Barnabas I. Adeleke’s muezzin’s call

On By Nicholas KlacsanzkyIn Haiku, SenryuLeave a comment

muezzin’s call . . .
Santa Claus steps aside
to make ablutions

— Barnabas I. Adeleke (Nigeria)
(previously published in Frogpond, 43.2) 

There are a few haiku that beautifully reflect interfaith harmony and show reverence and respect for every faith. This haiku is one of them.

The muezzin’s call to prayer is not only the call for prayer but also a message of peace for all those who are on the right path. The path that leads to serve humanity and make this world a better place. The writer beautifully blends two faiths based on the common grounds that are reflected in this haiku.

Santa Claus stepping aside is a gesture of reverence and respect not for other faiths but his own. It seems the Santa Claus in this case is a Muslim who took a break for offering a prayer, or it is a metaphor based on the actions a Santa Claus performs that brings happiness to others’ lives during the time of Christmas by distributing presents.

Ablution depicts the purification of the body before one offers a prayer. It is another way to clean one’s self and then serve others. The blend of beliefs and actions are interwoven beautifully in this haiku. It displays religious harmony in a true sense.

The muezzin’s call makes a person purify their body and soul before serving others. It’s an awakening call for all those who believe in peace, prosperity, and happiness.

— Hifsa Ashraf (Pakistan)

Most haiku are based on a season. The mention of Santa Claus sets this haiku firmly in winter and specifically at the time of Christmas. This could be said to be a senryu as well, which usually examines human life and cuts into it with satire, commentary, and societal backlash. 

In the spirit of giving, it seems like the Muslim man who is dressed up as Santa Claus for an event takes a moment out of his work to pray. I feel this is symbolic of how Christmas has turned into less of a Christian tradition and more of a universal holiday that focuses on giving and receiving gifts generously. In the moment described, the man who pretends to be Santa Claus gives a gift to himself: a moment of peace. He also surrenders himself to God, which can be seen as a gift as well. 

There is nothing hypocritical with a Muslim man portraying Santa Claus, by the way. Though Saint Nicholas was a Christian and is the inspiration for the myth of Santa, Islam and Christianity both puts importance on charity. As a side note, Jesus is discussed over 100 times in the Quran. And surprisingly, Mother Mary is mentioned more in the Quran than in both of the Christian testaments.

One way to look at this haiku is that despite acting a part for work, we should never forget who we are and our foundation. The act in the haiku also calls to mind the humbleness and faith one should have as a religious or spiritual person.

In terms of technical aspects, we can see that this was written in the standard format for English-language haiku. In addition, the sound of this poem can be noted in the use of the letters “u,” “s,” and “c.” In each line, “u” is employed, which slows down the reading of this haiku. This allows the reader to imagine the scene better and to feel the calm of prayer.

It is a haiku or senryu that is at once humorous and profound, speaking to interfaith beliefs and the weaving of cultures.

— Nicholas Klacsanzky (USA)

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Jay Friedenberg’s soap bubble

On By Nicholas KlacsanzkyIn HaikuLeave a comment

children’s laughter
the iridescent sheen
of a soap bubble

— Jay Friedenberg (USA)

There is a mixture of emotions that can be found in this haiku. You have children’s laughter and brightness, which are associated with happiness and positivity. However, the mention of a soap bubble supplies an added perspective. The ethereal nature of a soap bubble lends to thoughts of sadness and the limits innocence’s longevity.

This relates to the Japanese aesthetic of “fūryū” which can be described as transitory beauty. Bath time for children is usually playful and memorable. But as an adult, when we see our children enjoying this moment, we may view it with a more introspective eye. We might take note of the transitory nature of childhood innocence and become nostalgic for simpler times.

The word “iridescent” is also important in this haiku. It refers to degrees of luminescence from different angles, and this might point to the fact that the poet is seeing this particular moment from a new view.

There is no kigo, or seasonal reference, mentioned in this haiku, but I would place it in spring. The laughter and joy mixed with melancholic introspection seem appropriate with this season.

Getting more into the technical aspects of this haiku, I think the poet did right by not adding punctuation as a “cutting word” or kireji in the first line. It would have made the first line too long, in my opinion. The length of the lines is standard for English-language haiku, which does its best to follow the go-shichi-go rhythm of Japanese haiku. Also, there is a plenitude of “l”s, “i”s, and “s”s in this poem. Not only does it make it musical, but it adds to the happy but stark nature of this haiku.

Friedenberg, through this poem, has given readers a chance to reflect on their childhood years and to cherish the joy they might have lost. Possibly, this haiku might prompt readers to integrate some of their innocent nature back into their lives. Sometimes we need reminders that life doesn’t always have to be serious. It can be fun and silly, and we can derive happiness from the smallest of things.

— Nicholas Klacsanzky (USA)

This beautiful and colorful haiku took me back to my childhood. I started reminiscing about this time of joy and happiness. I can relate to the deep and subtle feelings embedded in the imagery of this haiku that echo back, which creates a soothing impact on the reader’s memory.

In terms of the senses, I can divide this haiku into three parts:

– Line 1 is about hearing children’s laughter

– Line 2 is about seeing the iridescent sheen

– Line 3 could be about touching the soap bubble

Children’s laughter—the sound of a carefree life that starts from our childhood when there is little-to-no sense of responsibility or worldly possessions. The sound of children’s laughter is quite soothing as it has a great impact on the psyche of not only children but also the people who surround them. I take it as laughter therapy that we rarely experience these days but still want to be a part of. Our inner child misses these moments and sometimes, we seek solace in reminiscing about those happy moments that still strike our eardrums softly and make us smile.

The iridescent sheen depicts rainbow colors, the colors of life, and happiness, which connects to laughter. This shows the ‘wholeness’ of life where various colors impact our ‘aura’ and make it beautiful and positive. The sheen is the glow that subtly and miraculously brings light to life, especially in the form of elation and utmost joy. The iridescent sheen also presents hope and positivity in life which helps us to focus on small moments of happiness and the blessings we miss or ignore.

A soap bubble here shows how short our childhood bliss lasts. It also indicates the delicacy and subtlety of moments that we enjoy with our loved ones that unfortunately has a short duration.

Looking at the haiku at a more granular level, as Nicholas said, there are no ellipses in the first line. This makes this poem more open for interpretation and more flexible for enjoying the positive energy that the poet beautifully weaved into it.

To me, this haiku is about gathering our childhood memories related to hearing, seeing, and touching. I loved the way the poet magnified the micro-elements of innocence and positivity, which turned it into a life lesson.

— Hifsa Ashraf (Pakistan)

soap bubble painting

— Painting by Vandy Massey

Francesco Palladino’s lockdown

On By Nicholas KlacsanzkyIn Haiku1 Comment

lockdown
in the flight of a seagull
a little sea

— Francesco Palladino (Italy)

The current lockdown has changed our lives so much. We see new dimensions or unique perspectives often. This may be due to shifting from one normal to another which is original and profound in many ways.

In this haiku, the writer finds a subtle yet vivid moment where he feels the delicacy of existence in a beautiful way. The flight of a seagull seems to indicate a set direction in life or set objectives that one has planned before or during the current pandemic. It can also mean that the person has gained maximum mindfulness, where he accomplished his objectives or has had profound learning experiences. The ‘little sea’ to me shows a level of knowledge that is vast and/or an abundance of knowledge due to clear thoughts.

The other aspect of this haiku may be contrary to the above. Maybe, the lockdown and the self-isolation has disturbed the thought process of the narrator, where he lives in an imaginary world and finds his objectives merely an illusion or daydream about them instead of fulfilling them. The ‘little sea’ may be a mirage that comes our way during our daily routine and we seek solace in it until the lockdown is over.

Looking at the sound, the letter ‘l’ shows the stiffness or persistence of a thought process occurring during a lockdown.

— Hifsa Ashraf (Pakistan)

What I enjoyed immediately about this haiku is the pivot in the second line. It can refer to both the first and last lines. In a poem as small as a haiku, this is a powerful technique that creates more layers.
Thus, you can read it as:

1) lockdown in the flight of a seagull/a little sea

or:

2) lockdown/in the flight of a seagull a little sea

The first version is saying that the poet sees the lockdown in the flight of a seagull and he is comparing it to a little sea. The second version is giving the idea that a lockdown is like a little sea, which the flight of a seagull can show.

Both point to a similar theme, in my opinion: within the seagull, and perhaps within all of us, is a sense of isolation but also a grandness. This mix of feelings reflects in the autumn kigo of a seagull (though seagulls can ultimately refer to almost all seasons).

It is interesting to note the use of articles. Employing “the” with “flight” puts a focus on the act of the bird rather than the creature itself. It gives readers something to nibble on in terms of freedom/containment. In this time of quarantine, we struggle to have even basic freedoms.

“a little sea” could be metaphorical but also physical. The seagull could still be wet from a dive or some seaweed could be clinging to its wings while in flight.

As Hifsa noted, the “l” sounds in this haiku work well. I have a bit of a different take, though. I feel this letter in the poem provides a sense of the seagull lilting on the wind, free and at ease.

It seems Palladino is espousing the concept that freedom is present even when we are in a lockdown or have our movement restricted. That we should find inner joy even when our environment becomes demarcated.

— Nicholas Klacsanzky (USA)

s-l1600

— “Three Seagulls” by Ohara Koson 1900–1936