The Squeen, in her most noble and wise ways, has declared that: “Wednesdays, today and forthwith and here-on-after, are haiku Wednesdays.” I’ve thought about posting random things related to haikus (including actually writing my own) in the past but haven’t actually done it. And so now, by royal proclamation, I feel it’s time I address the issue.
I have a love-hate relationship with haikus. I love that it forces the writer to think in a pre-defined pattern, but I hate that school teachers throughout the western world (unintentionally?) don’t explain what that pattern is. As a child I was simply told that a haiku is a three-line poem consisting of a first line with five syllables, a second line with seven syllables, then a third line with five syllables again.
But the reality is that a haiku is meant to contain 17 moras (in the 5/7/5 format) which are not really the same as syllables. Now, I will admit that in the English language we rarely discuss sentence structure in terms of moras, but I feel that this is something that should still be brought to the attention of young minds.
Another thing I love about haikus is the seemingly obscure connections between lines. They are vague and sometimes challenging—especially to young school children. I remember being told to write a haiku (with three lines of 5/7/5) that told a short story or gave a description of some random object of my choice. Which was fun because it was a bit challenging to pick just the right words to get the 17 syllable cap right.
But the reality is that a haiku is meant to consist of a seasonal reference (a kigo) and a cutting word (a kireji). It is true that the English language doesn’t have a direct equivalent to the latter, but that doesn’t seem like a fair reason to not at least explain this difference.
I guess that my love is that haikus are fun and challenging (yes, I find challenging to be fun).
And I guess that my hate is that while western school teachers seem keen to explain that haikus are a form of Japanese poetry, often combining the writing lesson with a lesson in traditional Japanese art form such as gyotaku (fish painting, basically), they neglect to fully give the lesson in how true Japanese haikus are formed.
I suppose that I wish I’d been given the full lesson as a child, which could have included how haikus in English evolved and are their own writing form—distinct from what’s found in Japan but certainly rooted in the culture and history of the original haikus.
But maybe when you were taught about haikus, your teacher went into all of this with you and so you’re at a loss to why I’m whining. And that’s OK.
Anyhow, as a reward for reading this far, here are the two haikus that I wrote today by orders of The Squeen as part of my silliness course, which are meant to address items in my medicine cabinet, which is more of a drawer than a cabinet, but let’s not split hairs…
Fall is in the air
Wood smoke making my eyes dry
Ah, Visine, my friend
Summer is fading
Factor thirty nearly gone
Cat Crap is ready
And here’s a bonus one just for Just Frances readers:
Autumn is awesome
And Just Frances is awesome
And her readers, too