|
In The Open Gate: A Haiku Journal, I have used modern Haiku to
describe some of my experiences and perceptions during the past 78
years. What is a Haiku, and what are the differences between classical
Japanese Haiku and modern Haiku?
Classical Japanese Haiku are short poems consisting of only three
lines, containing neither rhyme nor rhythm, that are arranged in
five, seven, and five syllables (a total of only 17 syllables). Typically, a
season reference is included, adjectives are discouraged, and the
Haiku should be true to feeling, not conceptual, and devoid of ego.
Gilbert Highet, renowned author, scholar, and professor, described
good Haiku as being “deceptively simple.” And Basho, the acknowledged
17th century master of Japanese Haiku, reputedly said that if
one is able to produce even a few good Haiku in a lifetime, that is
enough.
Some years ago Japan Air Lines ran a contest for Haiku written in
English and received an astonishing response of about 40,000 individual
entries, of which only 200 were judged suitable for publication.
Evidently, writing Haiku is quite popular and writing good
Haiku remains difficult.
What accounts for the popularity of Haiku in English, and in
many other languages as well? For one thing, writers of modern
Haiku tend to view the strict rules for classical Haiku as goals rather
than constraints. For another, especially in western countries, greater
freedom of expression allows for the direct expression of feelings
rather than having to mask them as Nature experiences. I believe
such innovations are in keeping with Basho’s dictum, "I do not seek
to follow in the footsteps of the men of old, I seek the things they
sought." And Oscar Wilde’s wonderful description of a beautiful
form would certainly include modern Haiku: "The singular characteristic
of a beautiful form is that one can put into it whatever one
wishes, and see in it whatever one chooses to see. It is Beauty that
makes the reader a creator in turn, and whispers of a thousand different
things not present in the mind of its creator."
I started this Haiku journal at age 55. The first 11 poems in Part I
are recollections, in chronological order, of much earlier events. The
remaining poems were written largely as events occurred, except for a
few that I was unable to write until years later.
Some poems acknowledge the enduring influence on me of various
well-known writers, poets, composers, and artists, and some
poems are dedicated to special friends including Jim Craib, Walter
Landauer, Bill Hess, Ken Siegel, and Saeko Ogasawara. Among the
family members referred to are my son Dan, who died of cancer at
age 29, and my uncle "J.P." with whom I lived for eight years. He
was one of the last survivors of the rightly famous and much lauded
"Lost Battalion" of World War I.
The division of this journal into Parts I and II at age 70 is indicative
of the sea change in me at that time caused by my own bout with
cancer.
I encourage everyone to keep a Haiku journal. Writing Haiku is
fun and also an enriching experience that can lead to increased self-knowledge
and greater powers to intuit feelings and to describe them
succinctly, all of which lead to better Haiku. As for other "rewards,"
the answer is best given by Emily Dickinson:
Fame is a bee.
It has a song—
It has a sting—
Ah, too, it has a wing.
|