Haibun

Response mode: taking everything and the genre Abstract: This hybrid paper of creative and critical writing reflects on my explorations of poetry. I write in what I call 'response mode', which is a group of behaviours, beginning with impersonation, and also open to understandings gained from other art forms. After studying the style and techniques of other poets, I move towards a mid-point between another poet's voice and my own, effectively, a new, hybrid voice. The engagement with literary ancestors enables evolution towards an expression that is more fully my own. Stealing the designations of genre ensures a continued experiment. The challenges and variety of voicings made possible by prose poetry and haibun are important. The haibun influences other new hybrid forms, which encompass found poetry and appropriate language in a way which is redolent of the times. We take from exhibitions, songs, film, poems, conversation. Poets eavesdrop; I do it on the bus. If there is stealing, it is on a spectrum, which includes intertext. My poems draw from Gerard Manley Hopkins, Yunna Moritz and Alan Loney, and from sculptor Cori Beardsley, who suggest to me fresh possibilities. Biographical note: Owen Bullock is a PhD Candidate in Creative Writing at the University of Canberra. His research interests are semiotics and poetry, line and space, prose poetry, collaboration and haikai literature. His publications include River's Edge (Recent Work Press, 2016), A Cornish Story (Palores, 2010) and sometimes the sky isn't big enough (Steele Roberts, 2010). He has edited a number of journals and anthologies, including Poetry New Zealand.

Resumen El término haibun apareció posteriormente en un estudio del poeta Mukai Kyorai (1651-1704) para definir los diarios de Matsuo Bashō (1644-1694): textos en prosa que tie-nen características del haiku como la yuxtaposición, la mezcla de camadas textuales que reconstruyen los paisajes a través de registros lingüísticos distintos y diálogos con haikus en cada haibun. En este sentido, serán investigados, a partir de las características del diario de Bashō, cómo los poetas Aníbal Beça (1946-2009) en Folhas da Selva (Hojas de la selva) y Javier Adúriz (1948-2011) en Esto es así se sirven de las técnicas de Bashō para escribir haibun en sus lenguas. Se recuerda que no se trata solamente de una copia o influencia del poeta japonés, sino una aplicación y una creación en portugués y español de características estéticas y lingüísticas que son, además de la lengua japonesa, la comunicación de un efecto propio del haibun en lenguas occidentales. Para explicitar los diálogos es necesario tener como punto de partida las teorías de Haroldo de Campos (1929-2003) sobre la traduc-ción, en especial el concepto de transcreación, donde el poeta brasileño define la traducción poética como creación: de un lado, el hacer crítico de la literatura, y del otro, las operacio-nes textuales del traductor. Serán utilizadas las definiciones de Octavio Paz (1914-1998) y Haruo Shirane (1951) para percibir cómo se construye el efecto del haibun en estas obras. Abstract The term haibun first appeared in Mukai Kyorai's (1651-1704) studies to establish the Matsuo Bashō's (1644-1694) diaries: prose texts which contain aspects of haiku: juxtapo-sition, a mix of textual layers to reconstruct landscapes by different language registers and dialogs with haiku forms in the end of each text. In this way, the research will focus, from Matsuo Bashō's haibun techniques, how the poets Aníbal Beça (1946-2009) in Folhas da Selva (The leaves of jungle) and Javier Adúriz (1948-2011) in Esto es así employed the Bashō's techniques to write haibun in their own languages. However, it is not only a copy or an influence of the Japanese poet, but also, an application and a recreation of aesthetics and linguistic qualities which, beyond the Japanese language, the haibun effect was communicated in western languages. To explore these dialogs, the study relies on, as a starting point, Haroldo de Campos's theories on translation, especially the concept of transcreation which the Brazilian poet established the translation activity as creation: in one hand, the

The original poetry in this hybrid critical/creative paper seeks to find acts of making that are equivalent or complementary to those of other art forms and to construct poems which respond not just in their content but in their structures, leading to a radical € ekphrasis. € It argues that this strategy makes for invigorated writing. € The topic of € ekphrasis € finds numerous references in the literature of the last thirty years, but definitions of€ ekphrasis€ have narrowed€ since the term's use in ancient times.€ It now has a particularly close association with the visual arts.€ It was formerly widely understood as a poetic response to any other form of art (Francis 2009), with no special importance placed on the visual€ work€ of art€ (Webb€ 2009:€ 11), but rather€ with a general ability€ to make a scene vivid.€ These poetic experiments attempt to balance the modern impetus to respond€ ekphrastically € with the ancient understanding; they € react to works of graphic design, journalism,€ Indigenous painting, as well as sculpture and installations, and notional€ ekphrasis.€ These poetic experiments explore € Olson's dictum that form is never more than an extension of content (1972:€ 338)€ and€ Hejinian's€ equally important€ idea that 'form is not a fixture but an activity' (1983), and end by evaluating how the intention to find new structures has affected the content of the poetry.€ € € Keywords:€ Poetry€-€ ekphrasis€-form-€ experiment€ As poets, we look€ for new ways to expand€ the scope of our work, both in form and content, to inhabit€ new spaces€ in language. Other art forms € often€ amaze and inspire us. In my own practice, I€ find myself€ wanting€ to€ write in some€ way€ that€ matches the force or energy of other art works.€ It is€ unsatisfying to respond to another art work€ merely by producing poetic€ content which is derivative. Surely, if I am to respond € fully and € successfully, I need to allow that other work to impact € the structure of my writing, as well as its content, and I€ argue that this strategy will€ make for invigorated writing.€ It should€ have the effect of€ breaking writing habits and creating€ fresh modes of expression.€ € Since writing from € a place of otherness is a € significant dynamic of poetry, with € commentators as diverse as Anthony€ Easthope€ (1983:€ 37-38) and€ Hélène€ Cixious€ (1986:€ 84-85) asserting its importance, it is likely we are€ drawn to the visual arts as a stimulus, because of its very difference to what we do as poets. In contrast, to write € a poem in reaction to a song € is to move in similar terrain which€ already€ privileges the€ aural,€ and€ is almost the same as€ reacting to another poem. This would make€ the work less clearly€ ekphrastic, the approach€ explicitly under consideration here, and further treated by the expressed concern to achieve € a radical € ekphrasis € that affects form as well as content.€ But,€ of course, I begin with a contemporary€ perception of what constitutes€ ekphrasis.€ €

In the tradition of Kobayashi Issa, Masaoka Shiki, and countless other celebrated senryu poets throughout the centuries, Adjei Agyei-Baah presents herein a fine collection of senryu dedicated to the humble fart and a fine collection it is! As an editor, I wouldn't dream of cutting one of these poems from the book. Indeed, the very thought of letting one fly fills me with dread. I know Agyei-Baah to be a humble man; one who is not prone to tooting his horn in public, so I'll say it for him; when the history of modern senryu is written, Piece of My Fart is destined to be recognized as a major literary achievement in the anals of our time! —Steve Hodge, Editor of Prune Juice Journal.