With The Heron’s Nest Editor Fay Aoyagi and Haijin Chad Lee Robinson
Early on in my haiku and haibun journey, editors rejected my haibun and several advised me to read haiku, saying that I’d not be able to write a good haibun until I had mastered the haiku part of haibun’s prose-haiku partnership. I had already looked at the many definitions of the two related genres (haiku and haibun), but found definitions lacking in specifics and mostly useless except as a rough guide, particularly the formulaic definitions like number of lines and syllable counts.
So I read a lot of haiku, both those of the Japanese masters and of the published works contemporary haijin and learned I simply didn’t get much out of them except that most didn’t follow the 5-7-5, 3-line, short-long-short structure learned in English classes.
And I mostly wondered why the editors picked the haiku featured in their journals. I concluded that haiku are not only difficult to write, but they are also difficult to read and understand, to “get the poetic spark,” so to speak. A problem was that I had a tendency to read them once quickly and to read too many at a time. In short, I was merely glancing at them, expecting a spark to jump out at me. I wasn’t engaging in what might be called “deep reading.”
I decided that in order to better understand haiku and thus, to be better able to write a worthy haiku and haibun, I had to first hone my haiku reading skills. In this way, I might be able to appreciate and understand why the editors selected some and not others, and particularly why they didn’t accept mine. And that’s what this three-part series is about – How to do a deep reading of haiku for better understanding of the nature of haiku.
Continue reading -> Part 1