haikaiTALKS | Q #20

haikaiTALKS Q #20 | a saturday gathering _under the banyan tree host: Kala Ramesh *** Q #20***


*** Q #20 ***


haikaiTALKS Q #20: a saturday gathering_under the banyan tree

host: Kala Ramesh

Hearty Congratulations, Richa!

Vandana has picked your answer as the best reply to her Q!

Richa's answer can be read here: https://www.trivenihaikai.in/post/haikaitalks-q-19

Vandana says:

Dear Kala,

Once again, I want to express my thanks to Alan and you for giving me this opportunity. Monoku has always fascinated me and your inputs and examples in response to the question were a big help.

I would also like to thank Neena for sharing her thoughts and her poems.

However, I loved Richa’s response the most. The way she summarised her writing process, I could almost picture her on her writing desk. I follow the same approach and so I could relate to her response even more.

My heartfelt thanks to her for sharing her process and her monoku with us.

Looking forward to reading what question she has for us. :)

Warm regards,



Over to Richa for her Q #20

And look what she has given us!

My heartfelt thanks to Kala and Vandana for this opportunity to ask and learn. I loved Vandana's question as it made me delve into the deeper aspects of writing a monoku as did the enriching responses and guidance examples by Kala, Neenaji and Firdaus. I feel sharing experiences is the best way to learn. So thanks all once again :)

Now coming to what is intriguing me these days in perusing the earlier works.

According to Jim Kacian, haiku is about :

1. The poetry of the real

2. Brevity

3. Word choice

4. Punctuation and Grammar

5. Rhyme

6. Musicality i.e. rhythm, timbre and melody

We are comprised of rhythms which register in our subconscious, and so, a haiku contains a rhythm that attracts the reader to it. A poet's style or voice is recognised by the music of the treatment of the experience.

He further says :

Within each of the lines of a haiku there is a rhythm determined by the kind of stresses present in a metric feet. In the haiku, the range of stresses would be somewhere between 3 and 9 in any given poem, the average being 6 or 7, divided more or less evenly into the three lines available, 2 or 3 stresses per line. A haiku poet needs to be sensitive to the rhythm to shape the poem with movement and pauses which are part of the intuitive experience of the poem.

Even minimal haiku also contain musical quality. For example the following poem by John Wills :

dusk from rock to rock a waterthrush

(Up a Distant Ridge (1980); The Haiku Anthology, Van Den Heuvel, Cor, ed. , New York: Norton, 2000, p.301)

Therefore, my question to all the poets is:

How do you create 'rhythm' as a crucial technique in composing haiku for a mood and feeling?

I would love to read examples of your work to illustrate any of the poetic devices at work.

Even if it is intuitive, we would perhaps be happy to analyse our work again. Your answers will help me understand this dimension better.

And as they say silence amplifies music . . .

Many thanks to everyone!

Happy writing! God bless!

Warm regards,

Richa Sharma

Beautiful Q, Richa.

Trivenians are given time until the midnight of 17th February (IST) to share your views and reviews!

Waiting to read your responses!

your host, _ kala


229 views31 comments