Featured Poet: Anita Virgil
Whenever I am asked who my
favorite haiku poets are, Anita Virgil is always among the first names I
mention. Why Virgil? Because her poems have withstood the test of time and are
universally recognized as classics of original English language haiku
and senryu. Also because Virgil is wise, wise in the true sense of the
word in that she uses her knowledge well — uses it in her poems, articles, reviews, essays and
interviews on the subject of haiku and its related forms. Virgil’s poetic
wisdom is invaluable to all who seek a true understanding and
appreciation of haiku, senryu and other related poetic forms.
Her “Interim” and “Senryu”
[See Simply Haiku Archives: Summer 2005, vol 3, no.2 and Autumn
2005, vol.3 no.3 ] are the most insightful and important essays on
senryu since R.H. Blyth’s books on the subject. The Interview of her by
Robert Wilson [See Simply Haiku Archives: Spring 2005, vol. 3, no.1] is
equally enlightening as well as the truest historic account of the original
haiku movement in America.
To quote Allen Ginsberg “Mind
is shapely, art is shapely” — in other words folks, this broad really knows
what she’s talking about. Take heed O readers!
I first met Anita at Asia
House in New York City in 1971 when we both studied haiku and its related
forms under the tutelage of Professor Harold G. Henderson. Since then, she has
been a life-long friend, colleague and mentor.
Anita Virgil is a past
president of The Haiku Society of America. She served on the original
three-person HSA Committee on Definitions [completed in 1973] with Harold G.
Henderson and William J. Higginson.
Her haiku, senryu, essays and
book reviews have appeared in all major haiku magazines and anthologies since
1969. Very recently, she has begun publishing tanka. From 2004 to date, her
work appears on the Internet.
SOME CREDITS: Simply Haiku,
an online journal of Japanese short form poetry, World Haiku Review (August
2005), The Daily Yomiuri (Dec.6, 2005), Roadrunner, Makata.
Anthologies: Haiku (2003,
Alfred A. Knopf Everyman’s Library edition), Where Dogs Dream (2003, MQP
London) and Haiku for Lovers (2003, MQP London), Global Haiku, Swede
and Brooks (Mosaic, 2000), The Haiku Anthology, Cor van den
Heuvel (1974, 1986, 1999), Red Moon Anthologies (late 1990s)
Haiku Moment, Bruce Ross (Chas. Tuttle, 1993), Haiku (Czeslaw
Milosz, Poland 1992) .
Publications online and
print: Frogpond, Kokako, and in Yugoslavia, Croatia, Romania,
Slovenia, Russia and Serbia/Montenegro
: A 2nd Flake (1974), One Potato Two Potato Etc (1991,
Peaks Press), on my mind, an interview of Anita Virgil by Vincent Tripi
(3rd printing , Press Here, 1993), Pilot (1996, Peaks Press),
A Long Year (2002, Peaks Press), summer thunder (2004, Peaks
Press, ebook on CD with audio version). Editor of muddy shoes candy heart by
Sasa Vazic (2005, Peaks Press, ebook on CD with audio version)
Forthcoming book: Come
Dance With Me co-authored with Robert D. Wilson.
From the author:
WHY SENRYU ?
Raised amid bright, witty,
complex, hyper-critical people –the one thing my family did share was a
common love of language, of word play, double entendre, and rollicking
humor [often risqué beyond my understanding]. That was the meeting
ground where underlying angst and hostilities — if cloaked in wit — could safely be expressed. The contrast between what
people said and what they did provided fertile source material for satirical
treatment. And I seem to locate the telling gesture or word that bares the real
truth of humans being oh-so-human. It took many decades before I heard of and
studied the senryu and found that, for the Japanese living under repressive
Tokugawa law, the senryu also met the need for a steam valve.
The very things that
fascinated me when I was little are the components for the broad poetic canvas
that is senryu: human psychology — people-watching for
when the masks slip aside, for the poignant moments and for the
hilarious. The unique ‘life’ I read into things, flora and fauna, fish , fowl,
frogs — and the bug world — also charms me. Early on, that childlike whimsy
made me "animate" all of them and gave me the illusion I could sense
exactly what they must be ‘feeling’ and 'thinking’ and so, in some of my poems,
I draw correlations between them and human beings.
Wherever I am, I observe what
people are up to. In a restaurant I have to force myself to stop staring. Or,
head cocked, I eavesdrop shamelessly on the next table and paste together
likely stories implied by what scraps I see and hear. From this rude behavior
and from my undying fascination with critters, my senryu are snagged, whole and
feeding the baby
a lecture on manners
followed by another
as he herds peas onto his fork
with his finger
I offer prunes
to the kids . . . he helps himself
and tells us why
he keeps explaining
how he choked.
tired of waiting for happiness
calling in sick
I sound it
At the Japanese flick
"Boy, that takes guts!" *
dentist's office —
the one who came for the ride
"I hate this!" pants
the trotting toy bulldog.
"He's fat and I gotta exercise, too?"
with nothing to do
the old man says he'll get to it
used furniture man
jaw clenched he talks
thru new & old teeth
when the finches fuss
the rock singer
dyes his hair
feeding the goldfish
in the seed flats
forgot what to do
at the auction
the little clock in a box-lot
* The term "hara-kiri"
is considered somewhat vulgar in Japan. A more elegant and generally preferred
word for ritual self-disembowelment is seppuku. Source: The Japanese Mind
by Robert C. Christopher, Charles E.Tuttle Co. Japan 1983, p. 74.
“feeding the baby”, “Choking”, “calling in sick”, “dentist’s office”, “used furniture man”, “when the finches fuss”, “still unsuccessful”, “feeding the gold fish” and “in the seed flats” are from One Potato, Two Potato Etc, Peaks Press, copyright © 1991 by Anita Virgil; by permission of the author.
“a lecture on manners”, “eyes roll”, “I offer prunes”, “tired of waiting”, “with nothing to do” and “at the
auction”, from the ebook summer thunder, Peaks Press, copyright © 2004 by Anita Virgil; by permission of the author.
“I hate this," "tired of waiting" and "At the Japanese flick" appear here for the first time; by permission of the author.
Photo: Jennifer Virgil Gurchinoff.