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fallen blossom
the silent farewell
deepens the sunset
Kala Ramesh
shadowboxing...
the panhandler
cheers me on
Elmedin Kadric
lotus blossoms--
the beggar's smoke
wafts over
Issa
trans. by David G. Lanoue
best,
Don
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first thought
best thought
nothing in-between
Daryl Nielsen
winter solstice
I watch my shadow
climb the wall
Susan Constable
speaking
this day's deepest thoughts...
poppies
Issa
trans. by David G. Lanoue
best,
Don
PS Click to learn how to contribute to Wednesday Haiku
in twilight
cherry petals fall
without a sound
Chen-ou Liu
early morning
redwoods shrouded
in the sound of fog
Lisa Espenmiller
the cherry tree
that made blossom clouds
becomes charcoal
Issa
trans. by David G. Lanoue
best,
Don
PS Click to learn how to contribute to Wednesday Haiku
Poet and correspondent, David Giannini, contacted me last week to pass on the sad information that haiku master poet, Steve Sanfield, had died. I'd just recently begun to acquaint myself with Sanfield's work in two anthologies of English language haiku which I've been reading over the last couple of months. The first, Haiku in English: The First Hundred Years, edited by Jim Kacian and ..... has a single poem of Steve's and the second, The Unswept Path: Contemporary American Haiku, edited by John Brandi and Dennis Maloney, which has a narrower geographical focus, has a whole section with over 35 poems.
I'll be writing more about both these anthologies in future postings. In one of life's little synchronistic moments, I'd just finished up the section of poems by Steve in Unswept Path when the news of his death came my way.
First, a poem by Sanfield from Unswept Path:
Because I have nothing else
I have begun to love
my sorrow.
This is as touching as it is universal - at some time in each of our lives we experience the loss of love itself, which is replaced by another kind of love altogether as in this poem. This next poem is something of a prayer, one that would be appropriate each an every morning that a lapsed agnostic rises:
The silence before the dawn:
may it enter
my heart.
Another universal situation, at least as sketched out in the first line, with something of a wish/prayer for all that face it alone. Poem after poem deeply explores the ennui, the sorrow of our days:
to shake all morning
because you touched me
—a simple bow
This is love, desire, and gratitude, all wrapped in one, in love's full glory. The poet makes us feel the emotion in an extraordinary way.
And then this remarkable piece:
like a new season
she stands between me
and old sorrows
Remarkable in how the poet captures the transition between two exacting emotional states, the old sorrow we are all so reluctant to give up because our love is still so deeply entwined with it, and the new love standing aside in the path, showing the way.
Here is so true a definition of love itself, I'm tempted to append it (in my own print copy) to the separate definitions in the unabridged Webster's Dictionary:
each time
surprised by it:
beauty beyond desire
If these moved you, you can find many different editions of Steve Sanfield's work here. If you'd like to sample a few more poems, this website has a nice representation. The later will, I'm certain, lead you back to the former.
By the way, Sanfield called many of his poems 'hoops,' instead of haiku, and here is the reason he gave:
"I call them hoops rather than haiku, because haiku is a Japanese word for a poem usually written according to very specific guidelines. I wanted to step beyond those lines and also add another season—the season of the heart. And further, as Black Elk says, "that is because the Power of the world always worked in circles and everything tries to be round. In the old days when we were a strong and happy people, all our power came to us from the sacred hoop of the nation, and as long as the hoop was unbroken, the people flourished." 1.
Love, loss and sorrow were obviously major points of focus for Steve Sanfield. This last poem is the only one in Haiku in English, and it shows something more implied than explicit in the examples above, and certainly something that could not be more universal for those paying attention:
The earth shakes
just enough
to remind us.
~~~~~~~~~~~~~~~~~~~~~~~
After putting together the above post and preparing it for posting, I ran across the following poem by Steve in my morning reading from the exemplar collection, Haiku Mind: 108 Poems to Cultivate Awareness and Open Your Heart (another being read for future posting), edited and annotated by Patricia Donegan:
a petal falls
you
across the table
What an astounding body of work by Steve Sanfield ...
~~~~~~~~~~~~~~~~~~~~~~~
by itself
my head bows...
plum blossoms!
Issa
trans. by David G. Lanoue
best,
Don
PS Click to learn how to contribute to Wednesday Haiku
favor of crows by Gerald Vizenor has plenty to celebrate and plenty to ponder. The poems here are largely quiet, occasionally listless, many are image-based and some are simply revelatory, in the sense that anything revelatory can be simple.
But wait: perhaps that listlessness is something else.
bright hollyhocks
teeter in the rush of trains
flurry of faces
Like many fine haiku, these poems on the surface do not give up their essence easily. So, we see that if it is mind that struggles, lay aside mind and, as again with many fine haiku, something else appears: meaning opening up with the first rays of the sun.
gusts of rain
trees turn away from the sea
beach stories
Gerald Vizenor is a poet, critic, cultural theorist and academician, a leading Native American writer of the last half century and a member of the Chippewa Nation. He is a haiku scholar as well as haiku poet - his introduction, entitled "Haiku Scenes," displays his command of haiku history and haiku essence, and situates him in the Zen Buddhist / R. H. Blyth school of haiku theory and practice.
red poppies
trace the motion of the sun
elders in the park
His linking of Native American culture and concepts to Japanese culture is at once informative and historical (Vizenor, as was true with many Americans, encountered the culture first hand during a tour of duty in WW II), and the relationship to nature and animism in both cultures makes for interesting, thought-provoking theory.
china sunrise
tourists circle the statues
cicada fugues
Ultimately, there is a balance of theory and feeling, the academic and the lyrical, and the truth is revealed in the poems themselves. His haiku are firmly nature based and season themed, with two contrasting elements stylistically prompting revelations both large and small, succinct and resonant, as in this poem.
marsh marigolds
trembling in the rain
faces on a bus
This haiku reminded me simultaneously of the classic haiku of the horse and the trembling flowers (a little help, anyone; I can't quite recall the poet or the poem exactly) and Pound's petals/faces/Metro poem.
The book is arranged seasonally, as are many traditional haiku collections. The autumn section is particularly strong, with the following poem recalling Bashō's famous autumn crow haiku (scroll down for multiple translations via this link):
spider web
billows on a bare branch
empty
Vizenor is at once subtle and almost understated, presenting us with images and contrast, and letting the reader take it from there. Like the finest haiku throughout time and across cultures.
mountain snow
warblers search for apricots
no regrets
We know the warblers have no regrets; how about you?
Or perhaps the warblers do. What to make of these clever little sparrows?
noisy sparrows
flutter over the birdbath
clearing the snow
Sentience, learned behavior, coincidence? Some things to ask ourselves as well as the sparrows.
Gerald Vizenor asks, and his answers are of the very best type; they are suggestive, they are lyrical, they are alive.
This is a book I anticipate revisiting again and again, as the seasons return again and again. And, as with the seasons, one can anticipate a return of joy, each time different, each time the very same. Give it a try, from the library or the nearest bookstore, electronic or otherwise.
It will reward you deeply.
~~~~~~~~~~~~~~~~~~~~~~~~~
the first cherry blossoms
soon scatter and stick...
people's faces
Issa
trans. by David G. Lanoue
best,
Don
PS Click to learn how to contribute to Wednesday Haiku
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