One thousand cranes

onethousandcrane

One Thousand Cranes est un recueil électronique publié par la société roumaine de haiku.  Il contient les textes reçus au concours international de haiku dont le thème portait sur les 1000 aigrettes de la paix de Sadako (donc: paix, origami, papier, etc.).

 

Le téléchargement est gratuit (194 pages)  Soulignons deux des gagnants du prix Origami Peace Tree:

 

origami frog:

what old pond is he hoping

to find in the dusk?

                                               William J. Higginson

 

the rainy season –

a paper dragonfly

slowly unfolds

                                       Jim Kacian (page 56)

 

Un de mes textes préférés de ce recueil:

 

de tickets de métro

des grenouilles sauteuses

  origamins

                                            Daniel Py (page 120)

 

C’est toujours bizarre de relire des textes de soi qu’on avait oubliés avoir écrit (pages 166-167):

 

the small paper frog

jumps in a glass of water

         origami plop!

 

 

plop!

tossing the frog back

into the pond

 

Aussi des textes de Liette Janelle, Geert Verbeke, Frans Terryn, et bien d’autres.

 

One thousand cranes

onethousandcrane

One Thousand Cranes est un recueil électronique publié par la société roumaine de haiku.  Il contient les textes reçus au concours international de haiku dont le thème portait sur les 1000 aigrettes de la paix de Sadako (donc: paix, origami, papier, etc.).

 

Le téléchargement est gratuit (194 pages)  Soulignons deux des gagnants du prix Origami Peace Tree:

 

origami frog:

what old pond is he hoping

to find in the dusk?

                                               William J. Higginson

 

the rainy season –

a paper dragonfly

slowly unfolds

                                       Jim Kacian (page 56)

 

Un de mes textes préférés de ce recueil:

 

de tickets de métro

des grenouilles sauteuses

  origamins

                                            Daniel Py (page 120)

 

C’est toujours bizarre de relire des textes de soi qu’on avait oubliés avoir écrit (pages 166-167):

 

the small paper frog

jumps in a glass of water

         origami plop!

 

 

plop!

tossing the frog back

into the pond

 

Aussi des textes de Liette Janelle, Geert Verbeke, Frans Terryn, et bien d’autres.

 

Concours de haïkus (Septembre)

C’est le temps de préparez vos soumissions pour les Concours de haïkus du mois de Septembre.

Time to send your submissions for the next haiku contests in Septembre.

1er septembre: Gong: revue francophone du haiku (no. 25). Envoyez cinq haikus et cinq senryus maximum sur le théme “Voies, ruelles” (afh.redaction@afhaiku.org)

1er septembre: 575 Revue de haïku. Envoyez cinq haïku sans thème à serge_tome@yahoo.fr

10 septembre: International Kusamakura Haiku Competition. One person can send up to 2 unpublished haiku in English for free by mail or homepage. Please include: Name, current, address, gender, e-mail address, and phone number. Results announced in Nov. Prizes: one round trip airfaire to Kumamono, plus monetary prizes.

10 septembre: (remember that Japan is a day ahead of North America): Asahi Weekly Haiku Column , edited by Emiko Miyashita with Michael Dylan Welch, is a bilingual newspaper with a circulation of 80,000 published in Tokyo by Asahi Shinbun. Submit one unpublished haiku with a current seasonal reference or kigo to aw1@asahi.com. Please include your name, mailing address, and telephone number. The deadline is the 10th of each month. Eight haiku are selected for each montly column, and Emiko Miyashita adds her comments in Japanese. Poets whose haiku are used will receive one free copy of the newspaper by airmail.

15 septembre: (in hand by) Haiku Society of Americas’ Bernard Lionel Einbond Renku Competition

21 septembre: Ploc, La revue du haïku no 8 . Haïkus ou senryus sur les ambiances et les coutumes estivales. Kigos suggérés ou affinés, soit la saison est désignée, soit la saison n’est pas précisée mais un mot ou une expression y renvoie. Articles sur vos propres perceptions de l’emploi du kigo hors Japon et/ou au Japon. Haibun. Merci d’intituler votre courriel: Projet kigo (été) – Prénom & Nom. Responsable : Francis Tugayé, francis.tugaye at wanadoo.fr

30 septembre: Daily Haiku, each issue features the work of 6 authors. Email submissions to: desk@dailyhaiku.org between Sept.1-30 only.

 

Concours de haïkus (Septembre)

C’est le temps de préparez vos soumissions pour les Concours de haïkus du mois de Septembre.

Time to send your submissions for the next haiku contests in Septembre.

1er septembre: Gong: revue francophone du haiku (no. 25). Envoyez cinq haikus et cinq senryus maximum sur le théme “Voies, ruelles” (afh.redaction@afhaiku.org)

1er septembre: 575 Revue de haïku. Envoyez cinq haïku sans thème à serge_tome@yahoo.fr

10 septembre: International Kusamakura Haiku Competition. One person can send up to 2 unpublished haiku in English for free by mail or homepage. Please include: Name, current, address, gender, e-mail address, and phone number. Results announced in Nov. Prizes: one round trip airfaire to Kumamono, plus monetary prizes.

10 septembre: (remember that Japan is a day ahead of North America): Asahi Weekly Haiku Column , edited by Emiko Miyashita with Michael Dylan Welch, is a bilingual newspaper with a circulation of 80,000 published in Tokyo by Asahi Shinbun. Submit one unpublished haiku with a current seasonal reference or kigo to aw1@asahi.com. Please include your name, mailing address, and telephone number. The deadline is the 10th of each month. Eight haiku are selected for each montly column, and Emiko Miyashita adds her comments in Japanese. Poets whose haiku are used will receive one free copy of the newspaper by airmail.

15 septembre: (in hand by) Haiku Society of Americas’ Bernard Lionel Einbond Renku Competition

21 septembre: Ploc, La revue du haïku no 8 . Haïkus ou senryus sur les ambiances et les coutumes estivales. Kigos suggérés ou affinés, soit la saison est désignée, soit la saison n’est pas précisée mais un mot ou une expression y renvoie. Articles sur vos propres perceptions de l’emploi du kigo hors Japon et/ou au Japon. Haibun. Merci d’intituler votre courriel: Projet kigo (été) – Prénom & Nom. Responsable : Francis Tugayé, francis.tugaye at wanadoo.fr

30 septembre: Daily Haiku, each issue features the work of 6 authors. Email submissions to: desk@dailyhaiku.org between Sept.1-30 only.

 

Startide Rising, by David Brin

Au HNA,  la conférencière qui donnait une présentation sur le haïku de science-fiction (aussi appelé scif-haiku ou speculation haiku), a nommé plusieurs romans de science-fiction contenant des haïkus.

L’un d’entre eux, Startide Rising (1983) de David Brin, a comme personnages des dauphins qui utilisent pour communiquer un language appelé “language trinaire” qui ressemble étrangement à des haïkus.

Voici quelques exemples:

 p. 2 (Les deux humains supervisent les dauphins super-intelligents qui réparent leur vaisseau)

He turned to me, smiled that funny way he does when he thinks of something ironic, and whistled a brief haiku in dolphin-Trinary.

          * The stars shake with storms

* The waters below roll thunder-

     * Still, are we wet, love?

I had to laugh. Sometimes I think Tom is half dolphin.

 

p. 177  (Le language des dauphins commence et se termine par un astérisque *)

Even if a few fen got carried away and swallowed some metal, it would be worth it for morale.

 

          * All the rains of Spring,

               And then, one secret evening,

                    Riding waves, the Moon… *

It was a haiku of regret.

 

 

 

 p. 312 (Même les prédateurs ont leur propre language:)

  Moki cursed as the tiny torpedo failed to detonate.

 

          # Teeth, teeth are – are –

               Better, better than –

                    # Things! #

p. 313

* And fools

     Make only

          Corpses – *

 

p 347

The pilot’s body was a mass of bruises, and one side bore a savage burn, but he smiled nevertheless.

 

          * Ah, the gentle rains-

                 Dear lady, for you to come

                      And rescue me… *

 

p.454

He opened himself to the image, accepting it. And from the caterpillar a thought winged to him.

          Blossoms on the pear

               and a woman in the moonlight

                    reads a letter there… 

 

p. 453 (On cite un haïku de Buson)

He recalled a Japanese haiku from the eighteenth century, by the great poet Yosa Buson.

 

          As the spring rains fall,

               Soaking in them, on the roof,

                    Is a child’s rag ball.

 

Je vais essayer de me procurer les autres romans qu’elle a nommés et j’afficherai mes commentaires après ma lecture.

Startide Rising, by David Brin

Au HNA,  la conférencière qui donnait une présentation sur le haïku de science-fiction (aussi appelé scif-haiku ou speculation haiku), a nommé plusieurs romans de science-fiction contenant des haïkus.

L’un d’entre eux, Startide Rising (1983) de David Brin, a comme personnages des dauphins qui utilisent pour communiquer un language appelé “language trinaire” qui ressemble étrangement à des haïkus.

Voici quelques exemples:

 p. 2 (Les deux humains supervisent les dauphins super-intelligents qui réparent leur vaisseau)

He turned to me, smiled that funny way he does when he thinks of something ironic, and whistled a brief haiku in dolphin-Trinary.

          * The stars shake with storms

* The waters below roll thunder-

     * Still, are we wet, love?

I had to laugh. Sometimes I think Tom is half dolphin.

 

p. 177  (Le language des dauphins commence et se termine par un astérisque *)

Even if a few fen got carried away and swallowed some metal, it would be worth it for morale.

 

          * All the rains of Spring,

               And then, one secret evening,

                    Riding waves, the Moon… *

It was a haiku of regret.

 

 

 

 p. 312 (Même les prédateurs ont leur propre language:)

  Moki cursed as the tiny torpedo failed to detonate.

 

          # Teeth, teeth are – are –

               Better, better than –

                    # Things! #

p. 313

* And fools

     Make only

          Corpses – *

 

p 347

The pilot’s body was a mass of bruises, and one side bore a savage burn, but he smiled nevertheless.

 

          * Ah, the gentle rains-

                 Dear lady, for you to come

                      And rescue me… *

 

p.454

He opened himself to the image, accepting it. And from the caterpillar a thought winged to him.

          Blossoms on the pear

               and a woman in the moonlight

                    reads a letter there… 

 

p. 453 (On cite un haïku de Buson)

He recalled a Japanese haiku from the eighteenth century, by the great poet Yosa Buson.

 

          As the spring rains fall,

               Soaking in them, on the roof,

                    Is a child’s rag ball.

 

Je vais essayer de me procurer les autres romans qu’elle a nommés et j’afficherai mes commentaires après ma lecture.

HNA 2009: Seven lessons we can learn from Japan, by Michael Dylan Welch

Extraits de la conférence Haiku North America 2009, 6 aout, à Ottawa (Canada):

FUYOH Observations: seven lessons we can learn from Japan

by Michael Dylan Welch

After studying the Fuyoh haiku group and their journal, Michael Dylan Welch draw the following conclusions:

1. Haiku journals focus on poets more than on poems. 

      • There are 835 haiku groups in Japan. Most of them publishes haiku journals featuring haiku by their members.
      • Haiku journals ask for 30-50 excellent haiku by members by submission (they are much more demanding).
      • In Japan, having your haiku revised or edited is an honor.

2. Japanese haiku are broader in subject matter and more subjective. Poets can project themselves, their personnality into the poem.

3. Japanese haiku put much greater emphasis on season word (kigo), they even publish lists of kigos in journals. The philosophy is that “Kigo is the shared air between haiku poets” – (author) 

      • Nowadays, the sources of inspiration are much broader and are not confined to seasons. Japanese haiku now includes TV, personal experience, memory, imagination. As long as the final haiku feels “real” and not contrieved, these haiku are acceptable.

4. Japanese haiku journals publish a far greater number of haiku:

      • One of the bigger haiku journal Hototogisu has 352 pages and publishes 10,000 haiku by monthly issue. 
      • One of the smaller journal Ten-Ni, has 146 pages and 3,500 haiku by monthly issue.

Even contests have fare greater number of entries:

      • Ito-En received 1.6 million of entries (contest whose winners get their haiku published on tea bag)

5. Japanese haiku appear in relatively tight columns with not much white space because vertical columns are easier to publish.

6. Haiku groups membership is more expensive : they even charge higher fees for the most experience members (called dojins) .

      • Fuyoh’s annual fee is about $74 US for 4 issues, but dojins pay $106 US. Dojins are chosen by the master of the group and are given more space in the journal (bigger fonts).

7. What can we learn from Japan? (Discussion of the group) 

      • Michael mentions there are about 30 haiku stones in Seattle. And also in San Francisco, Japan, etc.  
      • What else can we do do make haiku more present in our community?
      • Someone mentions they are staying at the Indigo Hotel in Ottawa where you can find haiku on the keyholder, cupholders, etc.

 

 

HNA 2009: Seven lessons we can learn from Japan, by Michael Dylan Welch

Extraits de la conférence Haiku North America 2009, 6 aout, à Ottawa (Canada):

FUYOH Observations: seven lessons we can learn from Japan

by Michael Dylan Welch

After studying the Fuyoh haiku group and their journal, Michael Dylan Welch draw the following conclusions:

1. Haiku journals focus on poets more than on poems. 

      • There are 835 haiku groups in Japan. Most of them publishes haiku journals featuring haiku by their members.
      • Haiku journals ask for 30-50 excellent haiku by members by submission (they are much more demanding).
      • In Japan, having your haiku revised or edited is an honor.

2. Japanese haiku are broader in subject matter and more subjective. Poets can project themselves, their personnality into the poem.

3. Japanese haiku put much greater emphasis on season word (kigo), they even publish lists of kigos in journals. The philosophy is that “Kigo is the shared air between haiku poets” – (author) 

      • Nowadays, the sources of inspiration are much broader and are not confined to seasons. Japanese haiku now includes TV, personal experience, memory, imagination. As long as the final haiku feels “real” and not contrieved, these haiku are acceptable.

4. Japanese haiku journals publish a far greater number of haiku:

      • One of the bigger haiku journal Hototogisu has 352 pages and publishes 10,000 haiku by monthly issue. 
      • One of the smaller journal Ten-Ni, has 146 pages and 3,500 haiku by monthly issue.

Even contests have fare greater number of entries:

      • Ito-En received 1.6 million of entries (contest whose winners get their haiku published on tea bag)

5. Japanese haiku appear in relatively tight columns with not much white space because vertical columns are easier to publish.

6. Haiku groups membership is more expensive : they even charge higher fees for the most experience members (called dojins) .

      • Fuyoh’s annual fee is about $74 US for 4 issues, but dojins pay $106 US. Dojins are chosen by the master of the group and are given more space in the journal (bigger fonts).

7. What can we learn from Japan? (Discussion of the group) 

      • Michael mentions there are about 30 haiku stones in Seattle. And also in San Francisco, Japan, etc.  
      • What else can we do do make haiku more present in our community?
      • Someone mentions they are staying at the Indigo Hotel in Ottawa where you can find haiku on the keyholder, cupholders, etc.