HAIKU
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*Appeared in Writers Quarterly (
Of Fall 1997; Indian Journal of World Literature
And Culture (
Not all my compositions fit easily into the tight
pigeonholes of the haiku as conceived by pundits in
Three main elements unite them. One is that each
trillium contains three lines. Another element is that each trillium
refers to nature, time or a season. The third common element is the absence of
punctuation, except for the period.
My interest in trilliums was awakened towards the end
of 1988, when I was intrigued by haiku, a word I had heard and read
several times, but whose definition perplexed me. When I began to explore
the haiku seriously, a new vista of imagination opened.
Haiku originated and matured in
In
One good to come out of literary bickering is the
discovery of fresh pastures within this genre. Most creative artists are not
satisfied adhering to established norms, because they have their own creative
juices to add that establish their work as more unique and personal. This
applies to haiku writers as well. I expect my haiku or trilliums to be read
from this angle.
Yet, I am not against established norms as long as
they serve some useful purpose. Otherwise, it would become
boring to follow the pointless practice of travelling again and again along the
same beaten track. It is like trying to fly in a cage.
I suggest that the introduction of new trends into an
old system should be welcomed. It is to let haiku breathe in fresh air. No one
should be afraid of change or experimentation. If haiku is alive today, it is
largely due to its flexibility to incorporate new trends.
One piece of advice those haiku pundit in the West
give is to name or suggest the seasons faithfully in their poems. This practice
confines the pen. The repetition of one element without any purpose makes
writing dull. Not many writers accept this practice, although I try to
follow it.
Another piece of advice of haiku pundits is to use
telegraphic language. I admit, brevity is the soul of poetry, but to use
telegraphic language without reason does not make sense to me. In telegrams, extreme
economy of words is acceptable to avoid unnecessary cost. The
message is important; beauty is of no consideration. In poetry, and haiku is
poetry, there is no need to revise endlessly to get rid of articles and verbs.
Too much skipping down may confuse and take away the beauty or charm or grace
that it should possess.
It is said that haiku is instant-- a flash-- a
revelation. A poet does not make a poem-- something else does. It appears
as a burst of lightning. A.F. Scott in Current Literary Terms calls
it " spiritual insight." This
angle was taken by Basho in the 16th century Japan. He emphasized poetry as an act of the subconscious mind, not of
conscious efforts. Something within compels a poet to write. Haiku is therefore a gem in rough shape. This thought gave
rise to another school, which also accepted Basho as master, but urges editing
to make the original language more comprehensible.
Many poets will not think in terms of these concepts
because their creative force will not be content confining itself to rigid
rules. In practice, both schools are right, because good poems have been
created in both ways: spontaneously as well as non spontaneously.
EXAMPLES
OF MY HAIKU
Rush rush rush
I see people
rushing
spring makes
me mad.
I surrender
to the touch
of your fingers
sensuous
sunrays!
Monsoons
from my eyes
feed the
fire of love
what a
strange territory!
The rays of
your dreams
saunter into
my yard
joys dance
again.
Snow
flurries outside
lyrics from
you inside...
so much
paradise!
Love
a flower
among the
rocks.
Dandelions
scattered
words of my
love
unattended.
ice drops
tears
path
now slippery.
Garbage
heavy
empty
bottles and posters
election over.
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