- A. Frances Johnson Reviews Jill Jones
- Review Short: Toby Davidson’s ‘Beast Language’
- Michael Farrell Reviews MTC Cronin
- Justin Clemens Reviews Pam Brown and Ken Bolton
- Andy Jackson Reviews Kevin Brophy and Nathan Curnow
- Suspensions of the Real
- Too East Coast?
- Review Short: Lachlan Brown’s ‘Limited Cities’
- Review Short: Toby Fitch’s ‘Rawshock’
- Submission to Cordite 43: MASQUE is now open!
- Ratbag Editorial
- Bev Braune Reviews Kate Lilley
- A Poetics of The Naughty
- Small to Medium Enterprise
- National Anthems (2)
- Cordite Scholarly Submissions (1)
- Naomi Beth Wakan: I have just been sent two volumes from Alba Press for review. They are David Cobb’s...
- Front page alternate (2)
- Suspensions of the Real (3)
- Gina K: Thanks for the awesome article / summary / recount / poetic inspiration, Jacinta. Your equation referring to...
- Felicity Plunkett: Thanks for such an evocative summary, Jacinta. A lot to reflect on — and congratulations to...
- Kristin Hannaford: A really interesting re-cap of the symposium. Wish I was there!
- Submission to Cordite 43: MASQUE is now open! (1)
- Emblem: Is the phantasmagoria of north-north-west masked poetic fare suggested here rijidij; or when it comes to it...
- Pacific Solution 3 (2)
- ezo: Naru is in Nagasaki, nauru in the pacific – a symbolic reference to second world war??? Nauru has never...
- IWD: Murder, She Wrote (2)
- Sharaon Mousmini: Yes I have just got a copy of Women’s Work through Pax Press and I was also at the launch...
- Nativism and the Interlocutor (2)
- Josephine WIlson: I want to thank the writer for this fine piece. It deserves many readers.
- On Not Having Encountered Snow, Aged 43 (1)
- Justin Lowe: Brilliant mate.
- Postcards from ‘The Neon Cactus’ (2)
- Bradley Roberts: Great poem. I lived in Finland or eighteen months. Wonderful land
- Five O’Clock at the River (6)
- Martha Landman: Profound! Rich with images. Imaginative; so human.
- Cordite 41: TRANSPACIFIC is now live! - http://t.co/3fch0GO0f9 11:50:02 PM March 31, 2013
- Jacinta Le Plastrier on Women's Work and a Modern Classic: http://t.co/4pe2VzqSsg @AusWomenWriters @Women_on_IWD 07:53:24 AM March 25, 2013
- Aidan Coleman reviews Robert Gray: http://t.co/CuL5jIUyRS #poetry 07:50:31 AM March 25, 2013
- Bonny Cassidy reviews the mighty collected Rosemary Dobson: http://t.co/F0Hkn9V86C @UQPbooks #poetry 09:05:53 AM March 19, 2013
- Aaron Mannion reviews John Kinsella's 'The Jaguar's Dream'. http://t.co/P9C4Ni881K #australianpoetry, #poetry 07:53:31 AM March 12, 2013
Renga is a collaborative form of poetry from Japan. In Japan it is now called “renku,” but the term “renga” has been internationally used for quite a long time, so let's go with “renga” here. Renga was born from the tradition of waka, the traditional/prestigious poetic form with 5-7-5-7-7 morae (sound units), in the 12th century. In the beginning it rigidly followed the high aesthetic of old waka in the Royal Court. However, later it began to incorporate secular elements and gave birth to a genre called haikai-no-renga (roughly meaning “mock-renga”) or haikai. Since the end of the 19th century it has been commonly called “renku.” Well, it has quite a tradition …
Female haiku writers can hardly be categorized either in the language-centered group or in the existential image group, as described in my previous post. Even if they are different from each other and have elements common to male contemporaries, thinking about the genealogy of women haijin seems more informative than mingling them together with male writers.
Avant-garde haiku became bankrupt when its momentum was dissipated by the stabilization/conservative shift of the society around 1970, along with other radical movements in the literary and political arenas. Doubts about the form of haiku now came to be regarded as counterproductive. The basis for these doubts had been the desire to open up a common perspective that would embrace new possibilities for Japanese society as a whole, but the whole was now superimposed on individuals as something that had already been achieved, even if in a doubtful way.
Avant-garde haiku was bankrupt when its momentum was dissipated by the stabilization/conservative shift of the society around 1970, along with other radical movements in the literary and political arenas. Doubts on the form of haiku were now counterproductive. The ground for them had been the desire to open up a common perspective that would embrace new possibilities of the society as a whole, but a whole was now superimposed on individuals as something which was already achieved, even if in a doubtful way.
The history of Japanese modern haiku was definitely male-centered until quite recently. There have been many superb female haijin; most of them remained in the “kessha (結社)” system (a “kessha” is a group or sect that is led by a master and usually has a hierarchical structure – followers adhere to basic rules their masters set up). The system and rules served positively for some, whose talents were rather nurtured than hindered by the fixed criteria. Others achieved their own voices outside the system, and their haiku reflect various interests outside or sometimes against male sensibilities.
Haiku is a literary form. It carries ideological elements from its history as other literary forms do. Some of these elements are deeply ingrained in the genre. For example, seasonal themes and objective descriptions are the two main principles many people in Japan and in other countries believe to be imperatives. While they surely have some relevance (as they help beginners find concrete images and avoid various pitfalls), they are not absolutely necessary conditions for haiku.
I came to the haiku world 26 years ago with just one desire: to translate the poetry of Issa – some 20,000 verses, only a tiny fraction of which had appeared in English at the time. I plunged into Japanese …
“What is it about haiku that cannot be defeated?” asked Jim Kacian, one of the founders of the World Haiku Association, in a paper delivered at the first conference of the WHA in Croatia, 2000. It's a good question, one …
LIVE: Roo-ku (Overload Poetry Festival) Saturday 23 August 2003 I was flattered to receive an invitation last month to MC a reading put on by the Overload Poetry Festival with the mischievous title of “Roo-ku” – as in Australian haiku, …