Understanding the "AHA" in Haiku
Poetry Contest
The goal of this contest is to inspire haiku poets to write a haiku that creates an AHA or sense of enlightenment (could be a metaphysical satori) on the part of the reader. That means the reader needs to think about the meaning of the haiku and the author does not blatantly share what the writer's intended AHA might be. The reader can experience a different AHA than the writer. It is the reader's experience that is paramount.
To create a powerful AHA, the haiku poet uses certain strategies that put two concrete images in juxtaposition. Some of these strategies are discussed in an essay by Jane Reichhold in the link that follows:
www.ahapoetry.com/haiartjr.htm
The poet will need to identify which strategy he/she employs when writing their haiku. The strategy should be the ONLY thing mentioned in Author's Notes and it must be stated in the Author's Notes.
Regarding the two concrete images:
One of the images is described in two grammatically connected lines, in concrete terms, in the present tense. In other words, the two lines must be such that they can be read as one line, or phrase that makes complete sense.
The second concrete image is a word or phrase in one line that either precedes or follows the two grammatically connected lines. It is this line and the pause that precedes or follows it (the kireji) that provides the AHA for the reader. This concrete image that creates the AHA may be the first or third line of the haiku.
The two grammatically connected lines need to include a kigo or seasonal reference. These can be found on the World Kigo Database (Gabi Greve) or in Higginson's listing of kigo. Note that a kigo is NOT just a nature word. The kigo must specifically state or clearly imply a season. For example, falling leaves is a kigo that implies autumn. Rock is a nature word, but is NOT a kigo. A rock doesn't change and does not imply a certain season.
Entries that do not comply with the above requirements will be eliminated from the voting booth.
In addition, the haiku poet should use the techniques for writing a good haiku, such as: minimal punctuation, no caps except for proper nouns, 17 syllables or fewer (fewer is preferred). Do NOT capitalize the first letter of each line. Length of lines is not a requirement, although short/long/short (syllable count) is common. Artwork can be used, but is discouraged, as the haiku should be able to stand on its own.
An example of a haiku I wrote, where I used the strategy of Leap Linkage:
red and yellow
streaks through drought dead trees
sunset
If you are interested in delving more deeply into a study of haiku and other short Japanese poetry forms, I will be offering another class in January.
A week is provided for submission to allow time for the reading and research recommended to write a proper haiku.
The contest winner will win half of the prize pool of 90.00 member dollars. In this contest at least 2 submissions must be made for the vote to begin.
Deadline: Contest is closed. Deadline was Friday, November 14, 2014.
Full Contest Listing
To create a powerful AHA, the haiku poet uses certain strategies that put two concrete images in juxtaposition. Some of these strategies are discussed in an essay by Jane Reichhold in the link that follows:
www.ahapoetry.com/haiartjr.htm
The poet will need to identify which strategy he/she employs when writing their haiku. The strategy should be the ONLY thing mentioned in Author's Notes and it must be stated in the Author's Notes.
Regarding the two concrete images:
One of the images is described in two grammatically connected lines, in concrete terms, in the present tense. In other words, the two lines must be such that they can be read as one line, or phrase that makes complete sense.
The second concrete image is a word or phrase in one line that either precedes or follows the two grammatically connected lines. It is this line and the pause that precedes or follows it (the kireji) that provides the AHA for the reader. This concrete image that creates the AHA may be the first or third line of the haiku.
The two grammatically connected lines need to include a kigo or seasonal reference. These can be found on the World Kigo Database (Gabi Greve) or in Higginson's listing of kigo. Note that a kigo is NOT just a nature word. The kigo must specifically state or clearly imply a season. For example, falling leaves is a kigo that implies autumn. Rock is a nature word, but is NOT a kigo. A rock doesn't change and does not imply a certain season.
Entries that do not comply with the above requirements will be eliminated from the voting booth.
In addition, the haiku poet should use the techniques for writing a good haiku, such as: minimal punctuation, no caps except for proper nouns, 17 syllables or fewer (fewer is preferred). Do NOT capitalize the first letter of each line. Length of lines is not a requirement, although short/long/short (syllable count) is common. Artwork can be used, but is discouraged, as the haiku should be able to stand on its own.
An example of a haiku I wrote, where I used the strategy of Leap Linkage:
red and yellow
streaks through drought dead trees
sunset
If you are interested in delving more deeply into a study of haiku and other short Japanese poetry forms, I will be offering another class in January.
A week is provided for submission to allow time for the reading and research recommended to write a proper haiku.
The contest winner will win half of the prize pool of 90.00 member dollars. In this contest at least 2 submissions must be made for the vote to begin.
Deadline: Contest is closed. Deadline was Friday, November 14, 2014.
