Extraits de la présentation de Michael Dylan Welch à Haiku Canada (Vancouver, 15 mai 2009).
If I write spring moon
or mountain, is that
haiku plagiarism?
Billy Collins, She Was Just Seventeen,
(Lincoln, Illinois: Modern Haiku Press, 2006
“It may be true that everything
has already been said,
but it’s just as true that not everyone
has had a change to say it.”
Dobby Gibson, Polar (Alice James Books, 2005)
How we respond to déjà-ku, in all its forms, is something I believe haiku poets must grow into. Deja-ku are an occupational hazar of the haikupoet, but whether we are a potentional offender, or the offended, I believe it’s possible to find the right balance between being blasé and freaking out. No doubt, an assessment will always depend on each individual poem, and will be a subjective reaction based on each person’s own comfort level with the type of deja-ku at hand – plagiarism, crytopmnesia, excess similarity, parody, homage, allusion, or simply having the same subject or season word. — Michael Dylan Welch
Michael Dylan Welch collectionne les exemples de déjà-ku (haikus qui ressemblent à d’autres parus précédemment).
Il nous présente quelques exemples de poèmes ayant d’étranges similitudes, soit à cause de l’emploi des mêmes mots ou de la même structure.
Example:
falling snow –
white envelopes drop
through the mail slot
Winona Baker, Even a stone breathes, 2000
scattered petals…
the thud of my books
in the book drop
Michael Dylan Welch, Frogpond 22.2, 1999
Allusion, Parodie et homage:
Even in Kyoto –
hearing the cuckoo’s cry –
I long for Kyoto
Basho
even in Paris
watching lovers in Paris
I miss Paris
Wendy Smith, Starfish #6, July 2001
foghorns…
longing for San Francisco
in San Francisco
Lane Parker, South by Southeast, 13.2 June 2006
Smells like plagiarism
(or is it Cryptomnesia: a “remembered” text, but without realizing that you’re remembering rather than creating it)
Winter solitude –
in a world of one color
the sound of wind
Basho
winter solitude
in a world of one color
the taste of peaches
Wendy Smith, Starfish #7, Winter 2002
Autre exemple:
larger
than the wren himself
the wren’s joy
John Wills, Reed Shadows, 1987
Carolina wren
its morning song larger
than itself
Yvonne Hardenbrook, Geppe, 1990s
(wren= poule)
Les participants discutent pour déterminer s’il s’agit de plagiat ou de coincidence. La salle est divisée.
PS Michael suggère de consulter également ce court article sur le sujet.
Vieil Etang 
Eh oui ! Moi aussi, je pourrais en ajouter et rajouter, des déjà-kus… et j’y figurerais autant comme “offended” qu’en tant qu'”offender” – jouant ce dernier rôle bien involontairement, j’espère seulement qu’on voudra me le croire ! Merci, Tessa, pour le résumé !
Thanks for posting this summary. Obviously, there’s a lot more to deja-ku than can be covered here. I have a longer paper on this subject that I hope to publish sometime, but until then, there’s a shorter introductory article on deja-ku available at http://www.simplyhaiku.com/SHv2n4/features/Michael_Welch.html.Also, I’m always eager to see new examples of deja-ku, so people are welcome to send them to me, with publication credits where possible.Michael Dylan Welch (WelchM@aol.com)
@MichaelDylanWelch – Hi Michael,Thanks for your reply and the link to the article. It will be much appreciated by the readers of this blog especially by Monika from the Groupe Haiku Montreal (http://www.xanga.com/MoHe) who was very interested in the subject and to whom I sent a copy of your handouts.As always, your session at the Haiku Canada weekend was very entertaining, informative and mind-opening. I look forward to seeing you again at the HNA in Ottawa and hearing your next presentation.All the best.