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Welcome to the Yuki Teikei Haiku Society's 2011 Anthology.
The anthology includes haiku from all members that sent us work. Also, we showcase the Japanese judges and the winning poets of the 2010 Kiyoshi and Kiyoko Tokutomi Memorial Haiku Contest,
which honors the Japanese haiku tradition by requiring a kigo and a 5-7-5-syllable pattern in submitted haiku.
Special this year, the anthology includes a small set of members' micro-haibun.
Each haibun was selected not only for its prose and its haiku but also for the quality of its leap between prose and haiku.
The haibun section follows from the strong interest in haibun generated by a workshop led by Maggie Chula, featured presenter at the 2010 YTHS Annual Retreat.
Ten informative essays by members concentrate on the practice of haiku in a wide sense, suggesting ways that readers might add to their haiku tool kit.
The essays also make available highlights of several events that the YTHS organized in 2010 but that many members could not attend.
The first three essays concern our core tools. Patricia J. Machmiller discusses the considerable value of the kigo.
In 2010, she led several one-day seasonal workshops to study the use of the kigo in haiku.
Her essay "Kigo: A Poetic Device in English Too" opens the essay section because the kigo is the bedrock of our study.
Anne Homan, lead-editor of the San Francisco Bay Area Nature Guide and Saijiki (first published in 2010)
shows us the importance of a saijiki (a kigo dictionary) and YTHS's process of constructing one.
Deborah Kolodji addresses the ginko (the practice of writing haiku while walking).
She not only introduces us to the idea that a ginko can be performed in an urban setting,
but she also writes convincingly about her invaluable technique of writing "haiku fragments" rather than straining too soon to create haiku.
The next three essays widen our knowledge of haiku. Zinovy Vayman offers an international slant with his overview of haiku in Russia.
Then your editors each offer an essay. Jerry Ball explores the writing of haiku with very few verbs.
J. Zimmerman and Patricia J. Machmiller describe how one might generate haiku in a haiga approach, finding inspiration in juxtaposing haiku and art.
The final essays give readers some of the experience of the annual retreat at Asilomar. Christopher Herold, the featured presenter at the 2011 retreat,
explores for us the artistic relationship of haiku and Zen.
Patrick Gallagher illustrates the characteristics of gendai (modern Japanese) haiku, expanding on his talk and workshop at the 2010 retreat.
Gloria Jaguden offers another insight into the 2010 retreat,
where Maggie Chula gave a presentation on her collaboration with quilter Cathy Erickson: Jaguden reviews the book that resulted from the haiga-like collaboration of poet and quilter.
We close the essays with June Hopper Hymas' appreciation of a haiku. May all your haiku merit such attention and such praise.
Your editors are very grateful to the poets and essayists whose creations shine like wild violets in this anthology.
We are indebted to the YTHS board (under the leadership of President Alison Woolpert and Treasurer Patricia J. Machmiller)
for approving this anthology's budget and to YT members making special donations to augment that budget.
We enthusiastically thank Ann Bendixen, our 2011 Anthology Artist, for her the artistic skills and generous donation of her art
(much of it custom-made for this collection) gracing the cover and the interior of this book.
Jerry Ball, Senior Editor.
J. Zimmerman, Acquisitions Editor and Haibun Editor.
Copyright © 2011-2015 by Jerry Ball and J. Zimmerman.
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