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the international situation also demanded peaceful diplomatic ties between them. Japanese popular cultural forms like Kabuki and haiku were developed, and Although Chinese books were imported through Qing merchants, personal.
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Second only to his correspondence with Blyth, Hackett valued his relations with Harold G. Henderson, from whom he received some 85 letters from to Not that you can be the form [firm? But I hope that you will be willing to try to be. Volume One contains the same haiku as Haiku Poetry but formatted without the small caps and stair-stepped with initial capitals and terminal periods. Volumes Two, Three, and Four each have new haiku in the same format, a few of which had appeared in American Haiku and one of which had been among the Blyth collection. A notice on the back cover of his books indicated that a compilation of all four volumes of Haiku Poetry was to be published in June The individual volumes underwent several printings at least through October , when the promised compendium, titled The Way of Haiku: An Anthology of Haiku Poems , was issued.
In he selected haiku, all but one published in his earlier books, and packaged them in a large-format book for children with two-color illustrations titled Bug Haiku: Original Poems in English by J. He apparently received visitors at his garden home, including Kiyoshi and Kiyoko Tokutomi, the founders of the California-based Yuki Teikei Haiku Society, an event that was documented by Teruo Yamagata, now president of the Yukuharu Haiku Society in Japan, in Haiku Journal , volume 3 ; 24 however I am unable to document any other public activity or publication of new work for 15 years, although it is possible that during this time he was judging American entries in some of the JAL contests which had become international, biennial, and involving only children.
Hackett , 25 again by Japan Publications.
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This book contains haiku, only 50 of which are previously unpublished. A few of the older haiku were revised, however, some of them quite extensively; for example, this one, which had appeared in Way:. Herewith, Hackett again retreated into his privacy and isolation for another nine years. Audio samples of Hackett reading some of his longer poems are available on his website. Other activities in the U. In the summer of he delivered the keynote address at the second Haiku North America conference in Livermore, Calif. On September 16, , according to a note about the occasion in Woodnotes 26, Hackett read some of his published Zen haiku, plus 21 new haiku, as one of the features at the second reading in the Haiku City series, at Borders Books in San Francisco.
In he also gave an interview to John Budan that was published in Woodnotes 30 and is cited here in several places. The past ten years have seen the re-emergence of Hackett as a grand old man of haiku — but now in an international context. In the s and s the Hacketts did a fair amount of traveling. As he had done on earlier visits, in Hackett spent about three months in Japan mostly visiting temples. In about Hackett made the acquaintance of James Kirkup and David Cobb of the British Haiku Society, and that year he was invited to lend his name and judging skills to a new BHS haiku contest, the first of which took place the following year.
A rare spiritual affinity made our relationship one that could dispense with words. A photo of the two of them at Nagoya station appeared too. In a book of new haiku — new at least from his basic collection from the s — was published by Hokuseido Press. The remarkable instrument that Hackett invented for himself way back then, to express his special haiku vision and consciousness, remains intact today and is as flexible and wide-ranging as ever. The poems unfold, phrase by phrase, like bubbling creek water, with good humor, calmness, and unhurried pleasure.
They will be new poems to his readers, but they are not necessarily newly written. Poems like the following exert an iconic power, giving memorable expression to some of the deep problems of our time in history, and asking questions that have adhering to their substance issues that are both spiritual and practical.
Four of his older haiku were recycled in the Mainichi Daily News online haiku column in , , and , and three others were published in Hermitage 3 James Hackett has only gradually revealed his views of haiku and Zen and his own path in haiku. For haiku is ultimately more than a form or even a kind of poetry: it is a Way — one of living awareness. This, together with its rendering of the Suchness of things gives haiku a supra-literary mission, One of movement. In one confusing passage of his essay, however, Hackett seems to turn volte face and underplay the role of Zen in haiku:. Hackett sets up a straw man here.
When compared to the depth and breadth of this all-encompassing spiritual vision,. Hackett is being rather polite; in other places he waxes vitriolic in his condemnation of haiku that does not square with his definition, as in a brief article from Blithe Spirit in , The aesthetic anarchy of modern haiku has even resulted in modern writers divorcing haiku from nature. Sadly enough, urbanisation is making haiku itself an endangered species.
Others argue that all of human nature is part of Nature, and that for the purposes of haiku it is a key part. Furthermore, one could also argue that haiku is not so much about nature as it is about season.
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William J. Higginson has pointed out that human-related seasonal topics make up a substantial percentage of the kigo in Japanese saijiki. It may be noted in passing that the use of ki is probably the base of a charge that has been advanced that haiku are more concerned with nature than with human affairs.
Such a statement is ridiculous. Haiku are more concerned with human emotions than with human acts, the natural phenomena are used to reflect human emotions, but that is all. Hotham also drafts a pair of unlikely allies: poet T.
Hackett too appeals to quantum physics in support of his position:. Today, subatomic [quantum] physics and ecological science agree that the anthropocentric hubris of the West that has dominated Occidental culture for millennia is only a verisimilitude: a dangerously limited view of reality, that human consciousness needs to transcend into Oneness — if life on Earth is to survive. In later years his concern with nature and the incursions of urban life upon it became significant concerns for the poet — to the brink of polemic.
Hackett ends the nature section of his essay with this incantation:. Might that we learn from history previous periods of unfettered capitalism the evils that result from ungoverned greed. One final point of interest: Hackett suggests that because it is firmly rooted in General Nature, which is shared by everyone everywhere, haiku poetry can serve as a cultural bridge among people. The value for the haiku poet, Hackett asserts, is as a centering device.
Metaphors and symbols are inadequate descriptions of the essence of a thing. Centering Contemplation Writing haiku poetry demands that the poet focus his attention on the object, deeply penetrating with his mind into the essence of the object. Hackett is aware of the problem. Go to the pine if you want to learn about the pine, or the bamboo if you want to learn about the bamboo. And in doing so, you must leave your subjective preoccupation with yourself. Your poetry issues of its own accord when you and the object have become one — when you have plunged deep enough into the object to see something like a hidden glimmering there.
However well-phrased your poetry may be, if the object and yourself are separate then your poetry is not true poetry but a semblance of the real thing. The facility to get into an object at a deep spiritual level is one thing; to represent it in a haiku without seeming to speak on behalf of that object is another. Though relativistic, these divisive, jingoistic, racial, and sectarian prejudices have for millennia damned countless generations of Eden Now. Hackett says nothing about the haiku being a medium of communication between people; only in one place, Part 1, does he even mention sharing a haiku poem with others.
For him, the purpose of writing haiku is very personal, even egocentric: to express his own intuition of the great here and now. This essay reveals a man who studied first Zen then haiku in the s and s, made up his mind about where he stood, and has not budged a whit ever since. Hackett exemplifies this situation. Although excoriating writers of so-called haiku generally, he never mentions any names or gives any specific examples of what he finds wrong with what is being written by others. Like his other writings, these Suggestions have been tinkered with and revised over the years.
The version here is the one published in World Haiku Review and dated Hackett introduces them as follows:. My first books, Haiku Poetry , Volumes I—IV, published in , included some carefully considered suggestions for creating haiku poems in English. These have proved of value to many poets.
And after almost half a century these suggestions still remain fundamental to my poetry, and to my mind and spirit. I encourage readers to decide for themselves which of these suggestions might prove helpful in their own writing:. Suggestions 9 though 13 have to do with craft, specifically the form of the haiku and the choice of appropriate language. Hackett practices both of these for the most part. Suggestions 10, 11, and 12 deal with the quality of words used, the poetics of haiku, and the permissibility of poetic language in haiku.
Part of Suggestion 10 calls for poets to use words suggestive of the season, location, or time of day, the closest he comes to specifying the need for a season word. The kigo , of course, is traditionally a major requirement of haiku in Japanese, but Hackett is passive about the use of such a convention in English-language practice. Rhyme Hackett is at heart a rhymer. Hackett generally does avoid end rhyme but is masterful in his use of internal rhyme.
For example, these two haiku have rhyming lines 1 and 3: Hackett frequently uses internal rhyme and consonance: In some cases it is difficult to pry internal rhyme and end-rhyme apart, however.
Shangri-La: James W. Hackett’s Life in Haiku
The first haiku is written with a forced break after a five-syllable first line but which, thanks to the internal rhyme, separates into an end-rhymed 6—7—6—syllable haiku. The second resolves into a rhymed tetrameter couplet Other Poetic Devices. Hackett uses the full panoply of poetic devices. The first two of these verses feature consonance and alliteration with rhyme too!
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His corpus of work includes phrases such as these: Japanese Poetics Hackett believes haiku to be a form of poetry, and it is probably for this reason that he speaks of haiku in terms of Western aesthetics and poetics and tends to shortchange the Japanese equivalents, at least those that do not pertain to Zen. Kigo , as we have seen, is held by Hackett to be appropriate for classical Japanese haiku but is not necessary in English haiku.
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For poetic meaning Hackett invents locutions, twisting intransitive verbs into transitive and turning nouns into verbs that are not recognized as such by Mr. Webster, e. Hackett is fond of all sorts of poetic diction, some of which seem British, or mustily antique, or both, in their inspiration; for example: In Japanese, the absence of articles, pronouns, tense, and the comparative lack of modifiers make bare-boned minimalist attempts in English seem fatuous and spectacularly inept.
But he is not immune to dropping articles and lapsing into a kind of tontoism that makes haiku like this one, for example, sound like a Native American legend with overtones of dark doings among Goldfinch, Thistledown, and Breeze:. We observed earlier that Hackett does not shrink from having his haiku be full clauses or even full sentences:. It is not the case in this haiku, which enjoys an abundance of images — or rather, abstractions — but in other cases, writing a haiku as a sentence or continuous phrase eliminates the break, kire , and thus the juxtaposition between two images that is the main engine of the haiku.