{"id":113563,"date":"2022-06-29T14:10:00","date_gmt":"2022-06-29T13:10:00","guid":{"rendered":"https:\/\/centmagazine.co.uk\/?p=113563"},"modified":"2022-06-29T19:01:04","modified_gmt":"2022-06-29T18:01:04","slug":"frog-pond-plop","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=113563","title":{"rendered":"Frog \u2013 Pond \u2013 Plop"},"content":{"rendered":"\n<p class=\"has-text-align-right has-secondary-color has-text-color wp-block-paragraph\">Frog \u2013 Pond \u2013 Plop:  Chris McCabe explores the modern world of the ancient three-line, a syllable-specific Japanese form of poetry. He explores this form of poetry that consists of three lines, the first line made up of five syllables, seven in the second line, and five in the final line. Haiku traditionally don&#8217;t rhyme, as they are so short, and they are typically written on the topic of nature and the natural world. Yet here he highlights some Radical Haikus in this form from the National Poetry Library collection, Image National Poetry Library. Image  Pete Woodhead <\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">No haiku without a frog, you might think. Yet despite the classical Japanese roots of the form, with its focus on moments in nature \u2013 and the rigidity of the famous 5-7-5 syllabic form \u2013 the haiku has been radically reinvented by modern and contemporary poets.<br \/>The Japanese poet Bash\u014d (1644-1694) defined what we think of as haiku poetry:<br \/>precise, imagistic and naturalistic. Take his famous frog poem:<\/p>\n\n\n\n<p class=\"has-text-align-center has-secondary-color has-text-color wp-block-paragraph\"><em><strong>ancient is the pond \u2014<br \/>suddenly a frog leaps \u2014 now!<br \/>the water echoes<\/strong><\/em><\/p>\n\n\n\n<p class=\"has-text-align-right has-secondary-color has-text-color wp-block-paragraph\">(translated by Tim Chilcott)<\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">As this example suggests, the precision of the form and theme of nature are not separate from each other. You could think of a haiku as the shutting of the lens of a camera; the interaction of light, lens and physical presence make the artwork possible. In Bash\u014d\u2019s poem, the \u2018now\u2019 of the action is forever contained in the poem, which connects the experience with readers. The \u2018echoes\u2019 of the frog ripple out, through poetic form, into the future.<\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\"><br \/>Over six thousand miles away from Japan, black poets from the 1960s onwards have found the haiku to be a perfect poetic form for a very different kind of poem: resistant, activist and political.<br \/>Sonia Sanchez (born in 1934) was a leading figure in the Black Arts Movement. Many of her haikus extend what the form can do by adding pauses (known as caesuras) to the middle of lines; a difficult technique to handle with so few syllables. This captures the rhythm of thinking and perhaps of speech, showing that this traditional form was quite capable of also containing many of the new<br \/>techniques that 20th Century poets were exploring:<\/p>\n\n\n\n<p class=\"has-text-align-center has-secondary-color has-text-color wp-block-paragraph\"><strong><em>if i had known, if<br \/>i had known you, i would have<br \/>left my love at home.<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">Sanchez re-angles the lens of haiku away from nature, toward the racism and tensions of black lives in America:<\/p>\n\n\n\n<p class=\"has-text-align-center has-secondary-color has-text-color wp-block-paragraph\"><strong><em>i see you blackboy<br \/>bent toward destruction watching<br \/>for death with tight eyes<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">Etheridge Knight (1931-1991) was also an African American poet who<br \/>similarly employed the haiku to reflect racial tensions in the States. One of his haikus of the 1960s captures the moment of Martin Luther King\u2019s assassination, showing the form could be as equally valid as a method of political documentation as it had been for nature journaling:<\/p>\n\n\n\n<p class=\"has-text-align-center has-secondary-color has-text-color wp-block-paragraph\"><strong><em>Poor Martin L. King!<br \/>Death rains steel \/ down Beale Street<br \/>Poor Memphis Tennessee!<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">For Knight, wondering if the haiku was capable of being modern was the wrong question to ask; instead, a poet should be thinking about what they can inject into the form, to make it relevant to the times. As he said to one interviewer:<\/p>\n\n\n\n<p class=\"has-text-align-center has-secondary-color has-text-color wp-block-paragraph\"> \u2018<strong><em>I don\u2019t see haiku as a black form, but, then, you utilize whatever modes or vehicles are available to you.\u2019<\/em><\/strong> <\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">Where traditional Japanese haiku avoids emotive ideas and language, Black American poets did not have that privilege and adapted the form to their concerns. The radicalisation of the haiku has continued on this side of the Atlantic too.<\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\"><br \/>John Cooper Clarke (born in 1949), famously from Salford (nearly six thousand miles from Tokyo) is definitely not known for his nature poems. His gift for extended and expressive lyrics perhaps \u2013 unsurprisingly \u2013 means that his attempt to write a haiku is thwarted by the \u2018rules\u2019 of the form. As a poet who writes about the poverty endemic to his native city, it is no surprise to find him<br \/>transform that restriction into a virtue:<\/p>\n\n\n\n<p class=\"has-text-align-center has-secondary-color has-text-color wp-block-paragraph\"><br \/><strong><em>To-con-vey one\u2019s mood<br \/>In sev-en-teen syll-able-s<br \/>Is ve-ry dif-fic<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">In a sense, the traditional rules of haiku work like credit here: the numbers need to balance, and there is no overdraft.  Other poets have radicalised the haiku by dispensing with the strict form<br \/>altogether. Subverting the seventeen-syllable stricture has become a standard deployment of contemporary poets. Why not? The same has been done for the sonnet over the centuries. Edwin Morgan (1920-2010) was a dynamic innovator, writing a \u2018Summer Haiku\u2019 that seems to take the sounds of Bash\u014d\u2019s<br \/>water-bound frog and translates them through a computer:<\/p>\n\n\n\n<p class=\"has-text-align-center has-secondary-color has-text-color wp-block-paragraph\"><strong><em>P o o l.<br \/>P e o p l<br \/>e p l o p!<br \/>C o o l.<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">Morgan was associated with the concrete poetry movement (1950s-1970s), which relished in the reduction of language to minimal, one word poems, sometimes deploying particles of language. The focus on the syllable was just as important for these poets as it was for Bash\u014d.<br \/>One of the most interesting of these poets was Dom Sylvester Hou\u00e9dard (1924-1992), a monk by day and experimental poet by night, who was so influenced by the new minimalism he reduced his name to \u2018dsh\u2019. <\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2022\/06\/National-Poetry-Library.-Image-credit-Pete-Woodhead-2.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"580\" height=\"387\" src=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2022\/06\/National-Poetry-Library.-Image-credit-Pete-Woodhead-2.jpg?resize=580%2C387&#038;ssl=1\" alt=\"\" class=\"wp-image-113568\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2022\/06\/National-Poetry-Library.-Image-credit-Pete-Woodhead-2.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2022\/06\/National-Poetry-Library.-Image-credit-Pete-Woodhead-2.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2022\/06\/National-Poetry-Library.-Image-credit-Pete-Woodhead-2.jpg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/figure>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">Drawing on his love of concrete and minimal poetry, created on his \u2018cosmic typewriter\u2019, dsh wrote a radical translation of Bash\u014d\u2019s famous frog poem. What seems at once little more than a joke might actually be the ultimate haiku, taking the idea of capturing \u2013<br \/>and immortalising \u2013 a moment in nature to the ultimate degree. In dsh\u2019s poem, the vision of the frog is no longer something that happened to a poet; the onus is instead placed on the reader to imagine the scene, making it happen in their mind, for the first time:<\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\"><strong><em>Frog \u2013 pond \u2013 plop<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">Perhaps the flaw with traditional haikus is that they\u2019re too long. Why take seventeen syllables when you can use just three?<\/p>\n\n\n\n<p class=\"has-text-align-right has-secondary-color has-text-color wp-block-paragraph\">Chris McCabe, National Poetry Librarian explores the modern world of the ancient three-line, syllable-specific Japanese form of poetry. The haiku consists of three lines, the first line made up of five syllables, seven in the second line, and five in the final line. Haiku poems traditionally do not rhyme, as they are so short, and they are typically written on the topic of nature and the natural world. Yet, here Chris highlights some Radical Haikus from the National Poetry Library collection that push the boundaries of the haiku form.<\/p>\n\n\n\n<p class=\"has-text-align-right has-secondary-color has-text-color wp-block-paragraph\">The National Poetry Library is situated on the fifth floor of the Southbank Centre&#8217;s Royal Festival Hall. It is the largest public collection of modern poetry in the world, with over 200,000 items, hosting events and exhibitions. The library is free to use.&nbsp;<a href=\"http:\/\/www.nationalpoetrylibrary.org.uk\/\" target=\"_blank\" rel=\"noreferrer noopener\">www.nationalpoetrylibrary.org.u<\/a><a href=\"http:\/\/www.nationalpoetrylibrary.org.uk\/\">k<\/a><\/p>\n\n\n\n<p class=\"has-text-align-right has-secondary-color has-text-color wp-block-paragraph\">If you enjoyed reading <em>Frog \u2013 Pond \u2013 Plop<\/em>  then why not read <a href=\"https:\/\/staging.centmagazine.co.uk\/frame-concrete-poetry\/\"><em>Concrete Poetry here<\/em><\/a><\/p>\n\n\n\n<p class=\"has-secondary-color has-text-color wp-block-paragraph\">.Cent Magazine, London. <strong>Be Inspired;<em>Get Involved<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Frog \u2013 Pond \u2013 Plop: Chris McCabe explores the modern world of the ancient three-line, a syllable-specific Japanese form of&#8230;<\/p>\n","protected":false},"author":266,"featured_media":113575,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[8,10],"tags":[],"features_issues":[],"featured_themes":[14925],"ppma_author":[16844],"class_list":["post-113563","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-literature","category-news","featured_themes-slight"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - 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