Just by the sound of the word, we know that the poetry form of haiku originated in Japan. Originally, it wasn’t a standalone form but rather the opening (hokku) of a larger poem. Over time, it began to be used as a poem in and of itself. The form uses three lines of poetry, 17 syllables in all, in a 5-7-5 structure.
One of its best-known practitioners was the Japanese poet Matsuo Basho (1644-1694). He often employed a kireji, a “cutting” word (we might say “centering”) and a seasonal reference, called a kigo.
Traditionalists will argue that haiku poems should be about nature, but once the form reached English and other languages, the range of themes expanded accordingly. Today, a poem on whatever subject is called a haiku if it follows the 5-7-5 syllable structure.
I’d been charmed by the fable The Sun and the Boy by poet Steven Flint, and I decided to take a look at his poetry. What I discovered was that he had more than 30 collections of haiku. I read three of them, and I find myself equally charmed.
To continue reading, please see my post today at Tweetspeak Poetry.
Some Tuesday Readings
Finding Meaning in the Madness of War – Phil Klay at The Free Press.
Lifeboat – poem by Franco Amati at Garbage Notes.
“What the Thrush Said,” poem by John Keats – Sally Thomas at Poems Ancient and Modern.
Graduation – poem by Pasquale Trozzolo at Every Day Poems.
Parable of the Interior – poem by Scott Cairns at Rabbit Room Poetry.
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