Poetry world

This month we look at a short Japanese poetry form called the haibun.  The haibun (translated as "haikai writings" is a form that combines prose and haiku.

Matsuo "Basho" Kinsaku  1644-1694

Haibun poems are used to write autobiography, diary, essay, prose poems, very short stories. It was used as a kind of travel journal when it was first used by the 17th-century Japanese poet Matsuo Basho. It was a form he popularized. He wrote haibun as travel accounts. The most famous are in  Oku no Hosomichi (Narrow Road to the Interior).

Haibun continued to be written by later haikai poets such as Yosa Buson, Kobayashi Issa and Masaoka Shiki. 

Not all of Basho's haibun are devoted to travel. They also are character sketches, landscape scenes, and occasional poems to honor a specific patron or event. His "Hut of the Phantom Dwelling" is a quite long prose essay followed by the haiku:

Among these summer trees, 
a pasania- 
something to count on 

(A pasania is a tree species of Asia, sometimes called in English a "stone oak" because of its very hard acorn-like nuts.)


Traditional haibun typically took the form of a short, precise prose description of a place, person or object, or a diary of a journey or other events in the poet's life, followed by a related haiku.

Haibun is now wriiten worldwide and the form has been adapted into different variations. The basic rules for the haibun are simple.

1. Unlike haiku, they begin with a title. 
2. The prose portion is terse, descriptive and written in the first person singular. 
3. It is in the present moment. Imagine the experience is occurring now, not in the past.
4. Although this is prose, it is poetic, understated, with all excessive words eliminated. 
5. The accompanying haiku follows the traditional rules of that form. 
6. The subject of the haiku does not repeat, quote or explain the prose, but reflects some aspect of the prose with a detail that is more juxtaposition - different yet somehow connected. That connection can be a surprising revelation for the reader.

I was in a workshop this past year with the poet Aimee Nezhukumatathil where we wrote haibun, Aimee has written several articles on haibun and gives a more detailed look at the rules of haibun - although she admits that she is "not one to stay close and straight to any particular poetry 'rules' (the haibun form especially and brightly lends itself to experimentation if one desires)."

She told us that although Basho coined the word haibun for the form as it is today, it already existed in Japan without that name as a kind of preface to poems and as mini-lyric essays. He wrote a guideline for the form and Aimee points out that he was quite concerned with aware (pronounced ah-WAR-ay), a term for the spirit of haiku or the "quality of certain objects to evoke longing, sadness, or immediate sympathy."

In "Don�t Bring Me to the Fireworks, The Fox-Wife Asks," by Jeannine Hall Gailey, we have a modern day haibun. I discovered Gailey's poetry in an article Nezhukumatathil wrote which includes another one of her fox-wife poems.

Don�t Bring Me to the Fireworks, The Fox-Wife Asks

They hurt my ears, make me run in circles. Under their chemical light you might see my non-human face, the tail I hide beneath skirts. In the city, under mercury vapor, you never see me clearly. I prefer the woods, the quiet howl of mosquitoes, of cicadas. Build me a hut of mud where we never see the stars, too bright. Bring me fans painted with cranes and peonies, poetry folded into birds. Don�t leave me in the crowd, my nose assaulted by too many scents. Let us stay far from others tonight, my love. Our celebrations will be fur and paw, hand to chest. Let the fireworks with their dizzy ghost spiders whine in the distance, keep me here, bring me silk kimonos the color of bark and dirt to nest in.

Keep the copper smoke
and saltpeter, the dim trails
of chrysanthemums in the sky.

That poem is from Gailey's collection, She Returns to the Floating World, which explores motifs in Japanese folk tales:, persona poems spoken by characters from anim� and manga, mythology, and fairy tales. The story of the kitsune, or fox-woman, is one that occurs throughout the book.

This month's prompt is a haibun following the simplified and traditional six rules stated above.

The submission deadline is the night of the New Moon, August14, 2015.




Further Reading On Haibun

• haibuntoday.com has a good selection of contemporary haibun. Two you might look at are "Night Fishing" and "Frozen."
  
• naturewriting.com has a good article on writing haibun

If you are a poet and publish or give readings, you may have been asked questions about your poems. Readers and listeners often wonder how real or autobiographical the details in your poems might be.

Some readers expect that the first car you owned in that poem must, in fact, be the actual first car you owned. That Francine who was your first kiss - Was she really your first kiss?

How honest do you need to be in your poems? How autobiographical are your poems and how much poetic license do you allow yourself? Is there a line of fiction that poems shouldn't cross?

For this month's prompt, we consider the questions readers ask (or might ask) about your poems.

There are two poems by Aimee Nezhukumatathil that serve this prompt. First is her poem, "Are All the Break-Ups in Your Poems Real?" I like the way she answers that question in several ways and I think for many poets the answer does depend on the poem and situation.

The second poem is "Dear Amy Nehzooukammyatootill" in which Aimee gives us a found poem, composed entirely of e-mails from various high school students. (As the title implies, Aimee's last name is a tough one for most readers.) The students have asked questions and made observations about the poet and her poems. The poet responds - but only through her selection, arrangement and repetition of the found comments.

What are readers asking you about your poems, and what are you answering?

Submission deadline: July 31, 2014


Aimee's website is at http://aimeenez.net 

Manuscripts being accepted for the first Two Sylvias Press Chapbook Prize.

The winner has his or her chapbook published as both print and eBook and receives twenty copies of the print version, a $250 prize and - rather wonderfully - an amethyst depression-glass trophy cup (circa 1930's).

Electronic submissions only of 17-24 pages of poetry.

The judge is Aimee Nezhukumatathil.

Full details athttp://twosylviaspress.com/chapbook-prize.html