There are few Japanese Haiku I don't enjoy, whether I grasp them or feel them or not. ( )

I took a class from Robert Haas during my undergrad. He was a vague teacher but his lectures were careful, rigorous, and were often delivered with a gentleness that made what would otherwise be burdensome topics graceful. So it is with this collection of Haiku by Buson, Basho, and Issa. Among the projects he set forth in the this edition, Haas wanted to show through contrast, how each master's personality and style comes through their work however restricted the form. The effect of reading this collection is that the differences become clear:

Issa's comical voice:

I'm going out,
Flies, so relax,
Make love.


Buson's imagery:

The spring sea rising
and falling, rising
and falling all day.


Basho's philosophical melancholy:

First day of spring-
I keep thinking about
the end of Autumn.


I highly recommend this collection for anyone interested in the Haiku form. Though there are some cultural and translational fault lines mapping the boundaries of this style of poetry the main ideas come through, often in unexpected ways: a flash of imagery or setting will set off a spontaneous feeling of sorrow or happiness, frustration or guilt. ( )

I took a class from Robert Haas during my undergrad. He was a vague teacher but his lectures were careful, rigorous, and were often delivered with a gentleness that made what would otherwise be burdensome topics graceful. So it is with this collection of Haiku by Buson, Basho, and Issa. Among the projects he set forth in the this edition, Haas wanted to show through contrast, how each master's personality and style comes through their work however restricted the form. The effect of reading this collection is that the differences become clear:

Issa's comical voice:

I'm going out,
Flies, so relax,
Make love.


Buson's imagery:

The spring sea rising
and falling, rising
and falling all day.


Basho's philosophical melancholy:

First day of spring-
I keep thinking about
the end of Autumn.


I highly recommend this collection for anyone interested in the Haiku form. Though there are some cultural and translational fault lines mapping the boundaries of this style of poetry the main ideas come through, often in unexpected ways: a flash of imagery or setting will set off a spontaneous feeling of sorrow or happiness, frustration or guilt. ( )

When I think about Haiku, it comes across to me like a sort of distilled microcosm of poetry in general. It's expressive, but often follows a formal structure, it can be about anything, but often follows common themes, different authors can feel wildly different even within the same format. It's why in many ways when introducing young people to poetry, I think an anthology of Haikus is a good place to begin, they can be discussed extensively, follow a variety of themes (seasonal works would be especially useful), are quick to read which means they can be read in class and discussed in larger numbers than many other works. It also represents an opportunity for young readers to experience literature from another part of the world, and to discuss the idea of translation and what it means for the reader.

Excellent book that gives us some historical perspective on three of the greatest poets who ever lived: Basho, Buson & Issa. At the core of each are three metaphysical ideas about natural things: "that they are transient; that they are contingent; that they suffer." "A cicada shell;/ it sang itself/ utterly away." _ basho "Morning breeze / riffling / the caterpillar's hair." _Buson "Climb Mt. Fuji,/ oh snail,/ but slowly, slowly." and "I'm going out,/ flies, so relax,/ make love." _Issa ( )