Unifying intersectional discord within english haiku idioms
How we conceptualize the world dictates how we contextualize nature, our past, our present, and our future. Our literary frame of reference conceptually, dictates how we contextualize English haiku idioms (ehi). We will most likely never come to a uniform consensus as to what defines haiku, although we can become unified in acknowledging some of its key components like kigo and kireji. These key components can act as the common threads that unify and personify haiku, all without dictating a uniform definition of haiku.
I've written this essay in response to Mr. Wilson's essay "The Colonization of Japanese Haiku"
(simply haiku journal.com) My purpose in doing so is to engage the haiku community worldwide in a discussion. A discussion that speaks to haiku's past, present, and future. A discussion that focuses in on some of the intersecting issues brought forth in Mr. Wilson's essay. These intersectional issues are presently hampering haiku. I will put forth solutions that might contribute to rectifying these issues. I will also speak to what has caused the decline in the quality and misconception of what defines traditional/classical haiku today. Most significantly, I will speak to what the process of elevating the quality of haiku written today might look like.
Non-linear and intersectional issues concerning haiku
I will focus on five of the many issues that I believe are hampering haiku today. The first issue
is one also addressed in Mr. Wilson's essay. This issue is the colonization which enables the Anglo-West’s (A-W) titular reappropriation of haiku, which has somewhat gentrified haiku as an art form. The second issue is our dysfunctional and or maladaptive perception of nature. The third issue is the inability of many to differentiate senryu from haiku. The fourth and key issue stems from our sociocultural discomfort in acknowledging the essential role kigo plays in defining nature in traditional haiku. Accepting, acknowledging, and literally coexisting with, rather than merely tolerating the essence of haiku goes beyond the three F's of western sociocultural studies, folklore, food, & fashion. The fifth and final issue pertains to the sub vocal reading of haiku, at least initially.
I believe Mr. Wilson's essay conveys a well thought out overview of how and why haiku has been
declining since the Meiji Era. I concur entirely with the factors and issues Mr Wilson put forth in regards
to haiku's decline. His work prompted me to delve deeper into these five intersectional issues I've
addressed in this essay.
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