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It is generally accepted that the French were the first to take up haiku, no doubt one result of the Japonisme that was all the rage in Paris for the last three decades of the 19th century. But English poets were not far behind, as Kacian makes clear in his historical overview.
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Winters wrote “The Magpie’s Shadow,” a series of compressed one-line poems (except one), each with a title, divided into winter, spring and summer/autumn sections. Here’s one from Section III.
sleeping, wakingthe emptinessof my mosquito net— Chiyo
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in bed aloneI hear a male mosquitobuzzing sadly— Chigetsu
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But I was delighted to see him mention Sadakichi Hartmann (1867-1944) and Yvor Winters (1900-68). For the widely admired man of versatility crowned the King of Bohemia in 1915, Hartmann wrote a surprisingly traditional form of 5-7-5 syllables:
SunrisePale bees! Oh, whither now?
Kacian, who established The Haiku Foundation, cites the usual suspects among the early English and American poets influenced by haiku: Ezra Pound (“In a Station of the Metro”), Wallace Stevens (“Thirteen Ways of Looking at a Blackbird”), John Gould Fletcher, Amy Lowell, and so on.
Thunder in the mountains —the ironof my mother’s love— Kerouac
And some haiku writers, it seems, will take their love of the form to the grave: Cor van den Heuvel (b. 1931), the greatest anthologist in the United States of the poets focused on writing haiku, has recently told me that he is having his one-line haiku carved on his tombstone in Wells, Maine: