Cisco ~ Yotsumono

  forest verdure -
 from each a separate branch
squirrels natter and nag  

on every certificate
a check mark next to climate change

Nylon and Velcro

trading even up

for canvas and leather

before he passed on
'Cisco was a friend of mine

election year ~ yotsumono

election year -
they take it on the arches
when the bus breaks down

neutrino particles
rushing backwards through time

safe at a distance
petals of apple blossom
carpet the ground 

 

did anyone hear
what happened to Zika?

red ink ~ yotsumono

 

blustery day -
crowds across the commons
mingle and merge


pleasantries punctuated
with a crack of gum


handing back change
her cherry blossom tattoo
fresh with red ink


today's the day
I'll paint my mailbox blue

flu season ~ yotsumono

the man in black
puffs his inhaler -
flu season

never looking up
no one notices the crow

queue at full stop
I steal a glance at
the nape of her neck

gritty snow
in the bus stop's shadow

Earthquake Season ~ New Junicho

earthquake season -
the avocado
rolls this way & that


wave upon wave
a rainbow in curved air


so beautiful
this time of year
the moon over Hiroshima


the bitter aftertaste
of my twig tea


dead roach
buried in the flower pot
hastily snuffed


the doors of perception
rapidly closing


100 billion neurons
tapped deep
to granite secrets


they swap their faces
back again they swap


amid the smell of paint
he coaxes
a small smile from her


blind in the fragrance garden
witch-hazel


flies all swatted,
the lightest touch
on the divining rod


we gasp at the delights
of Tokusatsu


Earthquake Season – A New Junicho
hokku – Sandra [shasei]
wakiku – John [cultural - music]
daisan – Willie [cultural - politics]
#4 – Alan [shasei]
#5 – Bill [shasei]
#6 – Lorin [cultural - literature]
#7 – Lorin [gendai]
#8 – John [gendai]
#9 – Sandra [cultural - art]
#10 – Bill [shasei]
#11 – Willie [cultural - religion]
ageku – Alan [cultural - film]

Composed at Issa's Snail
28th February to 23rd March 2011

John Carley – UK (sabaki)
Bill Dennis – USA
Lorin Ford – AU
Sandra Simpson – NZ
William Sorlien – USA
Alan J. Summers – UK



Earthquake Season: Tomegaki

When a renku sequence is completed in Japan the poem-leader (sabaki) will often write a tomegaki (closing note). This can take the form of a general debrief, addressing a variety of points raised during the course of composition, or it may take a single issue and examine it in some detail. In truth the present notes stretch the concept of 'tomegaki' somewhat as they are written a considerable time after the poem's completion.

What it is, in terms of what it is not

The seasons must be important to renku. Every glib description of a particular type of sequence is couched in terms of how many spring blossoms or autumn moons there are and the order in which they must appear (if in doubt see the notorious Renku Reckoner by a certain Carley J E). As for the many season words themselves: the Big Boy's Book of Kigo can now boast as many as 15000 listings. That's enough to write 813 Kasen without danger of repeating oneself. Or, for those serious about their rules: one must now write 813 Kasen before one is allowed to repeat oneself.

In so far as the New Junicho casually dispenses with such technicalities it is tempting to analyse it in terms of what it is not. As Wilde observed: the only way to get rid of a temptation is to yield to it, but first let's look at the New Junicho in terms of what it does. Definitely.

What it definitely does do

Renku is not poetry-by-numbers. By junking a barrow-load of convention the New Junicho does the invaluable service of pointing out that renku verses might have the correct number of lines, the correct number of camellias, the correct number of happy thoughts, and employ the correct type of seisokuzuke (correct-linkage), yet still be in every way ghastly. Of themselves moons, blossoms and frogs-in-ponds guarantee absolutely nothing whatsoever. Such things may be the prompt or context for good writing. They do not constitute the writing itself.

More of definitely

An interesting feature of the New Junicho is that whilst it dispenses with a host of the more familiar fixed topics, the ones it introduces are not just plucked out of the air. As Ashley Capes remarks elsewhere in this journal, give or take a few silicon chips, the topics in his newly proposed cultural category find their counterparts in the more high-brow medieval linked verse known as ushin renga, which in turn fed into the Basho-school haikai-no-renga. For all that they no longer appear at fixed positions in Basho's Kasen such topics as religion, philosophy, literature, drama, and song are very much present. So much so that in the opening movement – jo – they are effectively barred!

Neither is the idea of gendai (modernistic) verses without precedent. In his recently advanced Rokku the contemporary Japanese poet and critic Haku Asanuma devotes an entire movement to verses which must employ experimental prosody. But perhaps more surprising is the evidence from Basho's own writing which suggests a degree of ambivalence towards strictness of form; some of Kikaku's stanzas in the latter part of The Verse Merchants (Shi Akindo) are so radical that editors duly 'corrected' them, believing them to be the result of transcription errors. Or drunkenness. And in terms of content, so pervasive is the effect of official deification that it is sometimes difficult to understand quite how unusual some of Basho's subjects and treatments were.

The word 'deification' brings us inevitably to miserly Masaoka. Much as one would like to dismiss Shiki out of hand his theory of shasei remains a valuable, if far from unique, examination of how verses centred on lived experience protect a poem from artificiality. Given that the New Junicho dispenses with fixed seasons and seasonal topics perhaps Mr Capes' proposed shasei verses can take up some of the slack in terms of grounding us in the real world.

Which is where we came in. Or rather, where the itch of temptation started. It is a truly radical step to formally dispense with the seasons of said 'real world', so it is inevitable that the New Junicho will be scrutinised in terms of what it may or may not do as a result.

A bit definitely, or perhaps not very

So let's throw together some headers which describe the functions of seasonal reference in renku and see how the New Junicho measures up:

Correctness

Argument: Some people believe that the inclusion of an appropriate season word, at a preordained juncture, is a requirement. It ensures that a verse is correctly composed i.e. that it follows the rules.

Counter: Such people have strange personal habits and should be shunned.

Variety

Argument: Renku is not thematic; it is quintessentially anti-thematic. Central to the genre are notions of totality and oneness-through-variety. The natural world is seen as indivisible from the affairs of man. Verses which express the full range of seasons are therefore guarantors of diversity and extent.

Counter: The topic categories of the New Junicho do not proscribe any form of content. Given that in renku a topical designation is a contextual element only there is no more reason for a New Junicho 'literature' verse to exclude a mention of 'winter' than there is for a Kasen 'winter' verse to avoid also referencing 'literature'.

Reality

Argument: It is important to be real in one's writing. One should depict lived experience. A lack of artificiality is most readily found in relation to the natural world.

Counter: It depends on whose natural world. What it the value of writing about cherry blossoms if you live in the Sahara? For many, lived experience is as likely to be urban. Or virtual. And when was the last time you pounded rice cakes?

Vertical Axis

Argument: Season words and topics have hon'i (poetic essence) – the cluster of values and associations which are conjured up by the mention of a particular bird, agricultural activity, festival etc. These overtones can add layers of resonance to a verse where a direct reference would sink it.

Counter: Films, tunes, books, characters, political events have hon'i too. "Bzzt. Bzzt. One... small… step. Bzzt."

Special Sensitivity

Argument: Something in the national psyche makes the Japanese soul uniquely attuned to the relationship between man and creation. The seasonal almanac, the saijiki, represents a special resource of poetic insight which is lost if we can no longer rely on the seasons as a centrepiece of our poem.

Counter: There's nothing like a bit of racial stereotyping to warm the cockles, eh!

Cohesion and Linkage

Argument: When a group of verses share the same season they follow a logical chronology. Specially in longer forms of renku as a timeframe unfolds it adds an element of cohesion. Even in the shortest forms, like the Junicho Old, where a pair of verses share the same season the automatic association allows other elements in the verse greater scope to tighten or loosen the linkage at will.

Counter: Yes. True. But to link through the season alone is poor writing. What should be a contextual element mustn't be elevated to the foreground. If renku is not thematic, a season cannot be treated as a theme. The New Junicho avoids this pitfall.

Cycles

Argument: The structure of the Kasen makes it plain that fine renku relies more on re-contextualisation than on novelty. We can see this clearly in the loosely cyclical distribution of the seasonal passage. As autumn moon comes round again we don't just duplicate the earlier verse, we use the superficial sameness to show difference.

Counter: Hmmn. Also true. But that's really only crucial in the Kasen, and to a lesser extent in the Triparshva, or a long Rokku. And if you are skilful enough you can achieve the same effect by other forms of subversion of what is initially seen as a repeated element of one sort or another.

Stages

Argument: Highly prominent verses such as autumn moon and spring blossom work in combination with the folio divisions to act as staging posts in a poem's development. So a seasonal reference can evoke the cyclical qualities of the seasons whilst marking the linear evolution of the poem itself.

Counter: True again. But again also only really relevant to longer sequences. Junicho the Older doesn't have folio divisions and doesn't oblige spring blossom or autumn moon either. If that's all the arguments you can muster we're done here.

Conclusion

Nobody ever learnt anything by following a set formula. Art is not created by default.

The New Junicho has merit by dint of innovation alone. But it has more to recommend it. The new method highlights aspects of practice which have been lost or ignored whilst obliging a comprehensive re-evaluation of attitudes to seasonal reference, both as components of a verse, and as elements of the overall structure of a poem.

It may be that the approach Mr Capes has originated will not lend itself as readily to longer sequences. But Earthquake Season was only ever intended to be a twelve verse poem. And the experience of reading it is more important than the meaning of 'New', 'Junicho' or 'Renku'.

Erm, while we're on the subject of making things up – there's no such word as seisokuzuke (correct-linkage). Sorry.

John Edmund Carley (UK)

Degachi

**


Call for hokku (three preferred), any season, in comments

* An introduction to Renku by John Edmund Carley

Yotsumono ~ tassels

red and yellow silks
weave tassels on the corn --
 the crows ply every row



on a rainy Midwest morning,
muted shades of grey



I found inspiration
from the very first page
 of that new best seller



neither merit nor dishonor
in lines of 1's and o's

Little Book of Yotsumonos

Untitled

muted colours
predominately green -
another day of rain



the crow's raised wings
their sheen in this sleet!



* *
* * * (daisan)
* *



* *
* * * (ageku)

Yotsumono ~The Slightest Blush

in names I can't pronounce
their words a reverie --
ripe persimmons

the slightest blush,

from her lips not a sound

a good student,
hating himself,
does what he's told


neutrons in the reactor's core
at critical mass








Little Book of Yotsumonos

Facebook ~ Yotsumono

daytime moon--
figures in crayon scrawled
on every door



2 am it rained; now
the dogs bark at any noise



ever since we left,
that sofa we abandoned
sits there on the curb



logged on to facebook
in a language not my own





;;;;;





.

Hemingway ~ yotsumono

river and moon -
across the swing bridge
rust's silent creep


a masked tagger's
precarious balance


any time
Hemingway clenched his jaw
I'd buy us both a round


  the AutoMaid®️ grins
through smudges on the screen



;;;;;

Letter From Fukushima :: Koyomi

Omote




a glance and a nod
then right out that door
deep spring snow


the moving guys squat
wrestling the quilt box


ebb tide
releases its grip
on our indiscretion


in a jerry built shack
beneath comma shaped clouds


timid steps
on the icy slate, moonlight
through an iron grate


two wet cocktail rings
merge on top the bar




Ura




after we finish
belly laughs
wobble the bed springs


wings of geese beat
auguries into the wind


this new appliance
sends a text
when the colors are done


in haikai spirit
a letter from Fukushima


trumpet vine
and gospel hymns
rise above the sea wall


the bright sting of salt
on still morning air







February 2, 2011, edited

bandit / govindajohn

Noon in the Middle Kingdom (american spoken here)

mm, look at that baby, clean lines, Corinthian leather, and,
(sssnnniiifff) that new weapon smell!

· Reply · 44m

I think the Chinese are trying to bankrupt the US. They prefer that to actual war.

· Reply · 1h

that's part of war - they stopped buying treasuries already - "death to Amerika"

· Reply · 34m

Yes, but I like to mince words.

· Reply · 33m

no, no, no, that ain't me babe - ` made sure to put it in quotes

· Reply · 33m

Yes, but Uncle Confucius wants YOU! Use your head, son.

· Reply · 31m

come on board for the big win... sir?

· Reply · 30m

No, just follow the Middle Way.

· Reply · 30m

observe the squirrel - yes, I think I understand now

· Reply · 29m

Good. Now leave all your aircraft carriers in my bath tub.

· Reply · 28m

what about my ducks?! ... oh

· Reply · 27m

We can use then for firing practice.

· Reply · 27m

get an estimate first

· Reply · 26m

Bashaar plus 20.

· Reply · 26m

from a reliable contractor - betty's list?

· Reply · 26m

Betty crock of what, eh?

· Reply · 25m

a service to find services

· Reply · 25m

but remember - back down the ladder may cost you more

· Reply · 24m

The true searcher for the way enters the rock cliff cave and then contemplates the guano.

· Reply · 23m

I love a good guerro solo

· Reply · 23m

That figures. I'll tell president Xi that one. He'll have a good ho ho ho.

· Reply · 22m

not now it's nappies

· Reply · 22m

everyone's asleep

· Reply · 21m

But it's noon in the Middle Kingdom.


Manage
LikeShow more reactions
· Reply · 20m

... all right, come at me then ...

Three Day Moon


still a few stalks
by the windbreak in the snow --
three day moon

the dog makes a beeline
for the fox's spoor

in the villager's panic
torches and pitchforks
passed all around

she posts a view of blossoms
one last time


Bandit, Rice


Degachi format for Yotsumono; Submissions are closed.

Thank you for your patronage!

Start The Za Fizzing

Any team members, or curious bystanders, that are interested in starting or participating in another renku, written and agonized over live at this site, please respond in comments, or by email:
` haikubanditsociety@zoho.com.

Yotsumono ~ Hot Again; November

` Hot Again




a lone gull gliding
catches up to its cries --
Lake Mallalieu


kinetic theory
its rippling arc bending


pomade, coffee, talcum,
clean shirt, too -
the Fat Man's stick is hot again


a note, but no name,
and roses, just shy a dozen











` November



November --
countless raindrops to measure
the length of a day


a veil of frost
tints Johari's window


ranks of children
prone and obedient
to a flickering image


Lebensraum -
a none too distant dream



` ` ;;;;;


;;;;;

Quartet ~ The Origami Barge

Quartet: The Origami Barge


Autumn in Venice -
a passenger boards
the origami barge

a spice so sweet,
the moonlight on silk

calculus
at the edge of thought
escaping resolution

no other purpose
but to disturb the dust



healing the scars
from boiling henna
in an iron pan

a barrel of lant
to tan the walrus hide

his anorak
put on backwards
the shaman does the deed

praise and thanks
for the bride's virginity



little lambs cavort
as well they ought
and not be naughty

his dog cherry cane
clack-clacking down the path

it's the ocean
you can smell from here,
the boundless sky above

the wild pearl
unaware of imperfection



I stole a kiss
that night we met
the ferris wheel broke down

you promised me a ride
in a red convertible

a rumble in the switchyard,
distant train horns
long and low

the monkey and his master
do the rounds







Tzetzka: 1, 5, 8, 12, 14

John: 3, 6, 9, 11, 16

Willie: 2, 4, 7, 10, 13, 15


Tzetzka Ilieva, Marietta, Georgia, USA

John Carley, Rossendale, Lancashire, England

William Sorlien (sabaki), St. Paul, Minnesota, USA



The Origami Barge first appeared in A Hundred Gourds 3:2

Start the Za fizzing

Any team members, or curious bystanders, that are interested in starting or participating in another renku, written and agonized over live at this site, please respond in comments.

Quartet ~ Bronze Frog

Quartet: Bronze Frog



one more scooter
darts through the intersection -
lingering heat

half-thawed mooncakes
on a plate by the sink

the mission priest
adding water to wine,
testing our spirit

before the aria
the tenor's bated breath

***

with a swish and thump!
a pinecone makes its way
to the ground

the school girl's glasses
gotten frosty in the cold

some pink, some orange -
yarn bombed seats
in the morning train

our new sales promotion
geared to get results

***

rumor has it
uncle took a bride
without a dowry

a timid man is late
to view the blossom

one leg stretched,
the bronze frog pauses ...
before moving again

a daub of fresh paint
on the old tavern's crest

***

sign spinners
their dexterous displays
on every other corner

scraps from verses
we haven't yet written

does anyone remember
the year
without a summer?

fields of rosemary
from here to the horizon





Composed by E-mail, November 1 to 24, 2013
Tzetzka Ilieva, Georgia, USA
William Sorlien, Minnesota, USA

Sorlien: 1, 3, 6, 8. 10, 12, 13, 15
Ilieva: 2, 4, 5, 7, 9, 11, 14, 16


This renku appeared in World Haiku Review, January, 2014

Quartet ~ The Island _ Moongarlic Issue 1

The Island


the midday heat —
a drunken wasp
drowning in my glass

taller than the corn,
ripples blur the grey

every now and then
the voice of Jesus
from the SatNav

one errant keystroke
beyond a state of grace

----------

banished to the island
a poet
and his misty moon

a twist of wood smoke
sweet as any fish

amidst the roar
of plows and graders
groves of aspen quiver

any moment now
the feedback loop

-----------

the clock's slow drag,
she ticks off a box
in the personal ads

ice at the windows,
baggage at the door

the weight
too much to carry,
a footprint in the snow

so much for the students
and their placards

----------

don't forget your duty
to inform
on friends and neighbours

pouring gasoline
to burn a bit of trash

bright young couples
cradle lapdogs
underneath the blossom

brave butterflies,
we're off to gather scrap



John Carley and William Sorlien
by email
14th August 2013 to 4th September 2013

Carley: #1, #3, #6, #8, #10, #12, #13, #15
Sorlien: #2, #4, #5, #7, #9, #11, #14, #16


Quartet: The Island first appeared in Moongarlic, issue 1