New Icebox Theme & Genjuan 2021 Guidelines

Some of you might have noticed that for a few months now, the Icebox seems to have lost Archives, Categories and the Poll from our right sidebar. Our server WordPress has told us that it is because the theme we have been using these past 12 years is beginning to break up and we should change to a new one. Please don’t be surprised to find Icebox looking different at the end of this month! It will be revamped, though all content will be preserved.

The Guidelines for next year’s Genjuan International Haibun Contest can now be read here https://hailhaiku.wordpress.com/genjuan-international-haibun-contest-2021-guidelines/ or via the page link above. (To return to the top page after reading, just click the Icebox title photo of hailstones on wood.) Please note that entries will not be accepted before Dec. 1, only 2 max., and that they must be submitted in the body of an email. This is to suit the Covid circumstances we live in and our new Officer, Junko Oda, but will no doubt also make it easier for most of you to submit! The three judges remain the same as last year.

Poll: Chief Characteristics of English Haiku (Mar. 2019 update)

If you scroll down the right-hand margin of the Icebox top page, you will find a poll, in which everyone is still most welcome to participate – just once! The software has the ability to prevent second-timers or those who would try to choose more than 3 options. People from all over the world have taken part. If you click on the words ‘See Results’ at the bottom of the poll area, you will see the latest number of votes for each characteristic. Clicking there in Mar. 2019, I notice that we have now had 200 people return their idea of what might be the ‘Three Chief Characteristics of English Haiku’, so perhaps it’s time again to look at some of the poll’s emerging conclusions.

The two categories of Juxtaposition and Cut/break now total 89 votes together, which means that almost one in two people think that aspect is crucial. In Japanese haiku these are known, respectively, as 取合せ toriawase and 切れ kire and may be viewed as related features. It is true, however, that there are ‘un-cut’ haiku in both the Japanese and the English haiku-writing worlds. No, break is not an absolute requisite.

In second place, I notice that Originality and Poetic voice have thus far together polled 72 votes … and Resonance and Open-endedness garnered 71 between them. For now, allow me to put aside the first, Originality, which is a requisite of all poetry, not just haiku. I shall keep that quality of ‘expansiveness’ (Resonance) in mind, though, as we continue through the top of the league.

More or less equal in third place, we have Moment and Present tense (aggregating 64), and Brevity and Omission (aggregating 57). Ordinary present-simple and present-continuous tenses clearly rule the roost in English haiku-writing, but a ‘Present moment’ quality is not something that is considered in Japan, where verbs may come in many different tenses and might even sometimes be a touch classical in tone. Brief expression is obviously a requisite of haiku, though how brief exactly is open to debate.

As most will already know, the three chief characteristics of the classical Japanese haiku are: 1. 5-7-5 form, 2. Seasonal reference, and 3. Break (often using a cutting word). In spite of plenty of experimentation over the last 100 years, 5-7-5 kana letters as a single line is still today the normal style in Japan.  Looking again at our poll results, I find that 5-7-5 and 3-lines together polled only 31 votes from 200 people. Seasonal reference gathered in just 38 votes; the same number, interestingly, as Real experience. I propose now to add Real experience (38 votes) to Present moment (64): and we get 102, which brings it to the top of the charts!

It is thus tempting to conclude that the three most important characteristics of English haiku, at least from this poll as it stands today, are:
……… 1. The present moment (102 votes)
……… 2. Break (with or without punctuation) (89)
……… 3. An expansive quality felt at poem’s end (71).
Concision is in fourth place (57).

The English haiku poet’s craft, when thus analyzed, may appear to be quintessentially about the vividness of the Present situation and the utilization of Break as a technique through which to create Resonance for the reader learning of it. Being a Brief expression is evidently also highly valued, as it should be, although free-form haiku is clearly the current norm. For me personally, I was a little sad that Sound/cadence has thus far only polled 21 votes – one in ten: not insignificant, but definitely a minor characteristic for most. This is no doubt partly because of the almost puritanical minimalism that has reigned supreme since around 2005 in most of the leading haiku mags and sites, according musicality little importance. Icebox is in this respect rather different. Seasonality is probably in fifth place (38, and there’s nothing to couple it with): again, slightly disheartening for one who was born in Britain and now lives in Kyoto – a city with a deeply seasonal flow. The English-writing world is such a big place!

Your comments on this interim overview are welcome. Just click on the word ‘comments’ below to open up the reply box. Feel free to tweet it or to share it on Facebook. Next report? Perhaps after another 200 have responded!