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PACE
Global Haiku Tradition
Schedule & Assignments
July
30 o Aug 6 o Aug 13
o Aug 20 o Aug 27
All
writing assignments are to be submitted by email attachment.
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
General
Weekly Course Structure & Procedures
1.
Sharing and discussing favorite haiku from the reading assignments
(emailed responses 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. (emailed attempts due midnight day before
class after first 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)
The
Haiku Anthology by Cor Van Den Heuvel. Paperback edition
(2000) W.W. Norton & Company; ISBN: 0393321185
The
Haiku Handbook by William Higginson, Oxford University
Press (1992) ISBN: 4-7700-1430
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.
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
Global
Haiku Anthology by Swede & Brooks Mosaic Press,
February 2000 ISBN 0889627134
Masaoka
Shiki by Janine Beichman. Cheng & Tsui Company (Boston);
ISBN: 0-88727-364-5
1.
Sharing and discussing haiku from Mayfly & Lyles' To
Hear the Rain.
2. Collaborative
haiku writing (tan-renga).
3.
Introduction to the history of haiku and haiku poetics.
4.
Haiku writing and editing workshop.
5.
Matching contest selection of favorites by previous students.
assignments
for week two:
in
class reading: Lyles'
To Hear the Rain and Swede's Almost Unseen
response
writing: select
4 favorite haiku from each poet and briefly write your imagined,
felt response to 2 favorites by Lyles and 2 favorites by Swede.
Be ready to discuss why you like them.
in
class haiku writing (with Dr. Brooks' help): go into more
depth describing a memory from your own life (one page) and write
1 haiku which captures some moment 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 Handbook (chapters 1-10) and The Haiku Anthology
response
writing for next week:
find 3 favorite Japanese haiku and write short imagination responses
to them (one paragraph each) and find 5 favorite English haiku
and write a short response to 3 of them
1.
Sharing and discussing favorite haiku from The Haiku Anthology
(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) from The Haiku Handbook.
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 week three:
reading
for next week:Matsuo
Bashô (chapters 1-3) and Traces of Dreams: Landscape, Cultural
Memory, and the Poetry of Bashô (chapters 1-4)
response
writing for next week:
select
6 favorite haiku and write your imagined, felt response to 3.
response
writing:
compare
the renga from Haiku Handbook (p. 202) to the renga in the Basho
book. write short responses to 2 of the most interesting links from
each
haiku
writing for next week:write 5 seasonal based haiku (deliberately
include nature or an image that places us in a seasonal context)
rengay
writing for next week: write 2 rengay (one with family or
friends) and (one with email partners from class) follow the principle
of no more than three links being ninjô or ninjô-nashi
verses in a row.
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
will 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 week four:
reading:
Matsuo
Bashô (chapters 4-5 and Traces of Dreams: Landscape, Cultural
Memory, and the Poetry of Bashô (chapter 5) and Love Haiku:
A Lifetime of Love and The Wordless Poem (handout)
response
writing for next week:
select 3 favorite haiku by Lyles and 3 favorite haiku by Masajo
and write your imagined, felt response to at one by each. Try setting
matched pairs using Basho's critical commentary approach.
response
writing:
find an example of a favorite haiku in English by fellow student
or from anthologies that demonstrate each of the following three
types of linking:
(1)
word links—puns, objects
(2)
content links—narrative, scene, progression
(3)
scent links—emotion, atmosphere, social status
(these
examples highlight linking or movement between the two images of
the haiku)
haiku
writing for next week: 3-5 attempts using imagination from
different perspectives and 3-5 from direct experience or memories
essay
on haiku form: write an essay about one aspect of form in
haiku (space, line breaks, the pause, one-liners, visual haiku,
minimalism) with response to at least 5 examples) due week four
1.
Sharing and discussing favorite haiku from Love Haiku
(emailed responses due midnight the day before
the class).
2. Haiku
editing workshop from attempts. (emailed attempts due midnight day
before class)
3.
Critical reading discussion on history of haiku and zen haiku poetics
from The Wordless Poem.
4.
Essays on form in haiku.
5.
Kukai selection of favorites by each other.
assignments
for week five:
reading:
Global
Haiku Anthology and Masaoka Shiki
response
writing for next week:
select 3 favorite haiku from Global Haiku Anthology and 3
favorite haiku by Masaoka Shiki and write a comparison of
1 haiku by each
haiku
writing for next week: Ginko—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 if you'd like.)
1.
Sharing and discussing favorite haiku from Global Haiku Anthology
(emailed responses due midnight the day before
the class).
2.
Critical reading discussion on history of haiku and haiku poetics
from Masaoka Shiki.
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:
haiku
author study:
an essay on a particular contemporary author, discussing their approach
to writing haiku, including response-discussion of 6-8 examples.
haiku
collection: your best haiku and renga from the course, collected
with a preface about your understanding or approach to writing haiku.
Contemporary
Haiku Author Study (essay & web profile)
o
focus on a point of insight or question about that author’s
unique contribution
o include response discussions of 5-10 haiku by the author
o may include interview questions & poetics from author's prose
work
web
profile:
o include some biographical background
o list of key awards
o synoptic version of your essayawards
o photograph if possible
o sample haiku
o contact information
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