artwork: Robert D. Wilson
artwork: Robert D. Wilson
artwork: Robert D. Wilson
artwork: Robert D. Wilson
 

 

 

English-Language Editor and Selector: Robert D. Wilson

 

ANNOUNCEMENT OF THE BEST HAIKU OF THE ISSUE

 

The selector—Robert D. Wilson—has made his choices of the best haiku of the issue (21 authors from 10 countries submitted 104 poems).

Serbia (5), Croatia (4), USA (3), India (3), GB (1), Russia (1), Japan (1), Montenegro (1), Canada (1), and Romunia (1).

 

PROGLAŠENJE HAIKUA BROJA

 

Selektor—Robert D. Wilson—je izabrao najbolje haikue broja (21 autor iz 10 zemalja je poslao 104 pesme).

Srbija (5), Hrvatska (4), SAD (3), Indija (3), VB (1), Rusija (1), Japan (1), Crna Gora, (1), Kanada (1) i Rumunija (1).

 

Editor's Note

Good Japanese short form poetry with an authentic voice using pre-Meiji era aesthetic styles (tools) is rare. Shiki's failed attempt to reform hokku and Westernize it, calling it haiku, has lost touch with the definite, becoming, instead, a concatenate of Imagism, incomplete sentences, and an anything goes mentality. Having no universally accepted definition or rules, haiku is not a genre. Hokku, what Basho, Doho, Buson, Chiyo-ni, and Issa composed, is activity-biased (koto, objective) that focuses on becomingness, impermanence, and zôka, the creative force of nature. It utilizes an economy of words coupled with Japanese aesthetic styles like makoto, yugen, ma, and sabi. The result is a symbiotic union formed by juxtaposing two separate thoughts divided by ma (anticipatory dreaming room, in the form of punctuation and breath).

My choice of hokku for this edition was limited, having few submissions that display a proficiency in and understanding of the poetry Basho is credited with introducing to the world. 

 

Napomena urednika

Retko se sreće dobra japanska poezija kratke forme autentičnog glasa u kojoj se koriste estetski stilovi (sredstva) nastali pre Meiđi perioda. Šikijev propali pokušaj da reformiše hoku i vesternizuje ga, nazivajući ga haiku, izgubio je dodir sa onim što je određeno i jasno, postajući mešavina imažizma, nepotpunih rečenica i stavom da sve može da prođe. Kako nema opšteprihvaćenu definiciju ni pravila, haiku nije žanr. Hoku kakav su pisali Bašo, Doho, Buson, Čio-ni i Isa je zasnovan na radnji (koto, objektivan), orijentisan na nastajanje, prolaznost i zoku, kreativnu silu prirode. Koristi malo reči i japanske estetske stilove, kao što su makoto, jugen, ma i sabi. Rezultat je simbiotsko jedinstvo koje se stvara jukstaponiranjem dve odvojene misli između kojih se nalazi ma (prostor za sanjarenje, koji se obeležava znakom interpunkcije ili se podrazumeva).
Moj izbor hokua za ovaj broj je bio ograničen jer je bilo malo poslatih pesma koje ukazuju na dobro poznavanje i rezumevanje poezije s kojom je Bašo upoznao svet. 

 

 

BEST OF ISSUE (First Choice)
Najbolji haiku broja (prvoplasirani)

 

Hidenori Hiruta, Japan

Mt. Fuji
rising in a field of clouds
summer dawn

Fudži se diže
u polju oblaka
letnja zora

tr. SV

 

 

Hidenori Hiruta of Japan has composed an activity-based hokku (mistakenly called a haiku) that is objective, and exemplifies the tidal flow of nature in the static, timeless river of becomingness.
His poem appears at first to be deceptively simple, but after reading it and pausing where ma is indicated, I found layers of meaning and a surplus of possibilities for interpretation. A hokku poet's job is to compose a poem. It is the reader's responsibility to finish the poem with his or her subjective interpretation. You and I, therefore, may interpret Hidenori Hiruta's hokku differently.
I flew over Mount Fuji on my return flight to America from South Vietnam after the end of my tour of duty in the Mekong Delta River area. I only knew that this was a volcano in Japan. I knew nothing about its importance to the Japanese people spiritually and social memory. With that said, looking down at the volcano from an airliner, with pretty much a blank mind, I suddenly felt in awe of and attracted to her beauty. It was spiritual. From that point on in my life, I saw Mount Fuji from a metaphysical mindset. You are not me. Some have seen the volcano. Some of you have not. We each carry our own mental imprint of Mount Fuji, each imprint based on the experiential, cultural memory, intellect, and the spiritual. In this hokku, Mount Fuji is rising (seemingly) out of thick clouds as if garbed in a golden robe, and as it does, one can see a summer sunrise. Did the poet see Fuji from the air or from its base? There is much to consider when interpreting it. Three short, schematic breaths: short, long, a
pause (ma), and a final breath, contrasting via aesthetic tools, lines one and two with line three. The contrast forms a symbiotic entry into the creative artistry of nature (zôka)'s tidal flow. Nothing is concrete. Everything is continually in a state of change.

 

Hidenori Hiruta iz Japana je napisao hoku zasnovan na radnji (koji se pogrešno naziva haiku) koji je objektivan i predstavlja primer kretanja plime i oseke prirode u statičnoj, bezvremenoj reci nastajanja.
Na prvi pogled njegova pesma izgleda jednostavno, ali pošto sam je pročitao i zaustavio se tamo gde je naznačen ma, pronašao sam slojeve značenja i posebnih mogućnosti za tumačenje. Zadatak hoku pesnika je da napiše pesmu. Na čitaocu je da je dovrši svojim ličnim tumačenjem. Stoga svako od nas može da tumači drugačije hoku Hidenorija Hiruta.
Leteo sam preko planine Fudži kada sam se vraćao u Ameriku iz Južnog Vijetnama gde sam po ratnoj dužnosti bio raspoređen u oblast delte reke Mekong. Znao sam samo da je to vulkan u Japanu. Nisam znao ništa o njegovom duhovnom značaju za Japance ni o kolektivnom sećanju. Imajući to u vidu, posmatrajući vulkan iz aviona, prilično ispražnjenog uma, odjednom sam osetio strahopoštovanje i bio privučen njegovom lepotom. To je bio duhovan doživljaj. Od tada sam o planini Fudži razmišljao na metafizički način. Vi niste ja. Neki su videli vulkan. Neki nisu. Svi mi imamo svoj lični utisak o planini Fidži, a svaki se zasniva na iskustvenoj, kulturnoj memoriji, intelektu i duhovnosti. U ovom hokuu, planina Fudži se izdiže (naizgled) iz gustih oblaka kao da je u zlatnoj odori a dok to čini, može se videti izlazak letnjeg sunca. Da li je pesnik video Fudži iz vazduha ili iz podnožja planine? Mnogo je toga što se mora uzeti u obzir kada se ova pesma tumači. Tri kratka daha: kratak, dug, pauza (ma), i poslednji, koji putem estetskih sredstava stvara kontrast između prva dva i trećeg stiha. Ovaj kontrast dovodi do simbiotskog ulaska u kreativnu veštinu kretanja plime i oseke prirode (zoke). Ništa nije konkretno. Sve se neprestano menja.

 

 

BEST OF ISSUE (Second Choice)
Najbolji haiku broja (drugoplasirani)

 

Pravat Kumar Padhy, India (Indija)

milky way –
lightening splits
the darkness

mlečni put -
munja rascepila
mrak

tr. SV

 

 

Pravat Kumar Padhy from India has composed an evocative, action-biased (koto, objective) hokku using the the Milky Way Galaxy as its focus. The Milky Way, called Amanogawa by the Japanese, meaning, River of Heaven, can be interpreted in this poem concretely and metaphorically, depending on one's cultural memory, experience, and subjective conceptualization. Is it really a flow of milk? Is it an actual river with fish and and water?

Padhy makes good use of juxtaposition in contrasting line one with lines 2-3. Does he really see the galaxy as lightening splitting the darkness, or does the lightening splitting the darkness represent something appearing in the night-time sky at the same time the poet is viewing the Milky Way, which somehow, calls to mind his conceptualization of the galaxy? The intricacy and beauty of a true hokku in the tradition of Basho, Buson, Doho, Chiyo-ni, or Issa, is its ability to say more using an economy of words via the usage of Japanese aesthetics prior to the Westernization of hokku by Shiki, who renamed his concept, haiku, a failed experiment that is without a universally-accepted definition, thus negating it as a genre.

 

Pravat Kumar Padhy iz Indije je napisao snažan hoku zasnova na radnji (koto, objektivan) u čijem fokusu je galaksija Mlačni put. Mlečni put, koji Japanci zovu Amanogawa, što znači Nebeska reka, može se u ovoj pesmi tumačiti i bukvalno i metaforički, zavisno od naše kulturne memorije, iskustva i načina poimanja sveta. Radi li se stvarno o mleku koje teče? Da li je on zaista reka sa ribama i vodom?

Padhy dobro koristi jukstapoziciju suprotstavljajući prvi stih sa druga dva. Da li on stvarno vidi galaksiju kao munju koja cepa mrak ili ta munja predstavlja nešto što se javlja na noćnom nebu u trenutku kada pesnik posmatra Mlečni put, što na neki način ukazuje na način na koji on pojmi galaksiju? Složenost i lepota pravog hokua u tradiciji Bašoa, Busona, Dohoa, Čio-ni ili Ise je njegova sposobnost da kaže mnogo sa malo reči korišćenjem japanske estetike pre nego što ga je Šiki vesternizovao i promenio mu ime u haiku, propali eksperiment bez opšteprihvaćene definicije, što ga čini nevažećim žanrom poezije.

tr. SV

 

 

BEST OF ISSUE (Third Choice)
Najbolji haiku broja (trećeplasirani)

 

Brendon Kent, UK (VB)

 

how fragile
our eggshell minds ...
moon on water

kako su nam umovi
krhki kao ljuska jajeta ...
mesec na vodi

tr. SV

 

 

 

 

UK poet, Brendon Kent, has composed a hokku that is much more than an Imagist word painting. Yes, it paints a painting, but to paint it, he melded opposites: the mind and water. The result is a metaphysical poem that pulls you into an experiential ma (depth and space) . . .
Are our minds fragile? Is this a subjective, or true statement? How do the two opposites, a fragile mind and the moon on water, say something completely different together like 1 + 2 = 3?
Look objectively without preconception at the moon's reflection on a body of water, still or unstill. Now, close your eyes and conceptualize what you saw, felt, and experienced subjectively. Blend these thoughts and feelings with the fragility of an eggshell mind.
An excellent hokku pregnant with interpretational latitude.

 

 

 

Pesnik iz Velike Britanije, Brendon Kent, napisao je hoku koji je više od imažističke slike od reči. Da, on slika sliku, ali meša suprotnosti: um i vodu. Rezultat je metafizička pesma koja vas uvlači u iskustveno ma (dubina i prostor)...
Da li su nam umovi krhki? Da li je ovo subjektivan ili istiniti iskaz? Kako dve suprotnosti, krhak um i mesec na vodi, uzeti zajedno, govore nešto sasvim drugačije?
Pogledajte objektivno bez unapred stvorenog mišljenja odraz meseca na vodi, mirnoj li uzburkanoj. Sada zatvorite oči i zamislite ono što ste videli, osetili i iskusili subjektivno. Sjedinite ove misli i osećanja sa umom krhkim kao ljuska jajeta.
Odličan hoku pun mogućnosti za tumačenje.

 

tr. SV

 

 

 

 

 

FAVORITE
Kandidat za najbolji haiku

 


Predrag Pera Čikarić, Srbija (Serbia)

sa palube broda
putnik prati besanu 
noć

from the ship deck
passenger follows the sleepless
night

tr. Svetlana Košutić