for
8/25 (in class)
haiku
reading: reading and sharing resonse to haiku from MAYFLY magazine, Summer 2010 issue 49. how does a haiku work from a reader's perspective?
for
9/1 (email your haiku and reading responses to me by midnight Sunday 8/29)
reading:
Zen Art, introduction &
tenet #1
(write a ¶ response to one favorite haiiku or painting)
warching: watch the video with friends and read along in the book: Haiku: The Art of the Short Poem
(write a ¶ response to two favorite haiiku)
haiku
writing: write
5-10 haiku attempts in response to associations and memories from
haiku you read this week in MAYFLY and/or from tenet #1 in Zen Art. You may simply want to start a haiku journal and write as many as you want then select 5-10 best ones for the assignment.
for 9/8 (emails due by midnight on Sunday 9/5)
reading response assignment: Zen Art, tenet #2
(choose 1 favorite haiku or painting and write a ¶ and a haiku in response to it)
reading & response: Haiku: A Poet's Guide, "Haiku: The Poetry of Seasons" pages 1-12 (write a ¶ response to one favorite haiiku)
workshop response assignment: select your favorite haiku from Kukai 1 and write a paragraph response to 2 of them.
haiku editing assignment: write/edit variations of 2 haiku from the Haiku to Edit 1
writing haiku: write 5-10 new haiku "on the spot" capturing perceptions from various locations and times. try to follow the concept of tenet 2 "Everything exists according to its own nature." by capturing moments of perception AND trying to avoid your own INSTANT pre-judgements, values, attitudes. write haiku of noticing things in their own natures. email your new haiku to me by Sunday midnight, 9/5
for 9/15 (emails due midnight 9/12)
reading response assignment: Zen Art, tenet #3
(choose 1 favorite haiku or painting and write a ¶ and haiku in response to it)
reading: Haiku: A Poet's Guide, "The Art of Haiku" pages 13-32
(write short ¶ responses to 3 favorites)
REMEMBER to cite each haiku fully (do not add capital letters or punctuation) like this:
after Christmas
a flock of sparrows
in the unsold trees
Dee Evetts, HAPG, 25
writing haiku: email 5-10 new haiku attempts trying to exemplify the tenet that everything exists in relation to other things and some with evident seasonal image (or just write some good chilly autumn haiku)
for 9/22 (email due midnight 9/19)
reading response assignment: Zen Art, tenet #4 "The self and the rest of the universe are not separate entities but one functioning whole." choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
reading: Haiku: A Poet's Guide, "The Art of Haiku" pages 33-54
(write short ¶ responses to 2 favorites)
writing haiku: email 5-10 or more new haiku attempts to Dr. Brooks on autumn memories including at least one or two on SABI contented aloneness (like from tenet 4). Invoke your sensory imagination and provide a context of place in each haiku! Where are you and why are you there? And what do you feel there (from your senses)?
The next kukai is going to emphasize solitary peacefulness—think of times and places where you were all alone but contented to be there, to take in the beauty of that moment, to have that quiet time of just being there with no worries, not a care to the world.
for 9/29 (email due midnight 9/26)
reading response assignment: Zen Art, tenet #5 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
reading: Haiku: A Poet's Guide, "Senryu & Craft of Haiku" pages 55-84
(write short ¶ responses to 2 favorites)
REMEMBER to cite each poem fully (do not add capital letters or punctuation) like this:
pointing, laughing
as they try on wigs—
children on chemo
Robert H. Deluty, HAPG, 56
Here is a short introduction to senryu by Al Pizzarelli, former senryu editor for Simply Haiku magazine:
Senryu is a short poetic genre which focuses on people. Men, women, husbands, wives, children and relatives. It portrays the characteristics of human beings and psychology of the human mind. Even when senryu depict living things such as animals, insects, and plant life, or when they depict inanimate objects, they are portrayed with the emphasis on their human attributes.
The senryu can make use of poetic devices such as simile, personification, and metaphor. It can also employ puns, parody and satire. Unlike haiku, senryu are not reliant on a seasonal or nature reference, but they DO occasionally use them. When they do, it is secondary to the human comedy or drama underlying the poem.
Senryu are not all strictly intended to be humorous. Many senryu express the misfortunes, the hardships and woe of humanity.
~ Al Pizzarelli
This introduction to senryu was viewed on the web, September 22, 2010 at: <http://www.simplyhaiku.com/SHpages/introduction_senryu.html>
writing senryu: email 5 or more senryu from "people watching" and try to get a sense of place & suggest the significance of cultural contexts. don't tell us or explain it to us or comment on it. show us as if we are just there ourselves noticing the things people do.
writing haiku: write 5 or more haiku where the BIG thing is something alive and vibrant in nature or in reality around you and the small thing is you or the human or the man-made?
for 10/6 (email due midnight Sunday 10/3)
reading response assignment: Zen Art, tenet #6 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
reading: Haiku: A Poet's Guide, "Craft of Haiku" pages 85-105
(write short ¶ responses to 2 favorites)
WRITE 3-4 haiku or senryu in response to or as spin-offs to favorite ones by any authors you've read in Haiku: A Poet's Guide.
reader response assignment: write a ¶ response to one favorite haiku from Kukai 3
WRITE 5-10 haiku from an egoless perspective (include I but not yourself just a fictional perspective) so that it is a universal human perspective not really JUST you
for 10/13 (email due midnight Sunday 10/10)
reading response assignment: Zen Art, tenet #7 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
workshop response assignment: write a ¶ response to your favorite matched pair of haiku from Matching Contest 1 & email them to me
writing haiku: email 10 new haiku attempts by Sunday midnight OCTOBER 10. Try at least 5 each for the two following prompts. I would like for you to try two approaches to haiku:
(1) going back to or remembering places of HIGH significance to you and capaturing the feeling of being there (this might involve a road trip or hike into the woods).
And (2) haiku from OBJECT GAZING in which you place an object with memories and associations for you and gaze at it until you explore and revisit those memories fully then write haiku about the object and remembered feelings associated with it.
for 10/20 (email due midnight Sunday 10/17)
reading response assignment: Zen Art, tenet #8 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
workshop response assignment: write a ¶ response to your favorite matched pair of haiku from Matching Contest 2 & email them to me
writing haiku: email 10 new haiku on open topic. if you are going home for fall break, this would be a good time to write about some feelings/memories/places of importance to you at home. be sure to include some universal element (seasonal kigo or common experience to all people or Jungian archetype or just some THING we've all had experience with)
for 10/27 (email due midnight 10/24)
reading response assignment: family & going home haiku kukai 4 write a response to one favorite
reading response assignment: Zen Art, tenet #9 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
no spectator haiku allowed! Maybe haiku doesn't place you in the center of the scene, but it also assumes you're there, somewhere, in some small way . . .
reading response assignment: School's Out by Dr. Brooks (write short ¶ responses to 3 favorites)
writing haiku: email 8-10 new haiku attempts to Dr. Brooks on perceptions of missing something (no sound, not seeing, not feeling) including at least one or two on YUGEN mysterious emptiness or sublime vastness (like from tenet 10 we haven't read yet). Invoke your sensory imagination and provide a context of place in each haiku even though it's about something NOT BEING THERE! Where are you and why are you there? And what do you feel there (from your senses)?
for 11/3 (email due midnight 10/31)
reading response assignment: Zen Art, tenet #10 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it. this is the sabi one!
reading: Haiku: A Poet's Guide, "Revising Haiku" pages 106-118
(write short ¶ responses to 2 favorites)
write about one favorite haiku from each of our recent matching contest 3 (or write about a favorite pair that came up)
writing haiku: email 5-10 new haiku about Halloween AND/OR on perceptions of being alone but not necessarily sad. aloneness. alone in the sense of on your own. everything is up to you. it's your call
for 11/10 (email due midnight 11/7)
reading response assignment: Zen Art, tenet #11 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it.
write about one favorite haiku or match from matching contest 4
writing haiku: email 5-10 new haiku attempts by Sunday November 7 to Dr. Brooks on perceptions of being absorbed, totally focused into the moment. haiku that show you or someone else totally immersed into what they are doing. Nothing else matters. Their whole being is drawn up into where they are what they are doing.
for 11/17 (email is due midnight 11/14)
reading response assignment: Zen Art, tenet #12 choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it.
reading: Haiku: A Poet's Guide, Haiku Poetics, pages 125-145
(write short ¶ responses to 3 favorites)
reading the handout: How to Rengay (availabe as a download). Yes, we will be writing Rengay soon!
rengay writing: write 1 rengay in a meeting or by email with a haiku buddy from this class or with a previous haiku student) follow the principle of no more than three links being ninjô or ninjô-nashi verses in a row.
writing haiku: email 8-10 new haiku attempts by Sunday November 14 to Dr. Brooks on perceptions of things that are more human, more significant, more valued because they are broken, used, worn, not new (yes, the Japanese aesthetic of wabi-sabi). the emotional resonance of things that have been around and been used for years. how they fit the human hand better. they make us feel at home in the world UNLIKE the new, stiff, plastic shrink-wrapped things.
for 11/24 (no class - Thanksgiving Break)
for 12/1 (email is due midnight 11/28)
write about two favorite haiku from Kukai 6
writing haiku: email 10 new haiku OPEN TOPIC
reading response writing: Share 10-20 of your best haiku with family and friends over Thanksgiving 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 due by midnight, Sunday November 28
rengay writing for Thanksgiving week: write 1 rengay (one with family or friends) follow the principle of no more than three links being ninjô or ninjô-nashi verses in a row. Download the handout on How To Rengay.rtf
for 12/8 (last day of class)(email is due midnight 12/5)
reading response assignment: Zen Art, tenet #14, choose 1 favorite haiku or painting and write a ¶ or a haiku in response to it
write about two favorite haiku from Kukai 7
writing haiku: email 10 new haiku attempts by Sunday midnight 12/5 (OPEN TOPIC)
IN CLASS on 12/8:
final kukai!
bring to class: your signature haiku bookmark gift for exchange (18 copies) & bring your haiku collection
bring to class: your haiku collection chapbook including your introduction, a title, and optional reader's introduction. collections will be returned to you at the Final Exam reading
email to me by midnight, December 8: the contents of your haiku collection & a photograph of your signature book mark
Final Exam is a Reading
Wednesday afternoon, Dec 15, 2010 • 2:00-3:00pm @ EAST Room, RTUC
bring: your haiku submission (5 haiku on a page with your name & address in upper left hand corner, in an envelope, with an Self Addressed Envelope inside). Please include two stamps in the envelope, but do not stick the on the envelope in case I submit your work to foreign countries. Leave the outside envelope blank and I will send it to the magazine I think will most likely be interested in publishing your work. See the MU Haiku magazines page for possible magazines to submit to.
bring: friends to the reading. extra credit for every friend you bring!