As a popular form of poetry, haiku sometimes appears in the most unexpected places, e.g. comic strips, public contests, even advertising blurbs. The usual conception is that haiku is written in three lines consisting of 17 syllables, broken into a 5-7-5 format, with no further restrictions. While the syllabic scheme is consistent with traditional Japanese haiku, the practice of writing in this form involves far more than the counting of syllables. What is most important to consider is the juxtaposition of two brief images that, when put into relation, speak beyond their words and enact the unspoken character of an experienced moment.
Natural Imagery and Season
In its strictest form, English-language haiku avoids any imagery derived from the human world, relying instead on images drawn from nature. But, as is often said, once the rules are learned, a poet is free to break them – within reason. A more general guideline might be that a poet must adhere to the rule of imagery, thus avoiding abstract expressions that categorize and explain human experience, focusing instead on the contextual images from which human emotional and intellectual experiences arise. A good haiku does not tell its reader what it means, instead it creates the context of perceptual experience through which a reader may infer a broader context that resonates with life.
While there are many ways to go about selecting and juxtaposing imagery in a haiku, a first rule of thumb concerns how the images are verbally constructed. Following the three-line convention of English-language haiku, the two juxtaposed images will frequently consist of a short fragment in either the first or third line, combined with a longer, more complete utterance that fills the remaining two. Sometimes it will be difficult to determine which phrase is the fragment, allowing purposeful ambiguity to draw the reader deeper into the poem. For example: rabbit tracks / slicing through fresh snow / a prowling cat
Evident in the example above, a seasonal element (known by its Japanese term, “kigo”) is also essential when writing conventional haiku. Though the season may be directly stated (e.g. Autumn fog, Summer heat, etc), more often it will be inferred by images that directly relate to its experience. The inclusion of a kigo demands that a haiku reflect the cycle of seasons intrinsic to nature and the images thus created. More practically speaking, for the writer, it forces a poet to remain centered on the concrete imagery from which haiku is composed.
Use of Language
In conjunction with its simple imagery, haiku is oftentimes best written with equally simple language and syntax. Frequently, accomplished writers will attempt to accentuate a haiku's brevity by using fewer than 17 syllables. Many writers will also avoid the use of gerunds and other word formations that end with “-ing” (e.g. “slicing” and “prowling” in the example above). Moreover, the language of a haiku should be composed in such a way as to avoid awkwardness in its spoken delivery; read silently or aloud, a haiku should never sound stilted or contrived, but rather flow smoothly, unobtrusively, focusing attention on its created imagery, unimpeded by "poetic" language or clumsy syntax.
Most importantly, perhaps, is that haiku does not generally incorporate metaphor or figurative language. The poetic effect of its technique is almost entirely derived from the juxtaposition of images, and the effect may frequently be profound, humorous, ironic, or filled with pathos. Allowing yourself to abide by these restrictions when writing haiku is to allow its strengths to do what they do best: enact a moment of life in the profound vibrancy of its experience. Isn't this something all poetry should at least partially strive for?
Further resources:
This article is only a brief statement meant to clear up common misconceptions about haiku. The best way to learn about a poetry form, however, is to read what experienced practitioners have written - and what they have written about its practice. While many books and journals are available to be bought or borrowed, listed below are several internet resources that may prove invaluable.
Aha Poetry's haiku resource page
DailyHaiku - the Edited Journal of Contemporary Haiku
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