japanese poetic forms: haiku and martial arts

Int. J. Appl. Psychoanal. Studies 5: 97–109 (2008)Copyright © 2008 John Wiley & Sons, Ltd DOI: 10.1002/aps

International Journal of Applied Psychoanalytic StudiesInt. J. Appl. Psychoanal. Studies 5(2): 97–109 (2008)Published online in Wiley InterScience(www.interscience.wiley.com) DOI: 10.1002/aps.159

Japanese Poetic Forms: Haiku and Martial Arts

ELIZABETH NICHOLS

The art of writing haiku requires an immediacy of consciousness, being present in the moment, and capturing this moment in three short lines of verse. It is often associated with the “moment of truth” represented in the study of Zen. In this article I will discuss in detail the various Japanese poetic forms, their rules and application. The terms for each form have been borrowed from the original Japanese as poets from many countries have adapted these forms to their own languages. International collections of verses by contemporary authors have been published in English translation by Ion Codrescu, a Romanian master, and others. A wealth of texts with examples by excellent practitioners of Japanese poetic forms are available. Quarterly issues of haiku and related poems are printed by the Haiku Society of America (HSA), which has many active branches and haiku centers in the US. In this paper the reader may follow the introduc-tion of the karate students of SOMMA (School for Meditative and Martial Arts) to the process of writing haiku. The group developed a creative spirit that sur-prised even themselves. Their adventures along the haiku path are recorded in this essay.

The HSA defi nes haiku as: (l) an unrhymed Japanese poem recording the essence of a moment keenly perceived, in which Nature is linked to human nature, usually consisting of 17 onji; (2) a foreign adaptation of (l), usually written in three lines totaling fewer than 17 syllables (Reichhold, 1994).

The most famous haiku is one by the Japanese master Matsuo Basho (1644–1694):

(17-syllable translation)Old dark sleepy poola quick unexpected frog goes plop! Water – splash!

(shorter translation)The old ponda frog leaps in PLOP!

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Contemporary Japanese poet Hiroaki Sato collected 100 versions of this poem for his book One Hundred Frogs (1995). Each one is a valid interpretation according to the author’s personal viewpoint and his knowledge of the Japanese language. Basho abandoned his Samurai (warrior) status to wander, penniless, and write poetry. He tried to compress the world he traveled into “the simple pattern,” while at the same time hinting at the interdependence of all objects.

Following Basho in time and fame was Buson (1715–1738), who was more sophisticated than his mentor and an equally exquisite craftsman. Another great poet was Issa (1715–1738), whose tender haiku about insects have endeared him to many young readers (Beilenson, 1955–1956: 10, 45).

The laden wagon runsbumbling and creaking down the road . . . three peonies tremble Buson

I must turn over,Beware of local earthquakes bedfellow cricket! Issa

In Japanese, the haiku would be written vertically, in one column grouped as 5-7-5 onji (sound symbol). A haiku experience should be spoken in one breath. Since Japanese onji and English syllables are very different, this 5–7-5 formula is often adapted to short line, longer line, short line (in sequence). In modern haiku there is great variation of form. When creating a traditional (17-syllable) haiku, the author must guard against padding lines. This may burden the poem and weaken its spontaneity.

The aesthetic appeal of the moment of inspiration (an “a-ha” for the reader) is best expressed in minimal wording. English haiku uses the principles of com-parison, contrast, and association, to be emphasized in the haiku’s third line (Drevniok, 1980). Experimenting with a variety of fi nal phrases for the ending allows discovery of the many directions the poem can take after the fi rst two statements.

In haiku there is no poetic interpretation, no abstraction, no intellectualizing, no simile, no metaphor, no personifi cation, no subjective comment. “In haiku nothing stands for anything else. IT IS ITSELF! Short, unrhymed, image-fi lled and objective – an evocative kind of nature poem that suggests more than it states, striving to give the experience of Tao or Zen to the reader” (Amann, 1969: 3).

Many American and British writers and poets have created haiku within other mediums of expression, fi nding that its focus enriched their own style. Ezra Pound was an early advocate of this Japanese form. Haiku verses are hidden within pages of Amy Lowell, James Joyce, E.E. Cummings, W.H. Auden, William Carlos Williams, Gary Snyder, and Jack Kerouak. While attending medical school in Pennsylvania, Williams met Pound, who infl uenced him to adopt the

99Japanese poetic forms: haiku and martial arts


Imagist’s concept of poetry. Williams’s poem “The Red Wheelbarrow” (1923) has 16 syllables and is usually printed with long spaces between lines. Aside from the two-line introduction, the poem is pure haiku in portraying “the moment” for the reader:

The Red Wheelbarrow

so much dependsupon

a red wheelbarrow

glazed with rainwater

beside the whitechickens.

Two writers are credited with bringing the haiku to America. Harold Henderson lived in Japan following World War II as part of an American Army occupation unit while R.H. Blyth, British, taught at Peers School and tutored the crown prince of the Imperial family. Both writers published books that are still revered as “haiku Bibles”: Blyth’s four volumes of Haiku (1949) and Henderson’s Introduction to Haiku (1958).

The decade of the 1950s saw the real beginnings of the haiku movement in the Western world. At that time Peter Pauper Press offered little illustrated col-lections of translations from the traditional Japanese poets, focusing on the four seasons. These books were illustrated with charming woodcuts and may have been the fi rst introduction of haiku in English. American and Canadian poets started compiling their own haiku into small books. Informal study groups grew up in New York, Boston, and California.

In 1968 Henderson, then a professor at Columbia University, New York, drew together a number of esteemed poets to establish the HSA. Their publication American Haiku printed poems, reviews, and scholarly articles with Robert Speiss as the fi rst editor. Later Elizabeth Searle Lamb took the position, and the offi cial name was changed to Frogpond. Contributing to HSA’s growth as an established professional society have been many excellent poets. Occasionally, an issue would feature one author: Eric Amann’s The Wordless Poem (1969). Other haiku journals have emerged from time to time: Modern Haiku, Robert Speiss, editor (1978) and the Canadian Cicada. A California group with bonds to a Japanese organization formed the Yuki Teikei Society with strict confor-mance to the 17-syllable tradition.

In 1973 James W. Hackett received an award from the HSA for his book Haiku Poetry, printed in Tokyo (1964) with a second edition 4 years later. Eventually, he added three more volumes and combined them into The Way of

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Haiku: An Anthology of Haiku Poetry (1969). The only way to secure these books now is from the author, who, at last report, had a stack of them in his garage. Books on haiku do not become bestsellers; publishers unload them after a short period of distribution. Many other excellent authors of Japanese poetic forms are listed as references to this article. Allen Ginsberg was the fi rst major poet to be published outside the haiku movement with Mostly Sitting Haiku (1978). Ginsberg and other beat poets were attracted to haiku through their study of Zen.

In 1991, Dr Stuart Twemlow asked me to conduct a workshop on the art of writing haiku. It was scheduled to meet once a month, one of the Japanese cul-tural classes that he was introducing to members of SOMMA, his School of Meditative and Martial Arts in Topeka, Kansas. I was honored to launch the class and was given free reign on how to present this ancient style of poetry. The class began with a dozen adult martial arts students but quickly grew to include family members. Children ages 7 to 13 joined, and the age span of the class became 7 through 70 (myself). The master Basho has been quoted as stating, “If you want a haiku true to nature, ask a child.” This proved to be correct because of their acute observations. These poems came from children in our group:

Hit in the eyecold and wet – snowball fi ght! Andy

Don’t you wonderjust how it happens? ants in your food! Danielle

The objective for the haiku class was to enrich the martial students with a hands-on literary experience. As I observed their moves in karate at the dojo, it was obvious that an intense focus was essential. Astute observation of a combatant’s stance was the element that often determined the outcome of a match. It occurred to me that lessons in writing haiku might sharpen this concentration while stimulating their creativity. Conversely, their current skill in observation proved to be an asset in writing haiku.

Initially, the meetings were held at the dojo, but the constant activity became distracting, so we adjourned to my apartment. As the students gained confi dence in creating haiku, they took turns leading monthly sessions. A favorite place to meet was the Reinisch Rose Garden, a collection of hundreds of varieties of roses, all in abundant bloom in June. Members convened, then separated to absorb the atmosphere, and met again to share their notes.

Rose’s last effortunable to open more it turns inside out Ginger



Wings beatingfrom fl ower to fl ower the butterfl y Bonnie

Another favorite site was the Topeka Zoo in Gage Park, where animals could be observed in a natural environment. Gathering at the refreshment stand after an hour of wandering gave everyone an excuse for a cool drink while sharing their poems:

A cardinal fl iesthrough the eagle’s enclosure eagle is watching Warren

Big, black, upside-downit ignores the world passing – just hanging around Jessica

Living in urban neighborhoods inspired people-watching. This changed the subject of the three-line verse to humanity rather than nature, providing the perfect opportunity to learn that such miniature poems are designated as senryu, a new genre for the class. Stephen offered one with a surprise in the third line. Another by Liz demonstrates an element of luck in creating senryu: being at the right place at the right time.

Neighbors envythe long-legged beauty in my yard pink fl amingo Stephen

At the stoplightthe boy stoops down and kisses his dog on the nose Liz

Since the inherent focus of haiku is seasonal, holidays provided a stimulus for creating senryu. This form can be humorous, sarcastic, witty, or might border on the risqué. The group found it great fun and indulged freely with their creations. My haiku library contained newsletters such as Haiku Headlines (1995: January–December). After studying a page, an individual would choose a poem to read to the group and ask for identifi cation as haiku or senryu. Some, such as “Dark clouds . . . ” from the class, were classifi ed as hybrid.

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Dark cloudslightning . . . thunder BOOM! patter of little feet Warren

FREE PHOTO WITH SANTAthe old lady stands in line with her cat Ben

Hallowe’ensack full of candy all gone stomach hurts Carla

The 4th of July!watching . . . waiting KABOOM! Bonnie

During winter, indoor inspiration was gained from articles published by the HSA. One person would present a concept with poetic examples. The others would enter into a discussion. A circulating collection of haiku texts and small chapbooks by renowned authors was available at every meeting. Members could sign out a book and keep it a month. Exceptional poems were brought to the class for inspiration. The students learned that emotional moments can also be expressed through haiku when recorded objectively.

Empty blue rooma solitary tear falls . . . goodbye Mary Jane

Bells once again chimechildren move sadly to class smiling . . . Dad waves ’bye Stephen

At every meeting, the group brought their original poems written on the previously assigned theme. Reading each haiku aloud (twice), the poet would solicit response. Comments often presented a new perspective, or a request might be made for clarifi cation. A search for the “right word or phrase” would ensue with everyone participating. These were sessions for encouragement and appre-ciation of others’ creative efforts, never critiques. Revisions were applied to individual poems and left with the teacher (sensei). The compilation was copied and handed out the next month.



Personally, I never got used to being referred to as their sensei and the courtesy of the students standing and bowing when I entered the room, SOMMA’s rules for teacher respect. As a life-long educator, this was a unique experience. I felt oddly cherished.

Sometimes a haiku is not adequate to stand alone; it requires a background or raison d’etre. A paragraph describing the background or event that precipitated the poem can be created. This marriage of prose and poetry is termed haibun. The introduction will be followed by one or more poems (haiku or senryu) that grow from the situation:

One night when the moon was full and the air had that incredible quality of spring, I had the privilege of watching wildlife in the country. Later, when the sun came up, the scene changed.

Two foxes dancing in the moonlight renewing their pledge

Foggy, silver dawn a doe steps into the fi eld coaxing her fawn out Frank

Reno, Nevada, was the site of the National Convention of Disabled American Veterans. Attending with my husband, I noticed signs were placed everywhere asking visitors to conserve water.

At the restaurant “Be water tight!” restroom faucet running

Gigantic piles of dirt sparsely covered with trees Reno’s mountains Laura

Sometimes a startling haiku captured the exact moment of a karate move or its effect. T’ai chi was also taught at SOMMA. Jack observed it on a trip to China.

Standing . . . silentit lands suddenly! the pain is severe Eric

My skinburning, aching, black and blue front snap kick! Warren

Grey Beijing morningt’ai chi are fi ghting ghost warriors Jack

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AWARE is the transliteration of the Japanese word a-wa-re for “touching-ness” (Drevniok, 1980). “The poet who knows this does not have to go about seeking or touching things – they touch him. So the matter of haiku is the everyday, the things one usually looks at without recognition” (Higginson and Harter, 1997). The SOMMA students became very sensitive to their surround-ings and recorded these fl eeting moments in their haiku.

A swift currentrushing alongside: beached earth worms Gary

Night is nearcicada overture begins – concert of nature Amanda

Stephen Twemlow, manager and teacher at the dojo, organized a week-long Karate Camp for children in the summer of 1993. He integrated haiku into the schedule with nature walks, known as gingko in Japanese. To the compilation of their poems, most of the campers contributed one each, but Megan was quite inspired and created 15. Their efforts brought them closer to nature, and some of the children absorbed the principles of haiku quite well. Megan’s is rhythmic with her repetition. Brooke combined nature with karate imagery.

Rain falls, rain falls fastthe grass grows, the grass grows fast the lawnmower starts Megan

The red sun risesDragon awakes, listen to his heart . . . the wind Brooke

These Japanese three-line gems of verse reach across multiple cultures and are printed in almost every language that has the means to record them. Both European and Asian poets have welcomed haiku into their parameters. This was dramatically demonstrated by a synchronistic event that followed my move to Colorado. Stephen Twemlow had purchased books by several haiku masters from my recommended list for the class. At SOMMA he pursued his interest by attempting “to educate Topeka to haiku.” In changing seasons he would post a poem on a large sign in front of the dojo. Once when I returned to the city for a visit, I was dumbfounded – driving down the street – to read a haiku by a familiar European author. Recently I asked him about that haiku. He reported fi nding it in an international collection of haiku poets. The author was identifi ed as Ion Codrescu. Just the previous summer Ion and his wife Mihaela had been guests in my Colorado home. They had been invited to the US from Romania to visit different haiku centers and were traveling by bus. We spent three delight-ful days together with trips to the mountains. An evening of reading his trans-



lated poems was followed by a haiku workshop with Ion, his wife and myself at a local coffee shop. There he also displayed a number of his exquisite sumi-e paintings. (Those who attended the workshop formed the nucleus to launch High Country Haiku in Colorado Springs.)

Ion Codrescu has published international collections of Japanese poetic forms for several years from poets of the world, translated into English. He initially gathered poems and articles into the seasonal magazines of Albatross (Codrescu, l997–1999). These were followed by annual collections under the title Hermitage (Codrescu, 2002–2004), which included a number of his dynamic color paintings in the style of Japanese brush painting. To fi nd a poem of his on a billboard in Topeka was simply incredible! The poems he created from his American trip were published in A Foreign Guest (Codrescu, 2000) in his native language Romanian and in English, with many remarkable sumi-e paintings. A poem from that collection and the one displayed at SOMMA:

I pause from the routineof the journey – a cloud releases the moon

suddenlyrich and poor houses under the same snow Codrescu

The art of writing haiku and senryu is certainly not locked into a detached world. Haiku happens! Haibun occurs . . . sometimes on the highway, as for Mary Isabel:

Driving all nightlights fl ash a sign: “Watch out for falling rocks”

A haibun (prose plus poetry) can arrive with a simple morning ritual:

One morning, picking up the newspaper in the yard, I heard geese honking. Looking up, I could not determine their direction as they were fl ying above low clouds. The weather in Kansas has induced an illogical cycle of seasons. Geese fl ying north others fl ying south Global Warming

This haiku was a reminder of how far-reaching weather variance might affect all creatures, but the poem did not preach that message. It led the reader to deduct it.

Raymond Roseliep (1917–1983), a unique poet and a chaplain in the Holy Family Hall, Dubuque, Iowa, had been devoted to haiku since 1963. He speaks of “the Soul’s buried light” in all of nature and the music inherent in the English language. His haiku germinate from a word or phrase jotted into his notebook. His poetry is minimal in the extreme and his leap into the third line is some-

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times diffi cult for the layman to understand. Roseliep was a true poet’s poet. He had several small books published, but they are all out of print.

The distinguished Dag Hammmarskjöld, Secretary-General of the United Nations, 1953–1961, left a manuscript of personal writings to be published after his death. The diaries, in poetry and prose, are compiled into a book, Markings (1964). It was translated from the Swedish by Leif Sjöberg with a foreword by W.H. Auden. Included are 25 pages of haiku, which record vivid scenes and details of his travels throughout the world. The poems are interspersed with spiritual refl ection, placing them almost in the category of haibun. Their intro-duction reads: “Seventeen syllables opened the door to memory, to meaning.”

So these simple three-line verses can serve many purposes: as a collection of observations when traveling without a camera, as a personal response to an event, or to record an unexpected scene. The combination of haiku accompanied by a painting comes from the ancient art of haiga. Today many artists and writers are relating image to verse with the modern camera. Collections of poems with dramatic photos are often published as small books.

Other Japanese poetic forms include linked verse, both the short and the traditional long forms. The simple six-stanza rengay was invented by Garry Gay, using the sequence of 3-2-3-3-2-3-line stanzas (1995). A theme is agreed upon at the outset. This can be pleasurable to do with a friend or two, alternating the stanzas. The oldest form of linked verse is the challenging renku, created by a collaboration of haiku masters. These are written according to strict Japanese requirements for a specifi c subject, season, or historical event to occur in a pre-scribed sequence. The total will be either 24 or 32 verses, alternating two and three line stanzas, and can take half a day to assemble. (Haiku was originally the opening verse in the courtly practice of renku.)

In August 1992, 11 Japanese members of poetry clubs specializing in renku forms visited Santa Fe, New Mexico, as part of a month-long American tour. William Higginson and Penny Harter arranged for their stay and invited 10 American writers in the area to join in a renku party. The 3-day event included classes at the library, a morning gingko walk through a nature trail, a trip to Abiquiu’s Ghost Ranch, and a full day of writing renku. A Japanese master pre-sided as participants created haiku and offered them to the group for selection. The ones that most nearly fi t the requirement for the designated subject in sequence were chosen to be combined into an 18-verse renku. The composite was submitted to AIR, the magazine of the Association for International Renku, for publication. Between the Japanese and the Americans, there was no common language so it took considerable time to translate every verse back and forth. The weekend was my introduction to the renku form, and its complexities con-vinced me that it was not my cup of tea. The trip was still memorable and opened opportunities to respond to the rich stimuli of New Mexico.

One of those lucky haiku “happened” on the drive to Abiquiu. My Japanese-American friend and her two children were riding along. A mountain storm came up. The rain was so heavy we could scarcely see through the windshield.



Suddenly ahead of us was a horse trailer, the upper-back not enclosed. The kids became fascinated, watching the pair of horses, so we collaborated on a tradi-tional haiku:

In the same rhythmtails of the horses swishing with our car wipers

The tanka is an intensely personal Japanese poem. It possesses the asym-metrical form of line lengths: 5-7-5 syllables, then 7-7. This is a subjective poem, an avenue to express poignant and intimate feelings. Creating a series of tanka allowed a colleague to work through the grief from his wife’s death in a collec-tion of original verse, utilizing these small fi ve-line stanzas. It takes a courageous writer to publish one’s feelings in tanka form. As in haiku and senryu, the form is often limited to the succinct essentials. The frustration of the author is inferred but not sentimentalized.

Divorcedfrom his fatherbut unableto divorce from the fatherin him

Much of the literature of Japan’s old imperial courts has been translated into other languages, especially English, by American scholars who are fl uent in Japanese or in collaboration with poets from the country of origin. A set of love poems in tanka form by two women of the ancient court of the sophisticated Heian era (794–1184) is now available with literary comments by Jane Hirshfi eld (The Ink Dark Moon: Love Poems by Ono no Komachi and Izumi Shikibu, 1990). Mariko Aratani assisted with the project. They have captured the “private emo-tional and spiritual concerns of these accomplished and passionate women” in their fl uid translation.

The process of creating the simple haiku or senryu has psychological implica-tions. Just tuning in to nature has a calming effect on most people. Shaping the experience into a defi ned form can help a student with attention defi cit disorder (ADD) to concentrate, encourage a person with bi-polar disorder to focus, and can ground anyone to live in the moment. Writing haiku provides a unique opportunity for individual creativity within a light structure. The poem stands alone as itself, without a critical audience. Shared with others, haiku sessions often promote social exchange and interaction for the withdrawn or shy person. Trauma can be expressed in a sequence of simple senryu, a way to objectify the pain without screaming. A friend, waiting in the doctor’s offi ce with a freshly fractured arm, invented:

Tryingto read this magazine . . . clouded eyes

In a unique medical situation, these three-line poems led a young patient to introspection. A member of a group of writers had a teenage daughter who was

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hospitalized with severe anorexia in another city. The mother moved into quar-ters nearby to give her support. The writing group created linked haiku specifi -cally to send to the pair at the hospital. With her mother’s encouragement, the daughter began to write about her anorexia, her hospitalization, and the other young people in the ward. The poems revealed feelings of detachment from her ailing body – “of bones inhabited by ghosts.” She and her mother put together a collection of her verse and plan to publish them for others suffering from this disease, to release a “voice from the inside” that would be valuable to both patients and therapists.

No discussion of haiku would be complete without addressing the subject of satori, the instantaneous event that allows us to see our own nature. In his Zen and the Psychology of Transformation, Hubert Benoit (1990) explores what would happen if we allowed every second of awareness to deliver a satori experience (Blundell, 1998). We could do this if we cut through the minefi eld of distractions. Aware-ness is crucial to the creation of haiku. The world is full of miraculous events in nature, which the conscious Self can perceive. However, it is the unity with the unconscious Non-Self that leads us to discover Basho’s “interdepen-dence of all objects.” Basho’s quest becomes our quest as we attempt to capture the moment of enlightenment in three compact lines of verse. Codrescu does this so deftly in his haiku when he pauses on his journey to record, “ . . . a cloud releases the moon.”

Author Biography

Elizabeth Nichols is a Professor Emeritus from Ball State University, Muncie, IN, USA. As a music educator, and specialist in the Carl Orff Music for Children, she has authored several source books published in this creative approach to teaching music. It combines speech, music, drama and dance. Poetry and the rhythm of words are of particular emphasis. She has presented workshops throughout the United States and has been a guest lecturer at the University of British Columbia, Vancouver, Canada, and the University of Victoria, Victoria, Canada, as well as for the South African Orff Society.

Since retirement, Elizabeth has divided her time between performing on Native American fl utes as “Grandmother Flute Player” and writing poetry, particu-larly haiku. Until recently she was plains and mountains coordinator for the Haiku Society of America. She has launched two haiku groups, High Country Haiku in Colorado Springs, CO, and Heartland Haiku in Topeka, KS. Her poetry has been published by many small presses, including one in Japan which selects haiku from world submissions for the book commemorating the annual Basho Festival. Cuurrently, Elizabeth’s haiku is included in an international col-lection of haiku, HERMITAGE, edited and published in English by Ion Codrescu of Romania.

As a poetry technician, she has presented haiku workshops for children and adults in haiku, concrete poetry and EYE-KU, a new from in which the images



of the poem become visual. A show featuring framed EYE-KU has been pre-sented at Smoke Brush Art Center in Colorado Springs, CO. Invented for chil-dren, these poems are often utilized by music educators in workshops combining art, music and language arts.

Elizabeth is also versatile in writing senyru which is a form that places the focus, not on the natural world, but on human nature, encouraging humor, wit and sarcasm. Her production includes sequence of both haiku and senryu printed as frame-able posters over relevant backgrounds. A sequence of these poems have been printed as “Voices of the Ocean,” “Opera Haiku,” and for specifi c geo-graphical areas, such as “Monument Rock”. Other Japanese poetic forms embraced by Elizabeth feature haibun and tanka, which have been accepted and published in international books and journals.

ACKNOWLEDGMENTS

Poems printed by permission of the authors.

REFERENCES

Amann E. The Wordless Poem. Madison, WI: Modern Haiku Press, 1969.Basho M. The Narrow Road to the Interior and Other Writings (trans. S Hamill). Boston, MA:

Shambhala, 1991.Beilenson P (ed., trans.). Japanese Haiku. Mount Vernon, NY: Peter Pauper Press, 1955–1956.Beilenson P (ed., trans.). The Four Seasons, Japanese Haiku Series II. Mount Vernon, NY: Peter

Pauper Press, 1958.Benoit H. Zen and the Psychology of Transformation: The Supreme Doctrine. Rochester, VT: Inner

Traditions International. (Originally published: New York: Pantheon Books, 1955.), 1990.Blundell C. Satori and haiku. Albatross 1988; 8(1–2): 100–102.Blyth RH (1949) Haiku. Tokyo: Hokuseido, 1997.Codrescu I (ed.). Albatross. Constanta: Constantza Haiku Society, 1997–1999.Codrescu I. A Foreign Guest. Constantza: Constantza Haiku Society, 2000.Codrescu I (ed.). Hermitage. Constantza: Constantza Haiku Society, 2002–2004.Drevniok B. Aware – a Haiku Primer. Bellingham, WA: Portal Publications, 1980.Hammarskjöld D. Markings (trans. L Sjöberg, foreword WH Auden). New York: Alfred A. Knopf, 1964.Henderson H. Introduction to Haiku. New York: Doubleday, 1958.Higginson WJ (ed.). Haiku World: An International Poetry Almanac. NewYork: Kodansha

International, 1996.Higginson WJ, Harter P. The Haiku Handbook: How to Teach, Share, and Write Haiku. New York:

Kodansha International, 1997.Hirshfi eld J (ed.) The Ink Dark Moon: Love Poems by Ono no Komachi and Izumi Shikibu (trans.

M Aratani) New York: Vintage Books, 1990.Reichhold J. A Haiku Path: Haiku Society of America, 1968–1988. New York: Haiku Society of

America, p. 182, 1994.Sato H (ed.). One Hundred Frogs. New York: Weatherhill, 1995. Elizabeth Nichols Topeka, Kansas USA

gmafl [email protected]

japanese poetic forms: haiku and martial arts

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