Tag Archives: Jim Kacian

Introducing … Haikupedia

For the past year and a half, I’ve been working on Haikupedia, the new project of The Haiku Foundation. This is how it was introduced by Charlie Trumbull, Haikupedia editor in chief, in the June edition of the Newsletter of the Haiku Society of America.

Introducing … HAIKUPEDIA!
We are excited to announce the launch of a new source for the enhancement of haiku scholarship and enjoyment!  HAIKUPEDIA, an online encyclopedia about all aspects of everyone’s favorite verse form, will debut on The Haiku Foundation website in a few days.

Background
My name is Charlie Trumbull and I have been accumulating English-language haiku in English for almost 30 years and making my digital Haiku Database—now containing almost a half million haiku. I have also been collecting bibliographic and biographic information about haiku poets (mostly from back-cover blurbs, obituaries, and the like), haiku organizations, and general information about Japanese verse that I often had trouble locating in my library or online. As I passed 75 years old I began to realize that I had better do something with these massive collections before they get buried along with me. The idea of creating an encyclopedia of everything about haiku seemed to be a good and feasible solution. Online rather than print also seemed to be the way to go. Ergo, HAIKUPEDIA.
Now, I am not a particularly comfortable resident of the Internet, and I knew I lacked the experience and smarts to make a complex website on my own. So about two years ago I approached THF President Jim Kacian with the idea. He was enthusiastic and immediately saw how the Haikupedia project dovetails with The Haiku Foundation’s mission. We have a marvelous marriage of resources and capabilities: I have the basic idea and much of the content in my voluminous databases, Jim has the organizational resources, especially in the areas of Web design and access to persons who could help out in the commissioning, writing, and editing of Haikupedia articles. Dave Russo has taken on supervision of the website design and maintenance. 
For the Haikupedia editorial team Jim also recommended Stella Pierides, a member of the THF Board and recent editor of the Per Diem feature on the THF website. Stella is the Haikupedia Managing Editor. Our search for a Graphics Editor netted us Iliyana Stoyanova, whose experience with the United Haiku and Tanka Society, the British Haiku Society, and the Living Haiku Anthology, are proving invaluable.

Definition and basic structure
Haikupedia is a Web-based encyclopedia dedicated to all aspects of haiku worldwide. It is a project of The Haiku Foundation compiled, edited, and published by the volunteer Haikupedia editorial staff under the direction of Charles Trumbull. Haikupedia articles are written and signed by specialists. A title list is being developed for Haikupedia entries as follows:
Core Articles—Long and short essays on major topics in haiku. This category will include chapbook-length articles on fundamental topic such as “Haiku,” “Renku,” etc. Countries Also articles of appropriate length detailing the discovery and development of haiku in the principal countries, nations, and regions where it has taken hold.Biographies—sketches of haiku poets, translators, critics, etc. The number of subjects for biographical treatment runs into the tens of thousands. In the beginning for Haikupedia we have adopted a temporizing strategy favoring quantity over quality—well, at least thoroughness—and created a subcategory of ‘Short Biographies” of 50–100 words with just the basic facts. At the same time we will be commissioning regular long Biographies.Glossary—Definitions and glosses of terms used in and about haiku.Gazetteer—Information about places mentioned or otherwise important in haiku.Organizations—Information on international, national, and local haiku organizations and groups, their sponsors and organizers, members, and main activities.Events—Reports about haiku meetings and other events, dates and locations, sponsors and organizers, attendees, and main activities and presentations.Awards & Contests—A tally of all haiku-related contests worldwide with information about the sponsors, adjudicators, number of entries and countries represented, prizes, and winners for each.Publications—Information on haiku publications in print and online, including major books of haiku, translations, and criticism; anthologies, journals, websites and blogs, etc.Bibliographies—topical lists of books, articles, and online sources.

Where we’re at and where we’re going
You’re reading this message before Haikupedia is available to the public. Stella and Jim worked out a schedule for releasing the first volley of Haikupedia articles. We’re going live on Sunday, June 21 Jim will post an inaugural message, announce the Haikupedia URL on The Haiku Foundation’s Troutswirl blog a few days before the launch. Mark your calendars!

For the formal launch we plan to post these items
Kobayashi Issa by David G. Lanoue [Bibliography; 9,000 words] an essay based on Dave’s longstanding interest and many books about everybody’s favorite Japanese haiku poet. The article also includes a comprehensive annotated bibliography of work by and about Issa.Haiku in New Zealand by Sandra Simpson [Country; 8,000 words], a detailed history of haiku and report on the status of the haiku enterprise in New Zealand/Aotearoa. The bibliographic sections list the important work of or about Kiwi haiku.Matsuyama Declaration [Document; 4,700 words], the text of the landmark 1999 statement by a group of leading Japanese haiku poets and scholars essentially acknowledging that haiku is no longer exclusively Japanese and presenting standards for “world haiku.”Mini-Biographies of Haikupedia principals [unsigned abstracts of longer Biographies that will come later; 50–100 words each] (Haikupedia dignitaries Charles Trumbull, Stella Pierides, Iliyana Stoyanova, Dave Russo, and Jim Kacian) and the authors of the posted major articles (Lanoue and Simpson).
In the following weeks, every Sunday, two or three major articles and a handful of short Biographies will be posted, each release billboarded on Troutswirl. We’ll stick to this schedule through the end of October, then take a breather and decide how to go forward.

A caveat
Perceptive readers will quickly notice that Haikupedia is currently set up to serve only an English-speaking audience: all articles are in English and nolens volens our focus hews pretty closely to North American topics. We hope this will not be so for long. We plan to expand our coverage of non-American topics. Moreover, we want to “double” some of the key articles by posting a translation of, say, “Haiku in Croatia” in Croatian side-by-side with the English version. Alternatively, we may commission essays to be written in, say, Japanese and have them translated into English. Wouldn’t it be fabulous to have, side-by-side, a Japanese and an English article on, say, Richard Wright or renga!

Join us!
The Haikupedia concept is virtually limitless — and far grander than a half-dozen editors and two dozen authors can possibly realize. We welcome [read: “desperately need”] volunteers. Can you write us an article in one or more of the categories mentioned above? Would you like to help out by taking charge of a “cluster” of related articles? Would you have the skills to help with administrative tasks, data entry or other website work? Contact me at trumbullc\at\comcast.net or Jim at jim.kacian\at\thehaikufoundation.org and let’s talk.
Charlie Trumbull,Editor, Haikupedia

‘Of This World,’ receives HSA Merit Book Award (books published 2017)

Delighted to announce that my book Of This World (Red Moon Press) was awarded a merit book honorable mention in the Haibun category by the Haiku Society of America! 

HSA Merit Books Award

Heartfelt thanks to Michelle Elvy, Jim Kacian, Clare MacQueen and Johannes S. H. Bjerg for their help and support with bringing this book to life.

While waiting for the judges comments and public announcement by the Society, here is more information and praise for the book:

Of This World

Stella Pierides has cultivated a terse, idiosyncratic style in her haibun that is instantly recognizable, and as a consequence is one of the shining lights of this burgeoning genre. Of This World certainly is, but it also takes us out of the world at large and into private spaces we feel privileged to witness. A unique and satisfying read.

 

Red Moon Press
Amazon Europe
Amazon UK

I am grateful for the generous comments:

This is how it’s done! Stella Pierides — in a hushed voice — takes me through what it is to be human — and part of the human history from the roots of Western culture in Diogenes’ tub to the ‘modern’ human — with all the questions and doubts, the uncertainties that come from that.

— Johannes S. H. Bjerg, Writer

Of This World’s marvelous, emotionally resonant haibun are steeped in the grace of the garden, rooted in a physical reality so sensuous that you can smell the fragrance of baking bread, of olives and garlic, of lemon and magnolia blossoms — and yet they also spiral on the updraft of metaphor as poet Stella Pierides ‘put[s] our hearts in the shoes of the hummingbird.’

— Clare MacQueen, Editor-in-Chief, KYSO Flash

A treasure trove of language and image. Pierides walks through dark streets of history, through alleyways of memory – emerging in shiny, unexpected places. Compact, urgent and closely observant, these minute offerings will captivate readers of both poetry and short fiction. An enormously engaging collection.

— Michelle Elvy, Writer and Editor

*
Of This World
ISBN: 978-1-936848-80-5
Pages: 124
Size: 6″ x 9″
Binding: perfect softbound

‘Of This World’ receives HSA Merit Book honorable mention

The Haiku Society of America has announced the names of winners of its Merit Book Awards for books published in 2017.

I am delighted and honored to see my book Of This World (Red Moon Press) included with a honourable mention in the Haibun category! Congratulations to all winners!

And heartfelt thanks to Michelle Elvy, Jim Kacian, Clare MacQueen and Johannes S. H. Bjerg for their help and support with bringing this book to life.

*

So, excellent news! It becomes  64/100 #The100DayProject #100daysnewthings

HSA Merit Books Award

“Haiku and the Brain” in Juxtapositions

A week ago,  I mentioned in this blog a second paper, addressing the haiku community, Haiku and the Brain: an Exploratory Study, in Juxtapositions: The Journal of Haiku Research and Scholarship. Well, it is now online over at The Haiku Foundation. Do visit and check it out along with the other papers.

I am looking forward to reading the other contributions. And to receiving my own print copy of the Journal! Judging from the previous issues, it is a joy  to hold and leaf through. And a collector’s item. You don’t want to miss it! More information on how to obtain a copy, see  here

Meanwhile, here is the Abstract for this paper.

Juxtapositions
This paper presents the first results of an interdisciplinary project, bringing together haiku poets and neuro-/cognitive scientists, to investigate the reading of English-language haiku (ELH) as a potentially paradigmatic material for studying the reception of poetic texts. Our pilot study was based on the ‘eye-mind assumption’, that where and for how long we gaze at sections of text reflects processes of information harvesting for meaning construction. The results indicate that the interactive process between the poem and the reader gives rise to characteristic patterns of eye movements (saccades and fixations) across the text from which (i) the position of the cut (after line 1 vs. after line 2) and (ii) the type of haiku (context-action vs. juxtaposition) can be discerned. Finding (i) is of special importance: it provides evidence that the effect intended by the poet can indeed be traced in oculomotor behavior and that, thus, the cut is indeed a potent poetic/stylistic device with a specific effect in the reader. Moreover, readers’ recognition memory was found to be associated with more explicit, conscious-recollective experience of having read a particular haiku if the poem was self-rated to be understood. This suggests that the realization of the haiku’s ‘meaning gestalt’ in the reader’s mind, which may be associated with an ‘aha’ experience, is important for memory consolidation and remembering. Albeit tentative, these findings and conclusions open up interesting lines for future, interdisciplinary research.

‘Of This World,’ released by Red Moon Press!

Delighted to announce that Red Moon Press just released my haibun collection, Of This World

Of This World

Stella Pierides has cultivated a terse, idiosyncratic style in her haibun that is instantly recognizable, and as a consequence is one of the shining lights of this burgeoning genre. Of This World certainly is, but it also takes us out of the world at large and into private spaces we feel privileged to witness. A unique and satisfying read.

 

Red Moon Press
Amazon Europe
Amazon UK

I am grateful for the generous comments:

This is how it’s done! Stella Pierides — in a hushed voice — takes me through what it is to be human — and part of the human history from the roots of Western culture in Diogenes’ tub to the ‘modern’ human — with all the questions and doubts, the uncertainties that come from that.

— Johannes S. H. Bjerg, Writer

Of This World’s marvelous, emotionally resonant haibun are steeped in the grace of the garden, rooted in a physical reality so sensuous that you can smell the fragrance of baking bread, of olives and garlic, of lemon and magnolia blossoms — and yet they also spiral on the updraft of metaphor as poet Stella Pierides ‘put[s] our hearts in the shoes of the hummingbird.’

— Clare MacQueen, Editor-in-Chief, KYSO Flash

A treasure trove of language and image. Pierides walks through dark streets of history, through alleyways of memory – emerging in shiny, unexpected places. Compact, urgent and closely observant, these minute offerings will captivate readers of both poetry and short fiction. An enormously engaging collection.

— Michelle Elvy, Writer and Editor

*
Of This World
ISBN: 978-1-936848-80-5
Pages: 124
Size: 6″ x 9″
Binding: perfect softbound

Picking Haiku (Posted in Haiku Matters! 2 May 2013)

Picking Haiku


When reading haiku, what is it that attracts you as a reader? What makes you click with one poem and leaves you indifferent towards another? Which qualities speak to you?
Might one draw a parallel between ‘picking’ haiku and beachcombing? Let’s take as an example Henry Moore, the English sculptor (1898-1986). Moore, famous for his monumental semi-abstract sculptures dotted in the landscape all around the world, was inspired by nature. During his walks, he collected stones, shells, driftwood, animal bones, rocks, that he brought back to his studio and kept for inspiration. Some of these ‘found’ objects were singled out as art objects by his artist’s eye, and transformed into works of art. Others became favorite objects to go back to with new questions, kept for inspiration. Like a super-spectator, super-audience or super-reader, he saw the value(s) residing in the shapes, form of sticks, rocks, and stones, picked them up and brought them in from the cold world into his art studio.

Henry Moore sculpture “Large Four Piece Reclining Figure”, Harvard University, Cambridge, Massachusetts, USA. Photo by Daderot

In a sense, as writers, we have something in common with Moore and his walks. Through the day, we gather experiences, pick up some in words, discard or ignore others. As readers too, we collect from our walks round the social medialand, from our reading journals and books, from our discussing topics, poetic thoughts or experiences, from the walks in nature and through the cityscapes surrounding us.
From another perspective, appreciating haiku as a crafted, rather than a natural, object may be more akin to appreciating paintings or sculptures on a gallery visit. Works of art hang on gallery walls, are placed in gallery rooms – like haiku sit on the pages of journals and books – for us to observe and mull over; we stand in front of them, around them for a short while, then move on and walk through the rooms – pages – quickly, too quickly often.
Henry Moore’s huge sculptures standing tall or reclining in the landscape demand our attention; whether we see perfection in them or the unruly shapes of our innermost selves, something in them appeals to us as viewers. And while we cannot pick them up physically, they come home with us. So it is with haiku, I believe. Which one speaks to us, creates a reaction in us, which one we pick to remember, to give it a home in our hearts, depends on many factors.
Something in it, in its shape, depth, sensory and sensual appeal resonates with us. There is a personal, familial, local, national, global, colonial, post-colonial, feminist, literary, yet to be named perspective(s) each of us carries, treasures, contributes to and responds with to the world. Often more than one. Hopefully more than one. Naturally, we all differ in our perspectives, ideologies, in our poems, in our choices of haiku.
But there are common, global elements too; essences, values, basics we share as humans that hold together a haiku and bring it to our reader’s eyes fresh from beyond culture, history, limiting perspectives and allegiances. And with our global, in addition to our local, receptors – much like the single neurons and neuronal assemblies we all harbor in the perceptual parts of our brains, each tuned to picking single elements or whole configurations – we are able to pick and enjoy those poems too. Jim Kacian, in his essay “Tapping the Common Well” in Bones: journal for contemporary haiku, while considering what it is about the haiku poem’s universality, points out this extra or underlying dimension:

“It is universal, because what it seeks is not the relative truths of nationalities or religions, but the universal truths between people: that which can be shared, recognized, valued around the world. This does not mean rain and sun mean the same thing to all people: certainly desert-dwellers have very different emotions about such things than those who live in a rain forest… There are always points of view. But haiku express values beyond these regional and economic differences, revealing the truth of things as they are, which is more at the core of how we feel most deeply as people. Haiku finds that which is not superfluous in the hearts of men, and expresses the values found there, as deep as that may go.”

And so in our lives as readers, as well as writers, armed or rather blessed with a variety of sensory and psychological receptors – some uniquely personal, others shared by the whole species – we pick poems that offer us the chance to recognize, come to terms with, or celebrate one moment from the river of our experience, one splinter from the tree of our lives; to reconnect with our humanity and to nourish our being.
So which haiku ‘receptors’ do you use? How do you like your haiku? Let us know here. It would be good to hear your take on this.
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Kacian, Jim: Tapping the Common Well, in Bones: journal for contemporary haiku, Issue 1, December 15, 2012.

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This essay was first posted here
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Haiku Matters!

Henry More with one of his sculptings in his workshop England (Creative Commons)

I was delighted to be invited  by Colin Steward Jones to guest-blog for the Scotland based Gean Tree Press. Since its inception, its blog, Haiku Matters! has been a hotbed of  intellectual storm, liberal thinking, and wisdom… all about haiku.

I posted my first, introductory guest blog post on Haiku Matters! today!  More to come soon, as I’ll be blogging for the whole month of May. On the menu: a walk or two, a bit of reading, playing with a couple of wild and not so wild ideas, reaching out to and from other genres, while touching on issues relating to the reader all along. Our reader, ourselves as readers, other poets’ readers.

If you have the time, do visit, take a look, and share your own point of view…

(Picture: Creative Commons)