HOW TO RENGAY by Dr. Brooks, Millikin University

The rengay process—usually the more experienced haiku writer contributes the first link, the hokku, which establishes tone and reverberates with possibilities. Some groups like to discuss possible unifying themes or connections to explore in advance of future links, while others like to let the unifying element emerge. All partners must agree to accepting it as the starting verse (edits or alternatives can be considered). Then the second person comes up with the second link (forming a new poem with the first link), which is then shared and discussed and enjoyed in combination with the first link. Again, if the partners accept the link, then it moves on to the third link, (which forms a new poem with the second link), etc… 

By the end of the third link, a unifying element (feeling, perspective, image, place, time, psychological movement, extension, tone, color, shape, lightness, seriousness) which is heightened or more intentionally developed in the last few links. The final step is for the entire rengay to be read and tweaked and edited for quality, and then a title is selected which invites the reader into the imaginative space of the haiku WITHOUT giving away the unifying element. Titles are not used by haiku because they direct and limit the reader too much, instead of allowing the reader to bring their own imagination to the haiku. In the same way, the rengay title should suggest the unifying element without destroying the reader’s imaginative discovery of it.
The Optimist

	whispers in the dark
	sisters speak
	of their futures

		nightlight flickers twice
		pitch black

	piercing headlights
	the widow returns
	home to her dog

		keys jingle
		heels on the drive soften

	soapsuds
	ring the tub
	Sunday evening

		red circles cover
		the classifieds

by  Melanie & Melissa Hayes
Global Haiku Traditions, Spring 2001

Rengay, formulated by Garry Gay, is a collection of 6 linked haiku (based on a unifying theme or image) written by 2 or 3 partners. Each link should be able to stand on its own.

With 2 partners (A & B), this is the pattern of alteration between 3 and 2 line links:
A-3 · B-2 · A-3 · B-3 · A-2 · B-3

	Snapshot

 cropped photograph—
leaving my shadow
on the darkroom floor
	 
 	 from the bottom of the tray
	your smile slowly develops

pulling me closer
in front of the camera . . .
first date

	pinned
	on the bulletin board
	your snapshot

a roll of negatives . . .
the brightness of your dark eyes
 	
	self-timer
	I join you
	in the photograph
-------------------------------------------
a rengay by 
Cherie Hunter Day & Garry Gay	

With 3 partners (A & B & C), this is the pattern of alteration between 3 and 2 line links:
A-3 · B-2 · C-3 · A-2 · B-3 · C-2

Hammerhorn Lake

dragonfly wing
caught in a mud crack—
mountain lake

lizard sunning itself
on a swimmer's boat

over the mountain
a small cloud
and its reflection

between parted reeds
coon tracks

bleached snail shells
crunching underfoot—
a drifting waterlily

the wind dies down
to a cricket sound

a rengay by
Michael D. Welch, John Thompson & Garry Gay