August 31st 2017

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last
····days of August—the fattening squash
········shines
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There might be a little of Issa in the haiku above. I almost wrote: “optimistically shines”, but thought ‘plump’  suggested the humor without being so obvious?
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Yesterday I took the day off and had the energy to write but today was another nine hour day. When I’m not so tired, I’ll pick up where I left off.
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242 August 31st 2017 | bottlecap
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August 30th 2017

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Last night I had nothing to write. Nothing at all. I started at several minutes past ten o’clock and at several minutes past midnight wrote yesterday’s haiku—wrote something, anything—and was dissatisfied. The haiku lacked, and perhaps still does, that association that moves the reader beyond the observed. I returned to it immediately before starting tonight’s post.
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I picked up a beautiful book at the Crow Bookshop in Burlington, Vermont last weekend. The book’s title is Modern Japanese Poets and the Nature of Literature. The book’s several chapters are each devoted to a twentieth century Japanese poet, the first being Masaoka Shiki. There are surely some readers who must think (or wish) I would return to writing and writing about western poetry, but I find the lessons of the haiku to be equally applicable to what I value in the best of western poetry.
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I don’t like abstract or intellectual poetry, and I mean that in a very specific sense—not one I’ll be able to explain in a single post. Loosely, I don’t like poems expressing ideas unless, paraphrasing Pound, they’re ideas expressed through the concrete, through the world we live in. The best poetry expresses ideas through observation, not through statement. Write through the image. When Robert Frost wanted to express ideas of loss, despair perhaps, exhaustion and wonder, he wrote Stopping by Woods. He could have simply stated that he was tired and that perhaps he wanted to stop in the dark woods and go no further, but instead let us see what he saw, and by doing, because of our shared humanity, he allowed us to experience, in some measure, what he experienced. This is the indirect art and heart of poetry.
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The best Japanese haiku are no different. Without wanting to sound conceited, I’ve noticed the same strain of thought in the Japanese poets. Shiki wrote:
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Shasai or realism means copying the subject as it is, but it necessarily involves a degree of selection or exclusion… A writer sketching a landscape or an event should focus on its most beautiful or moving aspect. If he does this, the subject described will automatically begin to live its own life. It should be noted, however, that the most beautiful or moving aspect does not necessarily correspond to the most substantial or conspicuous or indispensable part of the subject. The aspect I speak of often lies in the shade, showing itself only partially in ones range of sight.  [p. 12]
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Shiki qualifies what he means by a landscape’s “most beautiful or moving aspect”. After all, a landscape’s most moving aspect may not be its most beautiful. The point is that if the skilled poet wants to communicate emotion, he or she doesn’t state what that emotion is, but evokes it through the selective observation of the  landscape. The art of poetry is not in what it says, but in what it observes.
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When I read western haiku made abstract by certain kinds of metaphor and abstractions they lose their immediacy and vividness. They are, in my view, a misunderstanding of the way that poetry works.
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under
····the sleeping butterfly—summer’s petals slip
········away
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241 August 30th 2017 | bottlecap
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Seeking Submissions: Birchsong

  • I was contacted by the editor of Birchsong and asked if I would pass along the following, which I am pleased to do. My hope is to interview the editor sometime after Labor Day.

BirchsonThe editors of the anthology Birchsong: Poetry Centered in Vermont, vol.I (2012) are pleased to announce the forthcoming publication of a second volume in the spring of 2018. Poets living in Vermont and neighboring states (New Hampshire, New York, and Massachusetts) are invited to submit, by regular mail, one to three poems for consideration during the reading period, August 1 to October 31, 2017. Poems, no longer than 70 lines each, must be written after Tropical Storm Irene in August 2011, and sent to:

Editors
The Blueline Press
PO Box 706
East Dorset, Vermont, 05253.

Please email the address below for complete submission guidelines:
thebluelinepressvt16@gmail.com

In his review of volume I, literary magazine Blueline’s former editor Anthony O. Tyler wrote: “Birchsong makes enjoyable, engaging reading. The collection of ninety-one poems by fifty-six poets maintains a consistently high level of quality….Nature plays a prominent role in the text as an agent of change, in relationships, in customs, in the land, and for its own beauty and power.” We hope your work will help make volume II every bit as engaging.

Submissions Guidelines
Birchsong, Poetry Centered in Vermont, vol. 2

The Editors of the anthology Birchsong, Poetry Centered in Vermont, vol. 1, published by The Blueline Press in 2012, are pleased to announce a second volume slated for publication by The Blueline Press in April 2018.

We’re looking for poems by poets living in Vermont or neighboring states (New Hampshire, New York, Massachusetts) who are familiar with Vermont.

Reading period: August 1, 2017, through October 31, 2017.

Poems should be original and current, written since Tropical Storm Irene (August 2011). Previously published poems in the last six years will also be considered, with proper credit.

Submit 1 to 3 poems to The Blueline Press, P.O. Box 706, East Dorset, VT 05253, with a cover letter giving your name, address, email contact, phone number, and titles of poems submitted. A line count for each will be appreciated. Include a short bio if you wish. Do not put your name or email on the poems themselves.

Poems should be no more than 70 lines (2 pages). Spaces between stanzas will be counted. Layout is important. One very short poem might not work, but two, possibly three, by the same author would be considered if they fit on one page. Poets will be notified by email about the status of their work as soon as possible after the close of the reading period.

Retain copies of your work; poems will be returned only if a SASE is included in your submission.

Poets whose poems are accepted will be requested to submit a digital copy. You’ll receive a hard copy of the book in the spring of 2018. For questions about submissions or other matters, email Birchsong editors, thebluelinepressvt16@gmail.com. If interested in purchasing a copy of Birchsong, vol. 1, send an inquiry to the email address above.