present in Carpaccio's and Caravaggio's paintings, but not until the 18th cent. did genre become the specialty of an Italian artist, Pietro Longhi. The French impressionists often painted genre subjects as did members of the American ashcan school. (Columbia encyclopedia)

see Wikipedia for an introductory discussion of genre at:
http://en.wikipedia.org/wiki/Literary_genre

Definitions of genres, especially literary genres, usually includes some expectations of form or structure, so our next question is to consider the formal elements of haiku. But genres also include certain expectation of content and aesthetic experience.

for 2/18

reading: The Millikin University Haiku Anthology, pages 91-192

reader response: write response paragraphs for three favoriate haiku from the MU Haiku Anthology email your responses by midnight, 2/17

email your written team/partner report plans: one person write your team'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 3-5 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, Wednesday, Feb. 17.

writing haiku: 3-5 haiku related to elements (things, reality, settings, contexts) often associated with your comparison genre. Send me your 3-5 new haiku by midnight, Wednesday, Feb. 17.

haiku & clouds - Tyler, Olivia, Grant
haiku & the Game of Life - Becky, Kari, Nathan
haiku & food - Jade & Susie

for 2/23

Send me your bullet points and 3-5 haiku examples and note of your 2 other genre for presentation by midnight, Sunday, Feb. 21. Presentations on Tuesday, 2/23 (powerpoint or handouts).

Be ready to make your presentation comparing and contrasting haiku to another area. Include sample haiku and sample exhibits of the other things as well.

writing haiku: 3-5 haiku related to elements (things, reality, settings, contexts) often associated with your comparison genre. Send me your 3-5 new haiku by midnight, Sunday, Feb. 21.

listen to an episode of your choice on Haiku Chronicles: http://www.haikuchronicles.com/ and write a short response to the episode you listened to. Send me your response and 1-2 questions you would like to submit to producers of this show.

for 2/25

reading: The Haiku Anthology, pages 1-60 including the introductions. select 3 favorites and write a paragraph response to 2 favorite haiku and a full page memory response to 1 haiku ending with 2-3 new haiku by you. send your response writing to me by email by midnight Wednesday, Feb. 24.

group matching contest?

for 3/2

reading: Chapter 4 "Haiku Prose" from The Haiku Handbook by William J. Higginson. Also read sample haibun from Frogpond 33.1, Winter 2010 and the following haibun:

http://haibuntoday.blogspot.com/2009/04/bob-lucky-dr-livingston-you-presume.html

Watching Out

     by Brian Blankenship

Over the summer as a kid, and lately, over Thanksgiving, my family and I would make a trip to visit my grandparents. Without access to a swimming pool, there wasn’t too much to do during the summer in Maubury, Alabama. With the combination of the heat, the insects, and the snakes, my grandparents’ property became a regular cesspool for disease and dehydration. But during the fall, things would cool down outside enough so that it was too cold for the snakes and bugs, but just habitable enough for us Chicagoans to enter these untamed, Alabamian outdoors.

My brothers and I found our way to the pine thicket just beside the house. In the summer months, a bed of needles or an overturned branch could be home to a giant banana spider or an aggravated copperhead, but during the cool weather, we could wander the brush without worry of toxins entering our bloodstreams and, with the closest hospital being a good hour and a half drive away, killing us any time soon. Over the years, Josh, Ben, and I had become adept at spotting which saplings were on the verge of crashing down to the dry, forest floor. We would fly through the woods, knowing the exact point of contact and the perfect amount of force at which to kick the trunks of these lifeless conifers, causing them to fall to the ground as we stood tall, one hand clenched heroically in a fist at our hip, the other, cupped at our mouth, echoing our “Timber!” across the entirety of the eighty-eight acre plot. Often times, a tree would split at the point of impact, the top half toppling down to earth in our direction. We would escape by diving from the path of the careening pine branches, shielding our eyes from the projectile splinters of kindling.

All the while, my grandfather (whom we have always referred to as JB – my dad, my uncle, my grandmother, I’m convinced his own father never called him by anything other than the initials to his birth name) would sit idly by on the patio – his grey slacks hiked up far higher than designed to, exposing a few inches of ankle flesh, permanently tanned to a crisp from the years of farm work he had been subjected to as a child and the Indian blood that runs through his veins – and he would watch the road. The far side of the gravel was completely wooded and had been fenced in long ago to maintain three goats he had purchased at the flee market in a buyer’s frenzy, which my grandmother made him return shortly after. Just shy of the natural-made gutter that ran the length of Yarbough Road (a road that was just recently dubbed worthy of a street sign), was JB’s simple garden – just a small cornucopia of a few beans, squash, and pumpkins that Grandma and he would harvest annually – almost a scaled version of those their parents had built and tended to years ago.

He would wake at the crack of dawn, and after breakfast, make himself comfortable as the remainder of the morning dew droplets evaporated into the humid November air. And there he would stay until dusk, until the placid-blue Alabama night had covered his home and made it too difficult for him to make out the yellow clay road any longer. All day long he’d watch that road, turning to have a conversation or start a fire from time to time, but always returning back to his road.

I never knew what exactly JB was looking for. The mailman would drive by on occasion, sticking an open hand out from his van as drove off down the dusty hill. But other than that, nobody came, and JB still watched. Were he a whittler, I’m sure JB would have whittled as he passed the time. A musician: played his harmonica. But since he’s not, he doesn’t. And if you go to Maubury, Alabama today, and take a walk down Yarbough Road, underneath his fig tree, beside his garden, next to his pine thicket where his grandsons play, you’ll find JB. Just sitting. Just waiting.

grandfather waits
for a better yesterday
the fallen sapling

• • •

Troll

     by Aubrie Cox

Life under a bridge is renowned to be that of a troll, and that it is. Floods on occasion make the home a bit wet, but a little mold and algae never hurt anything. Fresh fish daily, a billy goat if lucky; however, this is not prime real-estate—it's just beneath the price of a cardboard box. Stones wedged together with natural mortar arch overhead and shade the muddy water so that one can barely see the fish going by. They come up to the surface, their fishy mouths gaping, gasping for air; their glazed eyes never see warted hands, or fishing rods coming for them. (I hate fishing rods, by the way.) Trash is littered everywhere—lost treasures from passerbys. Rain matters little when every spring the neighborhood gets carried downstream.
wagon over head

rubble plops
in
the cracked teacup

•

Write 2 haibun - One a memory of a lived experience (capture the sense of being there—the sensory experience as well as the overall atmosphere or mood). 1 page max. The second one can be a fictional imagined piece (you may want to start off from a favorite haiku you've read), and let your imagination go into it to make it seem like you are there, living the moment. (Include at least one haiku per haibun - you may want to write 3-4 and select only the best 1-2).

for 3/4

reading: Haiku Guy, pages 1-43

writing response: Practice the exercise of stop, look, and listen as described in the book. Find something, whether it be in your dorm, on campus, or somewhere where you can sit quietly without distraction and observe a particular thing, area, or person. Then, write about what you observed, describing what stuck out to you. Write 3-5 haiku from this exercise.

Revise and edit at least 1 (or both) of your haibun attempts and send them to me for our haibun kukai. Tighten. Make the prose more immediate & sensory experience (less past tense reflection) and build a sense of scene (place, time, atmosphere, perspective). Let the haiku extend & link back to the prose. It is situated but new and creates a sense of un-ending.

Come by Dr. Brooks' office (SH209) and record your haiku questions for Haiku Chronicles • http://www.haikuchronicles.com/. (Friday morning or from 1-4pm.)

Extra credit (can replace 1 informal writing assignment grade): Go online and visit Haibun Today • http://haibuntoday.com/ and write about a favorite haibun you find.

for 3/9
reading: Haiku Guy, pages 43-80

writing response: Compare the advice given to Buck-Teeth of poets Mido and Kuro. What do you think of each of their advice? Which appeals to you more? Explain why. Write 3 haiku following Kuro's advice, and 3 haiku from Mido's.

As you read Haiku Guy, begin developing a character who writes haiku. Begin writing a short story in which the character encounters several problems. Try at least two episodes/scenes. Include at least 3-5 haiku in your haiku story scenes by characters in your story.

Read the Haibun from class and write a reponse to your favorite one. Your response can be a new haiku, a haibun in response or a commentary about the haibun you like. 1 page max!

Extra credit: bring to class one haiku written following Shiro's advice.

for 3/11
reading: Haiku Guy, pages 80-end

writing response: Give your reading of Issa's snail haiku.

Rewrite the chapter "The Tattoo" how you think it should have happened.

Finish your haiku short story (a culminating scene) and of leave it open-ended with a haiku! If you don't quite finish, you can finish it over spring break.

Think about the source of your haiku. Where do your haiku originate? Why do you notice, observe, feel, reflect or focus on those things for immediate impact and lasting significance? Where do your very best haiku come from? What's your haiku muse? Your inspiration to write?

for 3/16 & 3/18 Spring Break!

for 3/23

Spring Break Kukai!

reading response writing: Share 10-15 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 noon Monday, March 22.

haiku writing: write 10-20 haiku or a haiku sequence 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 Sunday midnight, March 21. for our kukai! Yes, spring break kukai will be Tuesday. (We are almost ready for tan-renga and rengay writing, so there may be a tan-renga kukai in the works).

writing: send me your spring break haiku by midnight Sunday, March 21

for 3/25

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 Wednesday, March 24)

haiku short story. bring 3 copies to class Thursday and email your most complete version (yes, any additional edits) to me by midnight Wednesday, March 24)

Announcement: David G. Lanoue, author of Haiku Guy, and renowned translator of Issa's haiku, has agreed to serve as judge for our haiku short stories. He will judge them on creativity, faithfulness to Cup-of-Tea's haiku philosophy, and the quality of the haiku. Prize awards will be other novels by Lanoue—Laughing Buddha and Haiku Wars. For more about Issa and Dr. Lanoue's translations, see his web site at: <http://haikuguy.com/issa/>.

writing haiku: 3-5 haiku related to campus sunshine or spring on campus. Send me your 3-5 new haiku by midnight Wednesday, March 24.

for 3/30

reading: Chapters 1-2 of Matsuo Bashô by Ueda (pages 1-68). Select three favorite haiku from Bashô. Write a paragraph response to three of these four haiku. email due midnight, March 28.

response writing: Find two matching English haiku to Bashô's haiku—one representing the aesthetic of sabi and one the aesthetic experience of karumi. Write a paragraph for each pair comparing these English haiku with those 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 28.

writing a memory response: Write an extended memory response haibun to one of Bashô's haiku, and end your extended memory with 2-3 original haiku. email due midnight, March 28.

for 4/1

reading: Bashô (Chapter 3 The Renku), pages 69-111 and email a ¶ me about one favorite link (or pair of links) in one of the renku examples. email by midnight Wed., March 31.

tan-renga capping: send me caps for at least 3 of the tan-renga hokku

matching contest favorites: write about your favorite matched pair from Matching Contest 5. email to me by midnight, Wednesday March 31

for 4/6

write haiku in your journal & send me at least 5 new ones by midnight, Monday, April 5

write 2 rengay: one with someone who has taken a haiku class or a partner with someone in the class and 1 with family and friends outside haiku class. email to me by midnight Monday, April 5

extra credit opportunity: Lee Gurga is leading a free workshop on writing haiku at the Japan House in Urbana at 7:00pm, Wednesday, April 7

for 4/8

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 Wednesday, April 7.

reading: "Beyond the Haiku Moment: Basho, Buson and Modern Haiku Myths" by Haruo Shirane, published in Modern Haiku, 31:1, Winter-Spring 2000. Just read it and be prepared to discuss it in the contexts of preparing to do your author study.

haiku author study: email the name of the author you plan to study by midnight Sunday, April 11.

haiku author or topic study: A formal essay introducing a particular contemporary author to contemporary haiku readers, discussing this author's approach to writing haiku, including response-discussion of 6-9 examples. You may choose to write about a haiku topic instead of an author. Matching comparisons with haiku by other authors are always valued. This can focus on one book by the author in the form of a book review essay or on a particular theme or approach to haiku by the author.

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 at least one matching comparison to a haiku by another author (or more)
o may include email or phone or in-person interview questions to help address
   the haiku writer's poetics

Length? 5-10 pages single-spaced. Citations? Full citation of each source within text first time mentioned (followed by haiku citation convention of author, publication title abbreviated, page number) for subsequent mentions. Yes, include a works-cited page.

Becky Smith - George Swede
Grant Dartman - Lee Gurga
Jade Anderson - Michael Dylan Welch
Kari Thornton - Alexis Rotella
Nathan Bettenhausen - Marlene Mountain
Olivia Birkey - Cor van den Heuval
Susie Wirthlin - George Swede
Tyler Lamensky - J.W. Hackett

for 4/13

Scheduling Day Sakura Picnic (optional not a required class) - meet at LIB29 at 11:00am and bring your own drink and a snack to share. We will move out under the blossoms. Dr. B will bring sandwich makings (pbj, jelly, deli meat, bread).

We will finish our Kasen Renga (bring your folded copy in progress)!

for 4/15

Read: Traces of Dreams, Chapters 1 and 4, (handouts provided) on writing Kasen-no-renga.

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 haiku writing gathering with classmates and/or friends (groups of 4-7). This can be any day with the resulting kasen-renga (36-links) due midnight, Wednesday April 14.

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.

(1) ninjô verses—people or emotion or human environment verses (self, other or both)
(2) ninjô-nashi—non-people or things or place or nature-only verses

Write a 36 link kasen-no-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

Publication fold/design questions?
The paper is folded into 4 panels for each side (cathedral door style).
Panel 1 (outside cover) – title, date, place, copyright, (sometimes authors)
Panel 2 (first fold inside left panel) – first six links
Panel 3 (further inside far left panel) – next six links
Panel 4 (far left inside page panel) – next six links
Panel 5 (right center page panel) – next six links
Panel 6 (far right inside page panel) – next six links
Panel 7 (last fold inside right page panel) – next six links
Panel 8 (back outside cover) – acknowledgments & author links
optional obi (paper belt around the folded renga)

email me your kasen-renga due Wednesday, Midnight April 14. and bring one copy to class (properly folded and belted) for sharing in class on April 15

See the resulting kasen-renga:

Moon Chigger - by Aubrie Cox, Becky Smith, Grant Dartman, Jade Anderson, Kari Thornton, Nathan Bettenhausen, Olivia Birkey, Susie Wirthlin, Tyler Lamensky, Dr. Brooks

Bump of Life - by Kari Thornton, Becky Smith, Nathan, Bettenhausen

His Memories - by Olivia Birkey, Colleen Bryan, Sarah Meyer, Jessica Oller

Planet Earth - by Tyler Lamensky, Jeff Marshall, Sam Nesemann, Brian Lewis

SAE Patio - by Grant Dartman, Susie Wirthlin

Solo Kasen - by Jade Anderson

for 4/20 - big kukai next Tuesday!

reading: Bashô (Chapter 4 Prose), pages 112-146 and email a ¶ about the three different types of haibun Bashô wrote.

writing: write 2 haibun following Basho's examples (one to capture the sense of being somewhere special and one that let's us see and understand the personality and atmosphere surrounding someone's life). email your haibun to me by midnight, April 18

reading & responding to your author: write a paragraph response to 3 favorite haiku by your author. share these haiku (or 5-10) with friends and collect a variety of responses to them. do on an extended memory response to 1 favorite by your author (then write 2-3 haiku from your memory). send me your 3-4 favorites responses and extended memory haiku by email by midnight Sunday, April 18

for 4/22

haibun kukai 1

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 renga) (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 21. Haiku projects are due May 6

Haiku Project Plans:

Becky Smith - haiku journal/photo scrapbook
Grant Dartman - Star Wars kasen renga
Jade Anderson - a collage of haiku and photograph
Kari Thornton - sumi-e haiga & help with Nathan's video
Nathan Bettenhausen - haiku video
Olivia Birkey - softball haiku collage
Susie Wirthlin - Hamlet haiku
Tyler Lamensky - outdoors life haiku

for 4/27

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. Write a short paragraph discussing them and why you like one better. due Sunday, Midnight April 25

reading response: write a paragraph about one favorite person haibun and one favorite place haibun from our 1 Haibun Kukai. due Sunday, Midnight April 25

for 4/29

Haiku Cut Competition! Bring your best haiku on a sheet of paper or on cards. This is a slam-style competition in public tournament style. To become Grand Champion, you will have up to at least 15 winning haiku, so bring 25 to the competition.

Write 3-5 haiku with the aesthetic goal of karumi and 3-5 haiku with the aesthetic goal of wabi and 1-2 haiku with the aesthetic goal of yugen. These are not due until Sunday midnight, May 2 (but if you do them early you could use them in the competition or final kukai).

Final Kukai submissions due (can be revised earlier haiku, new haiku, previous haiku not yet born in kukai or matching contest, or any of your favorites not selected previously). Send 10-20 haiku for our final kukai by midnight, Wednesday April 28.

for 5/4

haiku author study due. email to me by midnight Monday, May 3. bring a print copy of your study to class Tuesday. We will do author presentations on May 4.

for 5/6

haiku projects due (to be shared this last day of class). email the contents of your projects (the haiku at least and introduction & photographs or power point, etc) by Midnight May 5.

Final Kukai 9—Select your favorite 10-15 haiku from the Final Kukai & write a paragraph about three favorite haiku. Voting may be by email only, depending on how much in-class time we have. Email your list of 15 favorites and your paragraphs to me by midnight, May 5.

extra credit reading response: find a favorite haiku by Randy Brooks, and write a reader response paragraph to it. email your response paragraph by midnight, Wednesday May 5

(1) Signature haiku gift exchange and haiku chapbook collections are due Thursday, May 6th.

The signature haiku process—a haiku to give to others when they ask about haiku that can be used to teach them about haiku and to share some of your work with them. A haiku you want to be known for or known by—one that works with a lot of readers. A gift of a haiku insight . . . often presented as a gift of some sort such as a bookmark, a small haiku stone, etc.

(2) Haiku Collection Booklets due: Select and organize your best haiku & senryu & haibun & renga into a collection. Make a little booklet, or print them in a binder, or write them in a blank book.

Select and organize your best haiku & senryu & haibun & renga into a small booklet or collection. Give your collection a title and a © 2010 page. (Often signature haiku are connected to the title.) Include a dedication page if you would like to.

Be sure to write an author's introduction to your collection which explains your title and expresses your approach or why these are the ones you have included in your collection (your poetics preface). Ask a reading partner to write a short introduction to your collection, maybe pointing out one or two favorites—or their observation about something unique about your haiku (the reader's introduction). The reader's introduction should help strangers appreciate and value your collection.

Don't forget to e-mail a copy of the contents of your collection including your introductions to Dr. Brooks by midnight, Wednesday,May 5th!

Don't forget to e-mail your short bio statement to Aubrie Cox and Dr. Brooks by midnight, May 5th. This bio statement will be used at our Global Haiku Reading program.

for 5/10 - final exam 10:30-12:30 - Global Haiku Reading at the Fireplace Room, RTUC

Extra credit is available for bringing 2 or more guests to the reading, or for helping with one of our haiku reading tasks.

(1) Global Haiku Reading, Thursday May 8, 10:30am-12:30pm. I will bring your chapbooks and return them to you at the final Global Haiku Reading.

Aubrie - M.C.& program designer (introductions & bio notes)
Becky & Jade - refreshments team
Kari & Becky- publicity team (chalk the walk, radio blurbs, posters)
Jade - Videographer
Tyler - signature haiku book greeter

(2) Submissions to Haiku Magazines Final. (one email submission copied to me & one snail mail submission brought to the final exam)

Type a selection of 5 of your best haiku 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 or two stamps for postage in one of the envelopes. (Many will be submitted to magazines overseas, so please don't stick the stamps on the envelopes.)