You might like to know the contents of this book:
An invitation to Haiku vii
A Note On The Text ix
Haiku -- The Poetry of the Seasons 1
Haiku's seasonal Awareness 3
Japanese Haiku 4
The Development of American Haiku 9
The Art of Haiku 13
Haiku Moment, Context, and Order of Perception 33
Juxtaposition and Working with Images 38
Senses in Haiku 45
Suggestion and Reverberation 51
Significance and Effect 53
Not Exactly Haiku: Senryu and Zappai 55
Haiku with a Snap: Nature and Human Nature 55
Haiku with a Zap: Wit and Syllable Counting 57
The Craft of Haiku 59
Haiku on the Page 67
Other Techniques of Japanese Haiku 77
Haiku Grammar 79
Poetic Devices 84
Objectivity, Subjectivity, and Subjective Realism 92
The Secret to Writing Haiku 104
Getting in the Mood 104
Writing and Revising Haiku 106
Beginners' Haiku 106
A Haiku Typology 108
Why Edit? 112
Guidelines for Editing 112
Publishing Haiku 116
Haiku Arts: Renku, Haibun, and Haiga 119
Linked Verse Forms 119
From Basho to Barthes 125
The Aesthetics of Classical Haiku 125
Shiki: Three Stages in the Development of the Haiku Poet 133
Barthes: Finding the Pleats in the Silk of Life 138
From Nature Sketch to Wordless Poem 140
Haiku's Universal Appeal 140
A Look Ahead 143
Works Cited 146
Print Journals 152
Online Journals 154
Other Online Resources 154
Haiku Organizations 155
This is a very informative book about haiku -- what it is and what it is not.
The author's writing is unambiguous and insightful.
He places examples of failed haiku beside successful ones to illustrate the difficulties and subtleties of technique.
I was very pleased to find a point addressed that I had always wondered about concerning whether it is better to use the present-tense or participle form for verbs in haiku -- or whether it matters at all.
A haiku almost always will present a moment in the present. That means that the verbs used are likely to be in the form of either the simple present-tense (e.g. runs, paints, fishes, etc.) or participle (e.g. running, painting, fishing, etc).
Well, apparently there is no set rule about which to use, but here is an example of what the use of the participle will allow:
One of my own (not necessarily good) haiku used as an example:
a garden pond
drawing the moon out
from behind a cloud
The use of drawing allows that it can be read as any of these: "a garden pond [is] drawing" or "...[was] drawing," or even "...[will be] drawing."
Using the participial form provides the haiku with a versatility or flexibility with regard to the dimension of time.
Here's what it would be using the simple present tense form:
a garden pond
draws the moon out
from behind a cloud
The versatility that the participle provided is gone, but it also may be true that this version rings more pleasurably to the ear.
Well, anyway he speaks about that in his book and I just appreciated that he addressed that point; no other haiku book that I have ever read had ever done so.
(By the way, if you are interested in reading about this particular point for yourself it is to be found starting on page 79 in the "Haiku Grammar" section.)
The author thoroughly fills you in about haiku's origins, evolution and its future.
There are many examples of successful haiku from many of today's practicing haiku poets included with valuable analysis for each.
This is a very worthwhile book for becoming acquainted with the haiku verse form and I could find no fault with it.
I heartily recommend it to you.