Showing posts with label Changing the World One Haiku at a Time. Show all posts
Showing posts with label Changing the World One Haiku at a Time. Show all posts

Saturday, January 18, 2014

A Room of My Own: Study of Perspective

Changing the World One Haiku at a Time Series


A Haiku Set for Ai Weiwei, China's Most Influential Artist / Dangerous Man (Whose perspective is it anyway ?)

What the hell is art?
Ai Weiwei
in the cooking pot
(reprinted on Pen Canada)

sunlight on the photo:
his middle finger
against Tiananmen Square


Note: Below is excerpted from the latest  Spiegel Interview with Ai Weiwei:

SPIEGEL: What's wrong with China's education system? According to the OECD's most recent Pisa study, an international ranking of education systems, students in Shanghai are the world's best in arithmetic, natural sciences and in reading.

Ai Weiwei: I think our system is hollow and empty. Let's talk about humanity, individualism, imagination and creativity -- those are the values a society is built on. What education are we getting, what dreams do we dream? I deal with students every day -- from China, Germany, the United States, Hong Kong and Taiwan. And I've noticed that the Chinese students are the least trained in having a sense of aesthetics. They lack any ability to sense what is beautiful or what is proper. They can be learned and skillful, but they lack the ability to make their own free judgment. It is really sad to see young adults of 20, 25 years who were never taught to make their own decisions. People who can't do that don't get a sense of responsibility. And if you lack a sense of responsibility, you push the blame onto the system.

Friday, July 12, 2013

A Room of My Own: Migrant's Dream Haiku

Changing the World One Haiku at a Time Series


July Fourth fireworks...
a migrant's dream intercepted
by the NSA


Note: The National Security Agency (NSA) is a cryptologic intelligence agency of the United States Department of Defense

Friday, June 14, 2013

A Room of My Own: "Oh, Bama Thought Police" Sci-Fi Haiku

Changing the World One Haiku at a Time Series


In Memory of the Pre-Deaths of Edward Snowdens

one cry, then silence:
Oh, Bama Thought Police tattoo
Precrime on his genes

Wednesday, May 1, 2013

A Room of My Own: May Day Haiku

Changing the World One Haiku at a Time Series


factory girls
crammed shoulder to shoulder
Bread and Roses ...


Note: The phrase “Bread and Roses” originated in a speech given by Rose Schneiderman, and a line in that speech – “The worker must have bread, but she must have roses, too” --  inspired the title of the poem, "Bread and Roses," by James Oppenheim, which was published in The American Magazine in December 1911. “Bread and Roses” was set to music by Mimi Fariña in the 1970s, and it has become an anthem for labor rights, and especially for the rights of working women.


Updated, May 2:

Quotation of the Day (The New York Times, Thursday, May 2, 2013)

This is called slave labor.

POPE FRANCIS, on garment workers in Bangladesh earning about $40 a month. 

Updated, May 3:

Bangladesh factory collapse: Loblaw to audit structural safety of suppliers’ buildings (Toronto Star)

Here in Canada, Galen Weston, executive chairman of Loblaw Companies Ltd., announced Thursday that his company will send Canadian employees to monitor factories in Bangladesh where Joe Fresh clothing is made. In addition, a team of senior company officials, including supply chain experts, will travel there next week to discuss safety with Bangladeshi officials and unions...



Bread and Roses by James Oppenheim

As we come marching, marching in the beauty of the day,
A million darkened kitchens, a thousand mill lofts gray,
Are touched with all the radiance that a sudden sun discloses,
For the people hear us singing: “Bread and roses! Bread and roses! ”

As we come marching, marching, we battle too for men,
For they are women’s children, and we mother them again.
Our lives shall not be sweated from birth until life closes;
Hearts starve as well as bodies; give us bread, but give us roses!

As we come marching, marching, unnumbered women dead
Go crying through our singing their ancient cry for bread.
Small art and love and beauty their drudging spirits knew.
Yes, it is bread we fight for — but we fight for roses, too!

As we come marching, marching, we bring the greater days.
The rising of the women means the rising of the race.
No more the drudge and idler — ten that toil where one reposes,
But a sharing of life’s glories: Bread and roses! Bread and roses!


Song Lyrics

As we go marching, marching, in the beauty of the day,
A million darkened kitchens, a thousand mill lofts gray,
Are touched with all the radiance that a sudden sun discloses,
For the people hear us singing: Bread and Roses! Bread and Roses!

As we go marching, marching, we battle too for men,
For they are women's children, and we mother them again.
Our lives shall not be sweated from birth until life closes;
Hearts starve as well as bodies; give us bread, but give us roses.

As we go marching, marching, unnumbered women dead
Go crying through our singing their ancient call for bread.
Small art and love and beauty their drudging spirits knew.
Yes, it is bread we fight for, but we fight for roses too.

As we go marching, marching, we bring the greater days,
The rising of the women means the rising of the race.
No more the drudge and idler, ten that toil where one reposes,
But a sharing of life's glories: Bread and roses, bread and roses.
Our lives shall not be sweated from birth until life closes;
Hearts starve as well as bodies; bread and roses, bread and roses.

Cool Announcement: Kamesan’s World Haiku Anthology

The long-awaited book, Kamesan’s World Haiku Anthology on War, Violence and Human Rights Violations, is out. For more information, please visit http://kamesanbooks.com/ Below is an excerpt from my unpublished review:


This is our reply to violence: to make haiku more intensely, more beautifully, more devotedly than ever before. Changing the world one haiku at a time.
-- Chen-ou Liu paraphrasing Leonard Bernstein


Kamesan’s World Haiku Anthology on War, Violence and Human Rights Violations, edited by the renowned film director and haiku poet Dimitar Anakiev, is a unique haiku anthology: 903 haiku written in 35 languages by 435 poets from 48 countries across the globe and non-English language haiku accompanied by their English translations. The original idea of publishing this kind of world haiku anthology with its sharp focus on war stemmed from Anakiev’s late 1990s experience in the war-torn Balkans. During that tumultuous period of time, he served as the co-editor of Knots: The Anthology of Southeastern European Haiku Poetry, receiving many haiku on the topic of confrontation and violence. Then, in 2009, he invited the poets from the Balkan region to submit their haiku on the topic of war. To his great surprise, he received many haiku by poets from all corners of the world. He recognized the universality of the theme of war and decided to publish a world haiku anthology on war, violence, and human rights violation (p. 5).

...

In the following two-axis haiku, we can see how the poets engage readers with our collective past in order to reshape/enrich our understanding of the present.

two light beams shining
where there were once twin towers --
my son, my daughter

Jack Galmitz

This heartfelt haiku is beautifully crafted in the traditional style -- three lines, 5-7-5 syllables, with a cut after the second line emphasized by a dash. The first two lines delineate the most significant memoryscape in the first decade of the 21st century, where the present encounters the past and both reflect upon each other. In L3, the thematic focus is shifted from the socio-cultural/public to the personal-relational/private. It indicates that redeeming hope of the future begins with the generational basis of remembrance of things past. And the psycho-sociopolitical significance of number two stirs the reader to further ponder past trauma, present reflection, and future hope.

all that remains --
dreams of jungle,
sand, sky

Marilyn Hazelton

The opening allusive line successfully evokes in the reader the image of ephemerality of human ambitions described in Basho’s “summer grass” haiku; however, Hazelton makes a perceptual shift in Ls 2&3, revealing the psychological impacts of these ambitions.

Normandy beach ...
this small white rock
washed clean

Anne LB Davidson

The plain language used in the L1, which is arguably the most important WWII battle field, combined with a visual focus on a small washed-clean rock makes what’s left unsaid thematically and emotionally more significant than what’s stated. According to the Canadian Encyclopedia, Canadian forces alone suffered 18,444 casualties during the Normandy fighting 9.There is no doubt in my mind that any reader who has minimal knowledge about WWII can feel the historical weight in this tiny poem.

Stop counting syllables,
start counting the dead.

Don Wentworth

The imperative L1 refers to the big fights among many haiku poets in the early years of the English language haiku movement. The combined use of syntactic parallelism and a perspectival shift makes this poem sociopolitically powerful and emotionally effective. It reminds me of Lawrence Ferlinghetti’s vision of poetry: poetry as insurgent art. And its thematic focus and emotional appeal form a dialectical relationship with the following two haiku:

war dead
exit out of a blue mathematics

Sumimura Seirinshi

only american deaths count the stars

Scott Metz