random seasons, a haiku/senryu series
stone wall
mottled hands escaping
through air
ham flavor
hangs about her sweater
hospice weekend
though touch-less
the intimate rustle of silk
fall
dog buries
bruises
hobbling out of my midnight winter moon
apple core
how to bottle
memories
a tiger
musing on my eye
autumn dusk
chopped beets
i wash the knife
of traces
open page
an opaque scent
in his bath water
oak stump–
i remember the hornets
last summer
shell shards
on a paint roller
a womb
Meanwhile, I’m writing non-haikai* poetry–here’s my 14th
No. 14 (non-haikai) curlicues
who would imagine
a laced peace banquet of soldier ants
bowling over a strange lobster
as war winds whoosh in
tumbling half filled cups
meanwhile, hidden in bushes
a truce between magpies stalls
over recyclable ladles
beyond the gates
arthritic oak limbs crackle
as a diagnosis befalls
dusky walls about an orphan’s
spelling of melan chocolic
somewhere, a homecoming sergeant
with wounds missing skin eats a map
as devastation news
swarm on beaches where algae
turns toxic red dye
a moss hill rises on a hero’s nose
and on the street renamed Desire…erasures
in a battle manifesto
*nod to Johannes S.H. Berg, editor of bones, a journal for new haiku, who coined non-haikai rising as they do from a swarm of haiku. Tell me, what you think, will you please?
About
autumn wind
wondering about lilies
in a mountain pond
Tell me a writer who really gets a satisfying jornal, in Spanish a daily wage or its equivalent, and I’ll bare a spirit in constant bouts of doubtfulness. Does a writer earn more because of what he writes and how he does it? Or is a writer paid more or less because of who he is? Is it money or honor he expects to receive?
Ahhh … but money as wage, and praise or honor as reward would be too predictable, too common as Job lamented in the Book of Job. It is in these lines that read: “Is not man’s life on earth nothing more than pressed service, his times no better than hired drudgery? Like the slave, sighing for the shade, or the workman with no thought but his wages, months of delusion I have assigned to me, nothing for my own but nights of grief. Lying in bed I wonder, ‘When will it be day?’ Risen I think, ‘How slowly evening comes!’
Restlessly I fret till twilight falls. Swifter than a weaver’s shuttle my days have passed, and vanished, leaving no hope behind. Remember that my life is but a breath, and that my eyes will never again see joy.”
Not money but joy is the ultimate wage as the passage implies. And joy is not hard to earn for it is in everyday life if we have eyes to see, a nose to smell, fingers to touch, ears to hear–a heart beating. This to me, is how a writer earns a daily wage. His wages then take the guise of treasures his heart can transfigure into a universe of thought that taps into other hearts, that causes a swirl in the depth of other souls, or that makes wings to sprout on leaden heels.
Sometimes not joy but rueful, poignant moments are my pick. Take what I earned once: On my walk home in my neighborhood, I caught two clumps of snowdrops–such tiny blossoms smaller than fingertips that do not look up but shyly droop close to black patches on the ground winter has frozen. That afternoon in the frosty wind, they trembled as if ready to turn away and run but how could they? For that poignant moment on seeing the wintry rain beat on the fragile snowdrop–as if pushing it to go home now, go to sleep–I earned my jornal, my daily wage.
Once on summer walk, the crackle of dried leaves just hit me both like the laughter of children and sobs long suppressed. Neither one of them would resolve the dryness, but I recalled how each does bring tears: laughter for joy, sobs for healing that comes with the release of a dammed-up pain. My jornal that day came as two haiku.
Fall has since shortened the day and the heart begins to crave for lost space that it doesn’t even recall which or where. I feel that most treasures have turned into mush so much so I wouldn’t be able to sift them off the ground. Yet I caught the dying day yesterday–so glorious in the gold of autumn it opened a flip side of serene heaven. Blades of grass coated in diadems of rain that carpet the lawns render royal walks poor by imitation. A burst of red maple against an inky blue sky humbled me, a soul bragging about her skill to recreate beauty in words.
I suppose I’m taking Job’s reflections to heart. I’d rather not gloss over each day and look beyond what’s there, right before me, or else fragile as is my breath one day “my eyes may never again see joy” to write. With what then will I compare the eternal joy, the ultimate wage I await?
Yet for now, as other eyes hanker to make the invisible visible, I put a tag on some moments of joy. Like on seeing the snowdrops, I paid myself $200 as my jornal.
What could have been yours?
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jornales 
What is ‘zoka’? (Prompt at NaHaiWriMo: My response, added comment and Alan Summers’ reply)
15/10/12 (prompt by Scott Abeles: zoka)
Zoka is defined as “the process of creation, transformation, and destruction in nature”. The presence of “zoka” separates “object-based” haiku from “activity-based” haiku. Indeed, some argue that an object-based, zoka-free poem is not, by definition, a haiku.
Not quite sure I get it but here are my attempts at a response to the prompt:
sniveling wind
a puppy looks at me
for a nod
oak shadow—
a nesting moon rusts
on cloud mist
autumn stillness
a doddering mosquito’s
break-away
(Comment I added)
Honestly, the prompt almost made me sleepless as the term, ‘zoka’, intimidated me but I wrote three, in case, any might be the right response to the prompt. This happens every time I’m confronted with Japanese terms. And yet, as I’ve been resistantly dealing with my doubts whether or not I’ve been writing haiku, I realized like the other evening, some of what I’ve tried to put in lines are quite ‘zoka’.
Learning more of this poetry form is constantly challenging given the many ‘voices’ that spangle the haiku-sphere. I do read and hear them as ‘voices’ rather than this and that ‘form/term’ because as in any art, each line for me, is of the writer’s/artist’s world.
Again, this too, had confused me when first reading haiku. It was a challenge to be ‘objective’ (stripped of the personal or hints of it as perhaps I misunderstood), a view quite alien to Poetry as I know. But I’ve persisted and still do bravely write haiku the way I filter a seeming sea of knowledge on it from a mosaic of my own lenses. I wonder though if it’s valid, ‘voice in haiku, I mean.
(Alan Summers’ reply)
Yes, all debates such as this do enlighten greatly. Thanks for the discussion. And thanks for the challenge, Scott!
“Honestly, the prompt almost made me sleepless as the term, ‘zoka’, intimidated me but I wrote three, in case, any might be the right response to the prompt.”
It made you write some good haiku using that prompt. Sometimes too easy prompts do not push us into stretching.
You should never feel uncomfortably intimidated, just enough to stretch those writing muscles.
In fact I’ve observed you, and many others, become incredible writers of haiku, in various styles, through NaHaiWriMo prompts, thanks to MDW!
“This happens every time I’m confronted with the Japanese terms. And yet, as i’ve been resistantly dealing with my doubts whether or not I’ve been writing haiku, I realized like the other evening, some of what I’ve tried to put in lines are quite ‘zoka’.”
Exactly! What’s good about the NaHaiWriMo page is that we are all in this together, and out of that support there has been some incredible work.
When I did my recent prompt courtesy of MDW, I was astonished how many fine, not just good, but very fine haiku I had to reduce to the nominated number for the forthcoming anthology. And it was a difficult prompt too!
You can always use Google or Bing to search these terms out. I have a huge database backed up on my computer for the benefit of my workshops.
You can always email or FB message if you are not sure. We are always learning, so I keep up to date as much as possible, and have a useful set of resources.
“Learning more of this poetry form is constantly challenging given the many ‘voices’ that spangle the haiku-sphere. I do read and hear them as ‘voices’ rather than this and that ‘form/term’ because as in any art, each line is of the writer’s world.”
Exactly!
“ Again, this too, had confused me when first reading haiku. It was a challenge to be ‘objective’ (stripped of personal perception as perhaps I misunderstood), a view quite alien to Poetry as I know. But I’ve persisted and still do write haiku the way I filter a seeming sea of knowledge on it from a mosaic of my own lenses.”
You have a remarkable style and voice in haiku, it’s a privilege to know you and read your work.
“ I wonder though if it’s valid, ‘voice in haiku, I mean. Yes, all debates such as this do enlighten greatly. Thanks!”
Having a voice in poetry is what we all aspire to, and so I’d say we can also have our own voice in haiku. After all Basho wanted his students (and in a way, we are his students too) to go their own way in haikai literature, not to copy what he had done.
We don’t know what he’d like or dislike but I think many of us would be both surprised and delighted that he’d like certain developments and progressions in haiku. Alan Gibbons
January 26, 2013 Posted by alee9 | background, comment, haiku | Alan Summers, alegria imperial, autumn, challenge, discussion, enlighten, mist, moon, mosquito, NaHaiWriMo, National Haiku Writing Month, oak, prompt, puppy, Scott Abeles, shadow, valid, voice, wind, zoka | 7 Comments