maple leaves turning—
only one firefly
all evening
I wrote earlier about how many Americans mistakenly think that the most important element in haiku is the syllabic count, the 5-7-5 arrangement that most of us learned in childhood or whenever we first became familiar with haiku. In fact, in the latest Frogpond ( the journal of The Haiku Society of America) Helen Ruggieri of Olean, New York writes about her visit to a third-grade class room where she led a workshop. Afterwards the teacher said disapprovingly, "You didn't make them count syllables."
According to many practitioners, a much more important element of these poems is the season word. In Haiku: a Poet's Guide, Lee Gurga insists that season "is a crucial aspect." He continues, "Haiku do not simply mention the season--the season must actively contribute in the poem. A seasonal element is not merely tacked on to an image or thought to make a haiku. On the other hand, neither is the season the subject of the poem. The season and the moment must interpenetrate to create a nexus of poetic power."
Interpenetrate? Although I can certainly recognize when these two elements are interwoven in a really good haiku, it's one of those writing techniques that for me, at least, can't be summoned upon command. That's another reason why writing in this short form is so difficult, especially to do well. Like the leaves on the changing maple, there are many, many throw-aways before you find that one whole and unfrayed crimson leaf.
Hi Dory! Just happened across your blog, and I love this post about haiku. I've struggled myself with the 5-7-5 format, and I'm glad to see that it's not the most important component. But you're right, it takes a bit of time before the right words combine. Kind of like plunking around on a piano until you hit the right note. A writer friend and I have toyed with the idea of working on a rengay or renku. She sent me some seedlings, but I'm still trying to make them sprout!
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