She considered herself to be developing "masculine" and "ugly" features and she was a social outcast.
In The Crossing Press published a diary journal consisting of blank pages, each captioned with a haiku from Ruth Yarrow. Henderson's Haiku in English, L. Davidson was inspired shortly thereafter to begin experimenting with the form.
Three years later she had her first haiku published in Haiku Headlights. A resident of New York City, Davidson has written haiku with an urban background. She finds her nature in houseplants, vacant lots and manicured parks or, on weekends, on the city's waterways by sailboat.
Nature is everywhere she is. Her haiku follow her life. Their form follows their content. Steeped in the traditions of haiku, yet the winds of the wide open spaces of her native Montana blow through her poetry allowing her the freedom to shape her work around her observations instead of vice versa.
No one could have thought the city held so much for the haiku writer. Yet here is a whole year of insights, feelings and impressions.
While many women of the early 80's were content to publish their haiku in mini-chapbooks comprising of 16 or less poems, Davidson's book, The Shape of the Tree, contained 48 pages; nearly haiku.
Davidson was as the organization's vice president in and treasurer for Davidson has remained a moving force in the organization shaping its policies and directing its development.
Close examination reveals how they each have shortened the regular cadence of traditional haiku. It is most often apparent in the second line, but occasionally it occurs in the first. The haiku is written in three lines but the last line is often composed of what, in most haiku writer's habits, would be the latter half of a line.
By breaking apart the two images sometimes the noun and the verb the impact of each part of it is emphasized. Until or unless one gets accustomed to this manner, it can feel as if the one line should be reconnected to the one above so that a third line can develop.
As the haiku grows shorter in the hands of the so-called modernists, one sees this style being accepted more and more by editors of even the less progressive magazines.
It seems apropos that Adele Kenny, as trendsetter for this emerging style, was in and again inPresident of the Haiku Society of America. As a creative writing teacher at the College of New Rochelle, as a creative writing specialist for Rahway Public Schools in Rahway, NJ, as a poetry consultant for various arts councils and agencies in New York and New Jersey, as editor for small press literary journals and anthologies and leader of workshops and poetry reading, Adele will be bringing new impulses into the writing of modern haiku.
Active in publishing her haiku and free verse poetry, Adele has eight books for her readers to choose from, with more forthcoming. Often using a haiku style very similar to Kenny's and Harter, yet Alexis K.
Rotella was able to add another element to her haiku so the American haiku scene was never the same after her.
One of the cardinal rules which remained after the non-traditionalists abandoned nearly every other, was the admonishment that a haiku was to be the result of "a moment keenly felt.
Pages of essay in Frogpond expounded this theory; it was the highest praise one could give an author's work. Yet, on the other hand, was the traditional admonishment, not really stated in anything as concrete as a rule, but nevertheless, a known and accepted attribute of haiku was the idea that the author should, within the haiku, cease to exist.
Or at least the writer should not be visible. Part of this thinking came from the selflessness of Zen thinking.
There was the idea that all was one; we were all a part of the whole and no one part was above or outside of the rest. This concept was reinforced by the Japanese language in that personal pronouns are not definite as they are in English, but are only implied.
This, and most probably a reaction against mainstream American poetry which after World War II wallowed in "me-ness" and personal "angst" and other Freudian-made feelings, gave early haiku tastemakers encouragement to set haiku apart by maintaining that it was different.
Using the criteria that haiku was based only on nature, because it must always have a season word, gave them fuel for their fire.
Writers were warned to write only about nature, but not human nature. Many of the translated haiku from the Japanese sounded as if they were written in a pigeon-English as the professors tried to follow these notions of haiku by leaving unsaid the pronouns even though the old masters did write about themselves and their feelings.
American haiku writers also found that to truly write what they were feeling deeply that they had to include themselves in the haiku The personal pronoun "I" was to be avoided at all costs.Life’s Work In , when she was twenty-eight, Amy Lowell was inspired by a performance of the European actress Eleonora Duse to write a poem, and she decided to focus on poetry.
Amy’s first published poem appeared in Atlantic Monthly in August of Those Women Writing Haiku CHAPTER 2 Tanka and Haiku Come to America. Before the combined efforts of women, centered around Amy Lowell, to bring haiku to North America, another woman, Adelaide Crapsey, was, through her independent study, already ahead of them.
Amy Lowell 4. Lacquer Prints. The brief works make use throughout of overtly Japanese material. Kodama notes that Lowell has learned from ukiyoe much about the depiction of ‘the fragility of beauty and of life’ and cites this brief poem as an example.
To a. Best known for bringing the Imagist Movement to America during the age of Jazz, Amy Lowell also brought forth an undeclared sexual revolution for poetry in America. Born into a wealthy family of scholars in Brookline, Massacusetts she resided on acres of land and was home schooled.
Examine the life, times, and work of Amy Lowell through detailed author biographies on eNotes. I’ve always been a big fan of Amy Lowell, not only for her poetry but also by the fierceness with which she lived her life - quite rebellious for her time and quite impressive for ours/5.