Cor van den Heuvel о Николасе Вирджилио

[latisana]

помните то чудное хайку о лилии, которое я уже как-то вывешивал?

lily:
out of the water...
out of itself

лилия
из воды
из себя

Николас Вирджилио

Кор ван ден Какегоспеллинговатьпорусскинезнаю, но тоже крутой пацан, написал замечательную статью о Николасе, отрывки из которой - под катом.

Ogiwara Seisensui, the onetime follower of Hekigodō and teacher of Hōsai and Santōka, once described haiku as a circle, one half of which is completed by the poet while the other half is supplied by the reader. Such collaboration, he felt, is essential in haiku to a far greater degree than in any other kind of literature or art.



This aspect of haiku results in a serious dilemma for haiku poets outside of Japan. In Japan you have a nation of readers ready to supply the other half of the haiku you write--not only because they are familiar with the genre and its traditions, but because in most cases these readers have actually tried to write haiku themselves. In the rest of the world, where haiku has only recently been introduced, besides the work of creating fine haiku, the haiku poet has also the task of educating his or her potential audience--so that there will be readers of sufficient sensibility to be able to supply that other half of the haiku. I would like to explore this problem a little with you now, in the limited time we have available, by focusing primarily on the life and work of one American haiku poet: Nicholas Virgilio. He was one of the leading poets in the North American haiku movement from its beginnings in the early sixties right up to his untimely death in January of 1989 at the age of 60, and his work continues to inspire and encourage that movement.

* * *

It is my belief that the power of haiku comes from the fact that nature is presented directly–the words do not call attention to themselves as words. They become in a sense invisible as they lead the way to the image they evoke. They cease to exist and so we say the poem is wordless.

* * *

With so few words to work with, the writer may tend to see in the words he has written the image, or effect, he is trying to evoke, while for others the same words may create nothing but a trite banality. Also, when a poet writing in longer genres produces a poor work, there still may be aspects of the work that can be admired–a few striking lines, or a well-organized theme­–but when a haiku fails there is no room for redeemable value. A poor haiku is totally bad.

целиком:

nickvirgilio.rutgers.edu/htm/scholarship/Virgil...