Online internet courses by Call of the Page

Are you interested in a Call of the Page course? We run courses on haiku; tanka; tanka stories/prose; haibun; shahai; and other genres.

Please email Karen or Alan at our joint email address: admin@callofthepage.org
We will let you know more about these courses.

Call of the Page (Alan & Karen)

Wednesday, March 30, 2016

Haiku & Tanka: Amazement and Intensity four week online internet course led by Alan Summers










Haiku & Tanka: 
Amazement and Intensity 
The 2016 Course



MON, JUN 6, 2016
to:
SUN, JUL 3, 2016
  
A four-week online workshop, where teaching artist Alan Summers will guide you through an exploration of the roots of haiku (from classic to gendai) and its sister form of senryu. 

He will also cover tanka, sometimes seen as the Japanese sonnet. 

You'll trace the forms' heritage by readings from its founding fathers and mothers, negotiate its deceptive simplicity of subject and language, and follow the evolution of English language haiku and its subforms through its modern journey. 

Throughout the course, we'll refer to a highly respected classic anthology (a downloadable handout will be provided).

In Week 1, “Amazement of the Ordinary,” we’ll focus on haiku, its origins, its language, and consider what it is exactly that makes a haiku.

In Week 2, “Being Human: The Ordinary Intensity”, we’ll look at senryu, the sister form to haiku.

In Week 3, “The Japanese Sonnet,” we’ll look at the related five-line form of the tanka.

In Week 4, “Futures,” we’ll look at the non-traditional emergent subform: gendai haiku, and reinforce and build on what we’ve learnt with haiku, senryu and tanka.

4 weeks online/$200
plus follow up month

Teaching artist: Alan Summers

The Poetry Barn organisation:
image©Poetry Barn
http://www.poetrybarn.co




Monday, March 28, 2016

Yanty's Butterfly - An Anthology of haiku dedicated to Yanty Tjiam, and her family, and proceeds to Hunger Project and ActionAid

Book Cover Art for Yanty's Butterfly © 2016 by Momolu Freeman 




























Yanty’s Butterfly Haiku Nook: An Anthology 
Edited by: Jacob Salzer and the Nook Editorial Staff

http://jsalzer.wixsite.com/yantysbutterfly

https://www.amazon.co.uk/Yantys-Butterfly-Haiku-Nook-Anthology-ebook/dp/B01CDEDLRO/ref=sr_1_1?ie=UTF8&qid=1474528791&sr=8-1&keywords=Yanty%27s+Butterfly

https://www.amazon.com/Yantys-Butterfly-Haiku-Nook-Anthology/dp/1329915410/ref=sr_1_1?ie=UTF8&qid=1474528818&sr=8-1&keywords=Yanty%27s+Butterfly


Yanty's Butterfly is an international haiku anthology dedicated to Yanty Tjiam (1981-2015), and her family. Yanty was a haiku poet who passed away in 2015. She was a beloved member of our Haiku Nook community on Google+. 

In honor of Yanty, 20 poets from Canada, the U.K., Germany, Persia/Iran, Sri Lanka, Ukraine, South Africa, Taiwan, the Philippines, and the U.S. have come together to create this anthology. In the spirit of Yanty, and global connectedness, Yanty's Butterfly embodies a transformative power all its own. 

This anthology consists of over 600 poems, spanning the variety of haiku forms: three-line haiku, two-line haiku, one-line haiku, four-line haiku, traditional haiku (5-7-5), concrete haiku, tanka, and haibun.


Featuring haiku by Yanty Tjiam, George Klacsanzky, Fei Zhan, and award-winning poet, Alan Summers, Yanty’s Butterfly is an essential addition to the haiku literature of the 21st century. 


In the editor's note, Jacob Salzer further describes the inherent value, and significance of this anthology: "As we lost a loved one, Yanty Tjiam, she went through a metamorphosis of her own, and in the process, she transformed us as well ...[Yanty's Butterfly] is a celebration of her life, and her haiku. It is also a celebration of our work in this genre, and the power of haiku to connect people, across countries, across boundaries, around the world." 


All proceeds from this book will be donated to Yanty’s family, and to two charity organizations: The Hunger Project, and ActionAid

More details:
http://jsalzer.wix.com/yantysbutterfly#!contact-us/vmd5f

How to buy this anthology:
http://jsalzer.wix.com/yantysbutterfly#!buy/c17y5


Some of my own haiku:



night of small colour
a part of the underworld
becomes one heron

Publication Credit: Modern Haiku Vol. 45.2  Summer 2014; Brass Bell Showcase: Alan Summers (July 2015)


Anthology credit: Haiku 2015 (Modern Haiku Press, 2015); http://www.modernhaiku.org/mhbooks/index.htmlYanty's Butterfly  ISBN-10: 1329915410 ISBN-13: 978-1329915411


family home
my goodbye 
to the god
of its garden

Publication Credit: Yanty’s Butterfly 2016 Haiku Nook Anthology


a song beginning
the cardboard box in a child
carries its own light

Publication Credit: Yanty’s Butterfly 2016 Haiku Nook Anthology


an older heartbeat
the blur of a pine marten
on the glacier road

Publication Credit: Yanty’s Butterfly 2016 Haiku Nook Anthology


sleeping rough 
I make more room
for the Milky Way

Magazine Credit: Brass Bell Night Haiku (December 2015)
Anthology Credit: Yanty’s Butterfly (Haiku Nook Anthology)



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Thursday, March 17, 2016

575haiku - Traditional Haiku as three lines and in a 5-7-5 English language syllables pattern





Traditional Haiku as three lines and in a 5-7-5 English language syllables pattern.

Note:
Scroll further down, towards the end, to see my own published examples of "5-7-5" haiku.

It’s great to have a crack at haiku which is so different from other short genres or forms of poetry. Although modern haiku does not require a 575 count in English unlike most (but not all) Japanese haiku, it is occasionally worth attempting.  But avoid the many pitfalls!

One pitfall is the awkward enjambment, which can work so well in other genres of poetry, but not so much in haiku.


Enjambment - Poetry Foundation

The running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation; the opposite of end-stopped. William Carlos Williams’s “Between Walls” is one sentence broken into 10 enjambed lines:
https://www.poetryfoundation.org/learn/glossary-terms/enjambment


Where enjambment might work well in free verse etc... it can work against a haiku poem, especially if it is used merely to make a forced syllable count, for its own sake, and not for the sake of the poem itself.

Cutting a line off abruptly just to make a 'syllable count' in a particular line such as the attempt to make a 575 syllablic stanza/verse might be good for a longer poem of many such verses, but it can lose the ability to be called a haiku.

Here's a made up 575 verse/stanza that I've created as an example and would never call a haiku. 

It might have 3 lines, and five syllables, seven syllables, and five syllables respectively for each line, but it's not a haiku.

Neither could it be called any kind of related haikai verse such as hokku (as written by the Classic Japanese poets like Basho, Chiyo-ni, Buson, Issa etc...) or internal renga verses.


deep blue and very
soon there will be another
cloud along the way



The example above is deliberately clumsy and clunky. It may well work as a funny standalone poem, or part of a longer poem of many verses, but it is definitely not haiku or hokku, or an internal renga verse. It could be termed a 575verse perhaps, but as you can see not all "575verse" are haiku.


Here's an example of a haiku in 575 selected for one of the world's top haiku magazines outside Japan:




night of small colour
a part of the underworld
becomes one heron

Alan Summers



















Publication Credit: Modern Haiku Vol. 45.2  Summer 2014
ed. Paul Miller
http://www.modernhaiku.org/issue45-2/index.html



The night of small colour haiku was also selected as one of the top 100 haiku (out of thousands) from 2014 to appear in:

Haiku 2015 ed. Scott Metz & Lee Gurga
(Modern Haiku Press, 2015)


The short verse poem is a haiku NOT because it has a pattern of syllables in 5-7-5 as much as it secures kire and vertical axis.

The vertical axis deals with the under-story, or sub-text, or extra-narrative strings, of a haiku, whereas the other axis, (the horizontal axis) is the surface story (or a part of the deeper, embedded, narrative) that we can read on a surface level.


Regarding the under-story of the haiku:

Herons are connected to folklore:
https://en.wikipedia.org/wiki/Aosaginohi
http://www.pitlanemagazine.com/cultures/animal-folklore-the-heron.html
https://roaringwaterjournal.com/tag/folklore-of-herons/
http://www.countryfile.com/countryside/heron-king-river

And of course the underworld :
https://en.wikipedia.org/wiki/Underworld
https://en.wikipedia.org/wiki/Greek_underworld


A reader does not have to see beyond the surface level of this haiku to feel it's a particularly dark and badly illuminated night that followed twilight, and that can feel like a netherworld, separate to our normal day to day existence.

The haiku is also anthologised in this anthology that has a section on 575 haiku by numerous poets, and all proceeds go to two charities, plus Yanty's family.




Yanty’s Butterfly Haiku Nook: An Anthology (2016)
ed. Jacob Salzer & The Nook Editorial Staff 
ISBN-10: 1329915410. ISBN-13: 978-1329915411


night of small colour
a part of the underworld
becomes one heron


This haiku now also appears in a new groundbreaking anthology: 



Poetry as Consciousness - 
Haiku Forests, Space of Mind, and an Ethics of Freedom
Author: Richard Gilbert  Illustrator: Sabine Miller. 
ISBN978-4-86330-189-4  Pub. Keibunsha (2018, Japan)
http://www.keibunsha.jp/books/9784863301894_english.html

Richard Gilbert says this, regarding the (575) haiku:


night of small colour
a part of the underworld
becomes one heron


Alan Summers

Extracts from Pages 223 & 224:

This haiku is classified as mythopoetic reality.  The mythopoesis [is] evident in the semantic twist of “small colour” of night, a part of which “becomes on heron.” 

What lies between realism and imagination, between living and dreaming, [as] a particular form of sanctuary; a space of poiesis. It seems most most fragile and nuanced, insignificant and ephemeral—yet it calls or we call, in seeking deeper, more enriching, increasingly multiple, multifarious dimensions of knowing in psyche.

Wallace Stevens refers to this poetical process as “enlargement”.




See more of my own haiku in a 5-7-5 syllable pattern further down.



Although it's normal and natural to follow a 5-7-5 pattern in the Japanese language, and this can be seen with wet floor signs, traffic update messages, and other public notices, conversations, and in all kinds of written creative pieces, it doesn’t mean that every 575 utterance is a haiku, it may just be telling you a shop floor is wet and slippery!

Oh, and traditional haiku, that is, originating from Japan, is commonly written in one line. It’s more of a Western thing to write in three horizontal lines. 

So if you still wish to pursue an attempt at 575 in a language other than Japanese (which has three language systems and no alphabet) please always consider including articles (a, an, the) to avoid the poem containing abruptness.





I've been studying and writing haiku for twenty-five years and only considered producing my own examples of 575 in the last few years to help guide others who start off that way.

Here's a little piece in progress about 575 haiku in English including a few of my own haiku in a 5-7-5 pattern:

There are examples of traditional Japanese haiku slightly breaking the rules (hacho) with jitarazu (insufficient syllables) and this has been witnessed since the time before Basho right up to the 21st Century: And it’s the same with jiamari (excessive syllables). In fact some Japanese women sometimes write tanka (five line poems) shorter than haiku, and haiku longer than tanka!   575 is just one way to write a haiku.

Okay, so still willing to attempt haiku and in a 575 pattern?  

Just because we are going to make contemporary haiku (in English) longer by going for the 575 syllable count, we should still pay attention to various useful devices.


Always think of the white space, the non-text part of a poem on the page or screen which is just as important as what can be seen and read because it carries its own meaning: 




I can write 575 haiku in English syllable patterns although I don't see writing anything in 575 as a challenge, unless they contain certain key components like kiru (cutting) and kigo (seasonal/socio-cultural references), and they have to be tight.  Writing crafted haiku is indeed a discipline in itself, and a syllable count is only a small part.



Here are a few more of my 575 haiku published in reputable poetry outlets:



all this drifting snow
I wonder how I became
yet another shape

Alan Summers
Award Credit: Best of Mainichi, Japan 2014

*

another hot day
a leaking water pipe stopped
by the jackdaw’s beak

Alan Summers

Award credit:
Honourable Mention, 14th Mainichi Haiku Contest (Japan 2010)  

*

lullaby of rain
another pinch of saffron
in the pumpkin soup

Alan Summers

Publications credits: Heron’s Nest (Volume XIV, Number 4  December 2012); The Haiku Calendar 2014 (Snapshot Press, 2013); The Haiku Foundation Per Diem (18/7/14)

Award Credit: Editors' Choices, Heron’s Nest (Volume XIV, Number 4: Dec. 2012); Runner-up, The Haiku Calendar Competition 2013


Anthology credits: 
1. EarthRise Rolling Haiku Collaboration 2016 Foodcrop Haiku
2. naad anunaad: an anthology of contemporary international haiku ed. Shloka Shankar, Sanjuktaa Asopa, Kala Ramesh (India, 2016) Awarded a joint First in the Haiku Society of America Merit Books Awards.

*

a nudge in the light
dusk in all its small angles
of a hotel room

Alan Summers
Publication Credit:  Frozen Butterfly issue 2 Spring 2015

*

this delicate rain
the petal makes a typo
of a gravestone date

Alan Summers
Publications credits: tinywords, haiku & other small poems (July 2011) 

*

the moon is broken
Battersea Power Station 
from a train window

Alan Summers

Award credit: 
1st Prize, World Monuments Fund 2012 Haiku Contest (New York, USA) 

Article: The Moon is Broken: Juxtaposition in haiku article Scope vol. 60 no. 3 (FAWQ  magazine April 2014)

Publication Credit: 
The Haiku Foundation Per Diem collection “Light and Dark” December 2014

Battersea Power Station: 
The life, death and rebirth of a London icon
Jake Wallis Simons, for CNN
http://edition.cnn.com/2014/09/01/world/battersea-power-station/index.html
*

watery sunlight-
the flower’s fidelity
with a bumblebee

Alan Summers

Publication Credits:  Under the Basho (traditional September 15, 2013, Autumn Issue)

Anthology credit:  
Under the Basho - Autumn 2013 [Kindle Edition]
Don Baird (Editor), Hansha Teki (Editor) ASIN: B00F52Z9JU

*

This one contains para-rhyme:
.

lazy afternoon-
I drift along with the breeze
and dandelion seeds

Alan Summers

Publication credits: Aesthetics, (Bath Spa University 2007);  see haiku here, Haiga artwork by Kuniharu Shimizu (Tokyo, Japan 2010)

Anthology credit: Haiku Friends 2 ed. Masaharu Hirata  (Osaka, Japan 2007)

*

quickening its rain
through the eye of a needle
the dragonfly’s glint

Alan Summers
Scope (Fellowship of Australian Writers, Queensland magazine, July 2015, vol. 61 no. 6)


the snow-spinning wind 
I dream of only big trees 
in my prison yard

Alan Summers

Award Credit:  
Runner Up, The IAFOR Vladimir Devidé Haiku Award 2015

*

painting a forest
another of the red leaves
caught on an easel


Alan Summers

Award credit:
Commendation and Diploma
VI Polish International Haiku Competition 2016

*

taking a lunch break...
the common blue damselflies
gliding into packs


Alan Summers

Publication credit:  Hedgerow #113 (May 2017)



light of the river
all jazz beats and a copy 
of Whitsun Weddings


Alan Summers
Anthology credit: 
Yamadera Basho Memorial Museum Selected Haiku Collection (Japan 2017)



the slow fall of snow
each and every type of fold
loiters before light


Alan Summers
Haiku Canada Review vol. 11 no. 2 (October 2017) ed. LeRoy Gorman


a midnight window
the quiet sorting of gifts
by mice for christmas

Alan Summers
Lagan OnlineSmall Words: Haiku, Limericks and Palindromes
30th October 2017




Important articles and resources:

The days of Japanese haiku writers being arrested for not doing a 5-7-5 count aka "5-on" "7-on" and "5-on" are long gone, but even 80 years ago some poets in Japan were tortured, sometimes to death, for veering away from what was perceived as patriotic Japanese haiku.  The truth is that poetry scares politicians, and their corporate sponsors.

NEW RISING HAIKU
The Evolution of Modern Japanese Haiku and the Haiku Persecution Incident
by Itô Yûki, Ph.D. (cand.), Kumamoto University, Graduate School of Cultural and Social Sciences

Forgive, But Do Not Forget: Modern Haiku and Totalitarianism 
Itô Yûki talks with Udo Wenzel

Also, regarding the patterns of 575-on, more natural to the Japanese tongue, think of them as patterns of 5-mora 7-mora 5-mora:


I touch on the complex multiple systems of the Japanese language alongside a report on my judging of the New York based organisation World Monuments Fund and their second haiku competition.  Oh, and enjoy the video too!  ☺

Extended Judge’s Report for 2013 World Monuments Fund Haiku Contest from Alan Summers


on:  
https://en.wikipedia.org/wiki/Japanese_phonology

mora:  

syllable weight: 

Japanese language: 


More than one fold in the paper: Kire, kigo, and the vertical axis of meaning in haiku 
by Alan Summers


From 5-7-5 to 8-8-8
Haiku Metrics and Issues of Emulation
RICHARD GILBERT and JUDY YONEOKA 
Publication: Language Issues: Journal of the Foreign Language Education Center (vol. 1) 
Prefectural University of Kumamoto, Kumamoto (March 2000) Japan.




warmest regards,

Alan Summers

Japan Times award-winning writer; Pushcart Prize nominated poet; and President of the United Haiku and Tanka Society:
http://unitedhaikuandtankasociety.com/officers-biographies
http://area17.blogspot.co.uk/2017/01/happy-new-year-and-brand-new-honour.html



As co-founder of Call of the Page (with Karen Hoy) 

we also regularly run online courses for haiku (and related genres): www.callofthepage.org

For more information contact Karen at:
admin@callofthepage.org

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