...try writing several drafts, using various approaches...

 

 

 

 

 

Haibun and Haiku, How To Ku 

The Haiku master, Basho, reinvented the haiku form and developed a prose form, referred to as, Haibun.  Basho, a Zen Buddhist, in the form of Haibun, wrote the “Journey to the Far North”.  

Basho's style of writing is influential in understanding and composing Haibun.  Basho’s journal, is profuse with eloquent and descriptive verse, which covers a wide range of human emotion and awareness.

The Haibun is prose verse interspersed with Haiku and/or Senryu. Traditionally, Haiku (in English, and in the Western world) was written as a three-line verse of seventeen syllables. This was the case, until the 60’s, when poets challenged this concept and began experimenting with “new” ways to haiku.

Modern Haiku is usually written with less syllables and in various forms; one, two or three lines.

Traditional form is still acceptable; written in the present tense, the Haiku has as its focus, nature and frequently suggests a season (through kigo) and relates a moment of discovery with distinct images, which are separated with or by a pivotal point.

This layering effect offers the reader a moment for discovery, as well as, an opportunity to interact with the poem.

Example:

Sunset – only a spot of light on the park bench

D. Russell - 05

Haiku brings attention to the ordinary, the poem above suggests melancholy, solitude, and can be interpreted in several ways.

As “a rule” Haiku do not use metaphors and similes, yet there are many exceptions among the masters, which include; Basho, Buson, Issa, Soseki and Shiki.

A simple or plain style Haiku keeps the focus on the poem, not the writer. When Haiku is combined with prose, in the form of Haibun, it adds depth to the writing and additional points of interest.

The Haiku, in a Haibun, can address the subject of the prose or add a particular observation which may or may not be directly related to the subject.

The Haiku becomes an element of significance while bringing the reader’s attention to universally parallel reflections, in and of nature, that focus on the human realm.

Haiku, within Haibun, can be a concrete observation with a balance of psychological interpretation of the subject and the unspoken subject, dependant upon the experience and interaction and/or interpretation of the reader.

Haiku, the essential element of Haibun, should “stand alone”. In other words, Haiku should read independently as a poem and add significant interest to the prose.

Example:

The morning was convoluted with thoughts I wanted to ignore. . . I filled the coffee maker with water, adding a French roast blend and pressed the start button. While it began brewing, I broke three, large eggs into a stainless steel bowl and vigorously scrambled them, with a wire whisk.

The sounds brought back memories of my grandmother cooking, on the woodstove. I could almost smell angel food cake and homemade pies, especially her custard pie with a hint of Vanilla. I decided to make a breakfast of French toast instead of eggs with cheese.

not noticing
the sunrise
sweet alyssum

D. Russell - 05

There are various forms of Haibun and the potential of topics is endless, however, finding a topic which imparts uniqueness can be difficult.

You should try writing several drafts, using various approaches, before submitting your Haibun for publication. Self-editing may be tedious but is a rewarding and nourishing experience.

Some resources, to get you started, are books, essays and articles by William Higginson, Dr. Bruce Ross, Denis Garrison and Susumu Takiguchi, the founder of the World Haiku Club.  

Many articles and links to articles by the authors, above, can be found on the World Haiku Review.

Whc Haibun Workshop

Haibun Articles/Essays


Deborah Russell,  © 2005