A Second Selection of Haiku (A Selection of Haiku Book 2)

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Poems should not have appeared in any other HSA anthology. Members submitting work are guaranteed to have one poem selected for publication. Email submissions are preferred. Submissions should be typed or copied into the email message, single-spaced, with one blank line between each poem.

Please do not use columns or tables. If you have special formatting instructions, you may attach your formatted poem as an rtf, txt, pdf, or Microsoft Word doc file. Include your mailing address and phone number in the text of your submission.

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Postal Submissions : For those without Internet access, submit your poems typed in a single column, five poems per sheet of paper. Please type your name, address, and phone number at the top of each sheet. Please include a self-addressed envelope for notification of which poem is selected.

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Mail your submission to:. Book Orders : All members receive one free copy of the anthology. The novelist-poet had spawned an idea that was never fully developed or explained by him or others. Ginsberg seems to have been able to draw a clear line of demarcation between the two genres, but Kerouac, it can be suggested, did not see a difference between the two.

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As is the case with the first source, no more development of the subject was made. In her introduction to Book of Haikus, Regina Weinreich addresses the complex conglomeration of haiku having a presence in prose and also begins developing the idea into a more understandable context. He also argued that English was rough and limited a Westerner the ability to write haiku in its purest form. Despite the hybridization found in The Dharma Bums, Weinreich contends that Kerouac tried to stay true to the rigorous rules and the essence of the Japanese poetic form.

Weinreich is correct in her findings. Kerouac was too experimental to be tied down by literary rules.

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This sheds light on the fact that Kerouac found it necessary to use or embed haiku into the prose of The Dharma Bums as a means of not only staying true to his artistic experimentation, but also seeing the value in adding to and extracting pieces from poetry and prose manuscripts to create visions that were once hidden by prose and needed to stand alone as haiku for the sake of clarity, or vice versa. It is as if two autobiographical stories are being told simultaneously: one being the occurrences in the external world hiking, yabyum, eating in restaurants, hitchhiking, participating in wild parties and the other being occurrences captured in a literal or remembered meditative state of observation.

Here, Kerouac has stripped the traditional Japanese haiku form to its barest minimum; that is to say, only the vision or captured moment in time is left.

tarbucossio.gq Additionally, the idea of a rhyming haiku, which he probably saw in some English translations of haiku anthologies, was a new idea. In this explanation, Kerouac continues to deemphasize the traditional elements of haiku. Again, rhyme becomes the questionable characteristic in the Westernization of haiku. The beginning of the correspondence has all of the tone and spirit that would later be placed in The Dharma Bums. Despite some contradictions in definition related to the haiku, Kerouac, whether it be in prose or poetry, was cognizant of maintaining the essence of the haiku. The ultimate purpose of this extraction is to show that Kerouac used the form as a means of not only creating double meanings in his sentences, but also as a means of using the haiku as a vehicle by which a narrative can progress.

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All extractions preserve the exact language as found in the original prose text. Also, no signatures like commas or hyphens have been used since Kerouac would have been particular about the placement of such conventions. It is a dualism where the external and internal worlds Kerouac experienced coexist to create double meaning.

The first meaning being the use of sentences to forward the progression of the narrative what happened.

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  • The old tree haiku appears in The Dharma Bums as a single sentence. More than likely disappointed that he did not participate fully as a part of his dedication to Buddhism he vowed a state of celibacy , Kerouac takes a defensive stance with Ginsberg and argues that the poet has a negative view of the world that will ultimately lead to self-destruction.

    Then, Kerouac uses the embedded haiku to create a transition between the external and internal worlds. The sentence or haiku itself depicts a dualism between the external world the pine tree and the internal world a reflection of the tree as a living thing. Again, the forces of the external and internal are at play. The internal is revealed in the greeting. This sentence is a prime example of the author using haiku and prose simultaneously in order to create a double narrative or meaning in The Dharma Bums.