Thursday, April 28, 2016

Butterfly Dream: Storm Clouds Haiku by Julie Warther

English Original

storm clouds the inside of a tulip

Honorable Mention, 2015 World Haiku Contest

Julie Warther

Chinese Translation (Traditional)


Chinese Translation (Simplified)


Bio Sketch

Julie Warther is the author of What Was Here (Folded Word Press 2015) and serves as the Midwest Regional Coordinator for the Haiku Society of America.


  1. Technically speaking, Julie effectively employs the technique of type II cutting (the kireji that clearly expresses a division of Yin and Yang)to establish the contrasts between the two parts of the poem.

    And the visual and emotional power that arises from the contrasts is greatly enhanced by the pace of the one-liner.

    Note: Below is excerpted from my "To the Lighthouse" post, "Three Formulations about the Use of Cutting," which can be accessed at

    …The more complex uses of kireji that come into prominence later on break down this linguistically confined structure of the sentence unit in favor of freer poetic play across the gap made by ya, other cutting-words, or syntactic breaks which cleave the poem in two …

    Later in the seventeenth century when Danrin poets formulated their ideas about kireji, the discussion might be presented in terms of Yin-Yang metaphysics or simply in terms of a discrimination set up within a hokku between a "this" opposed to a "that." A work from 1680 put it in a refreshingly slangy way:

    The kireji is that which clearly expresses a division of Yin and Yang. Yin and Yang mean the existence of an interesting confrontation within a poem (okashiku ikku no uchi ni arasoi aru o iu nari). For instance, something or other presented in a hokku is that?-no, it's not that but this, etc. 46

    Eisenstein, circa 1929, would have replaced Yin with thesis and Yang with antithesis and cast the whole matter in the mold of his peculiar dialectic, but he would certainly have gone along with this Japanese poet's notion of arasoi, "confrontation." "By what, then, is montage characterized and, consequently, its cell -- the shot?" he asked himself in "The Cinematographic Principle and the Ideogram." "By collision. By the conflict of two pieces in opposition to each other. By conflict. By collision." And the phrases of hokku were, he insisted, "montage phrases," and hence they generated their meaning by a like dynamic process. 47

  2. The complexity of the simplicity. Very interesting. Thank you