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Publié par | ABRAMS BOOKS |
Date de parution | 05 septembre 2017 |
Nombre de lectures | 1 |
EAN13 | 9781683351962 |
Langue | English |
Poids de l'ouvrage | 11 Mo |
Informations légales : prix de location à la page 0,0674€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.
Extrait
17 Syllables to Say It All
102
17 Syllables to Say It All
ABRAMS NOTERIE, NEW YORK
JOURNAL
Design by Hana Nakamura
ISBN 978-1-4197-2677-4 eISBN 978-1-68335-196-2
Copyright 2017 Poetry at Parties LLC
Published in 2017 by Abrams Noterie, an imprint of
ABRAMS. All rights reserved. No portion of this book
may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means, mechanical,
electronic, photocopying, recording, or otherwise,
without written permission from the publisher.
Abrams Noterie products are available at special
discounts when purchased in quantity for premiums
and promotions as well as fundraising or educational
use. Special editions can also be created to specification.
For details, contact specialsales@abramsbooks.com or
the address below.
ABRAMS The Art of Books
115 West 18th Street, New York, NY 10011
abramsbooks.com
a human being
is the owner of this fine
book of haiku thoughts
INTRODUCTION
Welcome to your new mission.
It s clear that you are the type of
person who is interested in living a
life that is an adventure, whatever
that adventure may be. You want to
do and see great things.
We know that every great thing we
want to see in the world has got to
start with the only great thing that
we truly control.
The great thing that you see every
morning when you look in the mirror.
You.
When it comes to the power of haiku
to learn about yourself, we are the
experts. We write custom poems
for strangers every day, all around
the world; it is an intimate and
revelatory experience.
Our mission is to inspire people to
take bold action in the pursuit of
passion. It looks like you are on that
mission now, too.
We re on this mission together.
Q: What Is a Haiku Anyway?
A: An Unusual Strophe
As we delve into the world of haiku
together, let s note our context: We
are English-speaking Westerners
who have studied poetic forms
spanning linguistic, historic, and
cultural divides. We ve taken
haiku out of its original context
of ancient Japanese culture and
are experimenting with it for
contemporary Western audiences.
We do so with the utmost respect
for the original art form and all of
our knowledge and guidance has
the purpose of bringing haiku into
a new time and place, never to tell
any traditional Japanese artists how
they should write haiku.
Many people remember haiku from
early grade school-what a great
opportunity for our teachers to
show us what syllables are. But
some people must have been absent
during that day of second grade;
we ll never forget the day an angry
fellow stormed over to our haiku
stand demanding to know, WHAT
IS A HACKUS?!?
In the English-speaking world, the
classic definition of a haiku is any
three-line poem, with a syllabic
structure of 5-7-5. There is a lot more
going on in the traditional Japanese
style. There are two crucial
elements of the traditional Japanese
haiku: a
kireji
(cutting word)
between two different thoughts
or images, and a
kigo
(seasonal
reference). These rules are often set
aside in the construction of Western-
style haiku, and we re cool with
that, but it is important to at least
know that in Japanese, the syllable
hai means unusual and ku
means strophe or verse. So the
word
haiku
translates exactly to an
unusual strophe. That definition is
pretty important in the application
of haiku to our daily lives because
every haiku is an opportunity for a
fresh perspective.
Haiku started to emerge in ancient
Japan nearly 1,000 years ago, as a
casual, collaborative poetic form. It
wasn t until the time of the great
master Matsuo Basho (1644-1694)
that the
hokku
, the standalone 5-7-5
poem, reached real greatness and
prestige as more than just a witty
party trick.
Basho was the first in a new line
of masterful haiku poets who
revolutionized cultural life in
Japan, and his followers became
the leaders of generations of haiku
masters like Buson, Issa, Shiki,
and rarer, though prolific, women
haikuists like Chigetsu, Kikusha, and
Chiyo. As soon as Western writers
heard of this beautiful poetic form,
it gained traction and attention
worldwide. Foreign people living in
Japan and internationally minded
Japanese and experimental writers
interested in minimalism all caught
wind of the magic of haiku.
And now we are here.
Don t you think it s time to start?
Are you ready yet?
(See what we did there?)
HOW TO HAIKU
There Must Be
50
Ways to Write
Your Haiku
Over the course of this book you re
going to be struck by inspiration in
many different ways. Like all things,
writing haiku gets easier with
practice, we swear. Until the ideas
start flowing like water, try some of
these exercises to get your muses
talking to you.
Or, if you re ready, skip ahead to
start your haiku adventure.
Exercise 1: Think about your life.
Make a list of ten or more words
or phrases that describe you, your
passions, your dreams, challenges in
your life, and things you love. Be as
specific as possible. And it doesn t
need to sound poetic -this is just
a freely associated list for you and
you will not need to turn it in to the
teacher.
Exercise 2: Visualization.
Close your eyes and take a few slow,
deep breaths, as calmly as possible.
Give yourself about sixty seconds of
uninterrupted quiet breath. You ll
start to notice images arising in
your head. Let your mind wander
to scenes, pictures, and scenarios
that you enjoy-scenes of nature,
certain sounds, colors, scents, tastes,
textures. After a few minutes of
meandering in that mindscape, start
listing as many of these sensory
words and descriptors as you can.
They don t need to connect or make
sense, just let your mind go off on its
own and see what you find.
Exercise 3: Synthesis.
The most powerful way to inspire
is to connect a powerful image
or metaphor with an idea that is
meaningful to you. Look at your lists
and start to imagine connection
between your life and the sensory
exploration you did. You ll probably
find a connection that is really
strong and hits you fast. If not, start
pairing things arbitrarily and see
what you get.
Exercise 4:
Refinement and calibration.
The beauty of a haiku, or any poem
really, is in the way phrases can
feel new and fresh with just small
tweaks from how you d normally
talk. Try writing a full sentence
about something on your mind.
Now look closely at it and pull it
apart. You can move all the sections
around, reverse the order, go back
and forth from passive and active
voice, change perspective, make
it sound like Yoda said it, and it
doesn t even need to make sense ;
think of it like magnetic poetry.
Exercise 5:
New writing implements.
We get inspired just by using a
typewriter-the experience is so
different than typing on a computer
or chicken scratch in one of our
tattered notebooks. You can inspire
yourself too, just by using a writing
tool you don t usually use. Felt tip
marker, mechanical pencil, nail
polish, India ink, calligraphy pen,
old lipstick. . . just don t blame us if
things get messy. Or do, if it will get
you out of trouble.
YOUR HAIKU
Spring
slender shoots emerge
flowers open, future fruit-
a pact with the bees
it s with gratitude
and with no further adieu
we start to haiku
THE HAIKU
PROMPTS
1
Your First Memory
Childhood was a big Crayola
blur for many of us, but what
was one formative moment
that stands out in your mind?
Crawling across your grandma s
shag carpet? Eating glitter in
preschool? Your older brother
throwing a walnut at your head?
Look back and put yourself in
that moment, and enjoy the
simplicity and strangeness
of the world through your
childhood eyes.
it was so shiny
I d never have imagined
it would taste so bad