Tag: kigo

  • An Overview of Six Seasons: A New Way with Vegetables

    An Overview of Six Seasons: A New Way with Vegetables

    “The seasons don’t ever divide themselves neatly,” writes Joshua McFadden in the opening of the Early Summer chapter of Six Seasons: A New Way with Vegetables. “Spring flows into early summer in fits and starts. A week of T-shirt weather may be followed by a string of cool gray days challenging our optimism about summer’s arrival.”

    Almost as soon as I began working with saijiki in my haiku practice, I struggled with the definition of seasons. The lunar-based haiku seasons didn’t correspond neatly with the Gregorian calendar under which I lived. I was living in Texas, where the seasonal expression is quite different from where I live now. And it’s true that the Earth doesn’t give us neat divisions. In the Gregorian calendar, summer has just started. In the haiku calendar, we’re in the middle of it. Two weeks ago, the last time I went to the farmer’s market, I saw an abundance of early summer (beets, potatoes) vegetables and midsummer vegetables (broccoli, cauliflower). But the early summer fennel and celery were out of season, and the summer squashes hadn’t arrived yet. I have started learning to live in the liminal space of seasons, and this book is an excellent guide for that.

    Six Seasons includes the standard spring, autumn, and winter. Summer, however, is divided into three sections: early, mid, and late. Each chapter contains a few key vegetables as the centerpiece, and McFadden details how their flavors and textures change throughout the season. Not only do seasons not divide themselves evenly, but vegetables are not the same through their entire growing range. What is sweet enough to eat raw one week might be moving toward bitterness a week later, and would benefit from cooking. It might be an insult to the carrot to cook it early in the season, but doing so toward the end of its peak enhances the flavors that are starting to fade. There is no one right way to eat or cook a vegetable; that depends as much on time of year as anything else.

    Over on the podcast, I’ve raved about the salad recipes I’ve tried from this book. Ultimately, though, there are two components of Six Seasons that make it more than a standard-issue cookbook:

    1. It focuses on techniques and practices. To be clear, it’s not a textbook; you won’t learn fancy knife skills (and that’s probably not really something best taught in a book anyway). But McFadden sprinkles in small things that make a big difference. For example, I’ve learned that if you’re making pasta with broccoli, the best way to cook the broccoli is to throw it in for the last few minutes of the pasta cook time. That way, it gets infused with the salted, starchy water, amping up the flavor. (I also swear it makes the broccoli come out brighter, but maybe that’s a placebo effect.)

    2. It reminds me that eating seasonally means surrendering control and will. For example, I’m writing this at the end of June. No matter how much I might hypothetically be craving butternut squash (really, I could just go for a good breakfast taco), there’s no way I’m going to find the requisite ingredients at the peak of freshness. Sure, I could go to a supermarket and there would probably be a butternut squash there, given the world we live in. But that doesn’t mean the squash is in great condition. If I wanted a savory squash dish, zucchini boats stuffed with sausage, cheese, and Italian seasoning would be a better menu option.

    That doesn’t mean you have to somehow align your cravings with the seasons, though I think most of us do to some degree (I want more salads in the middle of summer than I do in the middle of winter). That doesn’t mean that if you indulge the hankering for the comfort of an out-of-season dish, you’re a morally inferior person. It doesn’t mean you can’t make a smoothie out of frozen berries in January, if that’s what you’re into.

    What it does mean, though, is that if you really want to get in tune with the seasons, you have to relinquish expectation. Maybe you can’t wait to make roasted beets. But maybe the week you’re expecting to find them at the farmer’s market, they’re not there. Maybe three weeks goes by before they’re finally ready. Frustrating? Sure. But the fact is that we’ve been trying to bend the world to human whim for a long time now, and it’s clearly not going well.

    To eat seasonally means that you can’t plan too hard. As someone who likes to rigidly plan out all her meals for the week and go shopping in one fell swoop, this was a tough lesson to learn. The farms aren’t going to yield to what my mind has decided is the most efficient or delicious. I can either change my plan on the fly, or I can make that dreaded second stop to another store to buy what I want, even if it’s not quite ripe.

    To eat seasonally is to recognize that the world is so much bigger than your individual wants, and so beyond your individual control. That, I think, is the greatest lesson of Six Seasons, even if it’s not made explicit. Rather, if you make the book a guide to how you approach vegetables generally, that lesson will reveal itself over and over. Which is good, because if you’re anything like me, you’re going to need a reminder.

  • Food in Classical Haiku: First Thoughts

    Food in Classical Haiku: First Thoughts

    While saijiki generally focus on contemporary haiku, I also felt called to take a look at classical haiku to see how poets of the past incorporated food into their work. Since I have to rely on translation, and no two translations are the same, I plan to revisit this topic from time to time, exploring different translations of the same poem when I can. For this post, all poems come from The Sound of Water (Shambhala Centaur Editions, 2000), which is Sam Hamill’s collection of classical haiku translations.

    Earlier this year, I wrote about how I detected three primary ways that food relates to haiku seasons:

    1. Food words that are a definite seasonal referent;
    2. Food words that are not part of any specific season;
    3. Food words that become seasonal with an additional modifying word

    In The Sound of Water, most of the haiku I found fit into the first two categories. I also found that most of the poems connected to food were summer poems. Of course, this is just one small book, so I’m not making definitive statements yet. At the very least, it was interesting to see what turned up in the context of this anthology.

    Summer

    Breakfast enjoyed
    in the fine company of
    morning glories

    Matsuo Bashō

    I begin each day
    with breakfast greens and tea
    and morning glories

    Takarai Kikaku

    Breakfast is an all-year word. You either eat breakfast, or you don’t. While the Muslim observance of Ramadan requires fasting during the day, this holy period isn’t tied to a specific season. Even the image of “breakfast greens” in Kikaku’s poem doesn’t inherently create a specific season; there are bitter herbs in spring, abundant greens in summer, and hardy greens in autumn. Only in winter is it tough to find fresh greens. Even then, the poem might be referring to pickled greens. It’s the word morning glories in each poem that signify summer.

    sweet healthy sliced melon in white bowl
    Photo by Karolina Grabowska on Pexels.com

    Wet with morning dew
    and splotched with mud, the melon
    looks especially cool

    Matsuo Bashō

    All by itself,
    that beautiful melon,
    entirely self-sufficient

    Hattori Ransetsu

    Melon is generally a summer kigo. While there can be some early spring melons, and some that appear in autumn as well (you could get a decent cantaloupe shockingly late in Texas), they are generally at their best in the summer. These 17th-century haiku have a timeless feel to them. While there are some stylistic elements that indicate they are classical rather than contemporary, they don’t seem stodgy or old. I love that haiku poets have been writing about cool, beautiful melons for centuries. The above poems show me how food really does connect us to ancestors, whether they be family members, or our artistic lineage.

    Singing, planting rice,
    village songs more lovely
    than famous city poems

    Matsuo Bashō

    With the noon conch blown
    those old rice-planting songs
    are suddenly gone

    Yosa Buson

    My noontime nap
    disrupted by voices singing
    rice-planting songs

    Kobayashi Issa

    For rice-planting women
    there’s nothing left unsoiled
    but their song

    Konishi Raizan

    Rice was the food I found referenced the most in The Sound of Water, yet in this collection, poems about it are entirely related to agriculture. Many poets wrote specifically about rice-planting, and about the songs that the field workers sang. (I’m sure it’s an effect of the translation, but Bashō’s rice-planting poem has a certain Whitmanesque quality to it . . . or perhaps “Song of Myself” has a certain Bashōesque aspect.) These poems also illustrate the value of not just having a saijiki, but having a few different ones on hand! It’s easy to make assumptions about a time of year based on your own experience, which is necessarily limited. I associate planting of all kinds with spring, which isn’t even accurate in the United States! There are a number of crops and flowers that get planted in the fall to winter over, and bloom in spring. At first, I was putting these classical rice-planting haiku in the spring category. Then, however, I consulted with Yamamoto Kenkichi’s The Five Hundred Essential Japanese Season Words. There, I found that rice-planting related to summer! It would have been so easy for me to assume these were spring haiku, and I’m glad I had reference material on hand to guide me in the right direction.

    Without a sound,
    munching young rice-plant stalks,
    a caterpillar dines

    Hattori Ransetsu

    The only haiku I found related to eating rice didn’t involve humans, nor the grains of rice that make up a staple of the human diet. Rather, a caterpillar is dining on the fresh, young stalks. The young stalks, as well as the caterpillar that is not yet a butterfly, ground us in summer.

    When the wild turnip
    burst into full blossom
    a skylark sang

    Kobayashi Issa

    While I’ve never seen a wild turnip in real life, Issa’s haiku reminded me of the giant squash blossoms that appear in the summer, and how glorious they are. Whether in a domestic garden, or something you might forage, the vibrancy of summer is something that endures over the centuries in the haiku tradition.

    Autumn

    Autumn breezes
    spin small fish hung to dry
    from beach house eaves

    Yosa Buson

    While certain species of fish are best harvested at certain times of the year, that level of specificity doesn’t appear in Buson’s haiku. Rather, the direct naming of the season tells us where we are in the year. The general concept of fish is an all-year term, but the seasonal referent can lend clues to what type of fish they might be. Perhaps Buson is referring to sardines, which are in season late summer and through the fall. The image of the drying fish also reminds the reader that this is the time to preserve food for the long winter ahead.

    cooked ramen
    Photo by Cats Coming on Pexels.com

    In this mountain village,
    shining in my soup bowl,
    the bright moon arrives

    Kobayashi Issa

    Here in Shinano
    are famous moons, and buddhas,
    and our good noodles

    Kobayashi Issa

    Neither soup nor noodles are inherently seasonal. As with fish, specific types of soup or noodles better correspond to certain parts in the year. A chilled soup is more appropriate in the summer. Soba noodles are part of the New Year’s ritual. Yet the words “soup” and “noodles” in and of themselves need modifiers. I place these two haiku in autumn because of the presence of the moon, an autumn kigo.

    Spring

    Plum blossoms in bloom
    in a Kitano teahouse,
    the master of sumo

    Yosa Buson

    As I mentioned in my June post “The Seasons of Tea,” people consume tea year-round. In formal tea ceremony, the dishes you serve varies from season to season. The presence of plum blossoms in Buson’s haiku indicate that we’re at a teahouse in springtime.

    Only the shoots
    of new green leaves, white water,
    and yellow barley

    Yosa Buson

    The shoots of young plants, whether leaves or grasses, is a common spring kigo. None of the plants are fully formed. The water is frothy with melted snow and spring rain. There is nothing yet to harvest, whether that be mature barley or fruit from the tree. Yet this haiku points to the sheer amount of potential inherent in springtime.

    barley field
    Photo by Filippo Peisino on Pexels.com

    People, more people
    scurrying through spring breezes
    along the rice-field dikes

    Ichihara Tayo-Jo

    Rice fields once again appear in spring. Here, the emphasis is on humans coming and going on their journeys, walking along the fields that grow their food. The verb “scurrying” suggests that these people are busy, inattentive, perhaps not even noticing that the source of a staple crop is all around them. It turns out it’s not only the modern age that takes people out of the present moment!

    Winter

    Through frozen rice fields
    moving slowly on horseback,
    my shadow creeps by

    Matsuo Bashō

    One of the things I found interesting while rereading The Sound of Water is the extent to which rice fields can appear in all seasons, but no haiku about people eating rice. That’s not to say those types of haiku don’t exist in the classical tradition; they just didn’t make their way into this book. I’m curious to reread more classical anthologies to see what differences I find. The above haiku also points to how a rice field in and of itself isn’t inherently seasonal; it’s other words, such as frozen, that ground us in a specific time of year.

    yellow latex gloves on dish rack
    Photo by Lisa Fotios on Pexels.com

    Walking on dishes
    the rat’s feet make the music
    of the shivering cold

    Yosa Buson

    Maybe the dishes are lying dirty in a basin, because it’s so cold, nobody wants to deal with them. Or maybe the dishes are clean and put away, but the rat is rattling around on them, looking for some warmth. While my mind initially went to the first interpretation, the second is just as valid. Either way, I delight in this haiku because it reminds me that something as simple as doing the dishes are worthy of poetic moments.

  • Debatable summer haiku

    Debatable summer haiku

    Just as there isn’t always a clear distinction between one season and the next, sometimes a haiku feels seasonal without having a clear seasonal referent. I’m not talking about haiku that completely lack a kigo. Rather, I’m thinking about haiku that seem to have a kigo, yet are not clearly grounded in an identifiable season.

    There are a few reasons why a seasonal referent might not be clear:

    • The word that is ostensibly a kigo could plausibly fit into more than one season;
    • The reader’s interpretation of the potential kigo might be influenced by where they have lived;
    • As a whole, the haiku suggests a different season than a single word might imply

    Below, I have some haiku that are currently in my summer collection, but that I’m not entirely sure about. Some of them might belong to spring or autumn, or might be better placed in the All Year category. I welcome your thoughts in the comments!

    a person holding orange and red bell pepper
    Photo by RODNAE Productions on Pexels.com

    farmers’ market
    the queen bee
    makes her appearance

    Victor Ortiz, bottle rockets #46

    I initially placed Victor Ortiz’s haiku in the summer category because summer is peak time for farmer’s markets and fresh produce. However, markets can easily last well into the fall, with root vegetables and cruciferous greens making an appearance. When I lived in Austin, farmer’s markets would last year-round, only skipping weekends from the most inclement weather. In addition, some cities in more temperate climates have covered markets year-round.

    I’m also not sure how to treat the phrase “queen bee” as a kigo. In Haiku World, “bee” is listed as a spring kigo. Jane Reichold also listed “bee” as a spring kigo in A Dictionary of Haiku Classified by Season Words with Traditional and Modern Methods. I cannot find a reference to bees in Yamamoto Kenkichi’s The Five Hundred Essential Japanese Season Words. Honeybee mating season also begins in the spring. In Ortiz’s haiku, I interpret “queen bee” metaphorically, referring to a particular type of woman making an appearance, but taking the word more literally, it could refer to spring. As a result, I’m not 100% certain whether I should keep this poem in summer or move it to spring.

    red raspberries
    Photo by Wahid Hacene on Pexels.com

    a month of Sundays . . .
    berries rotting
    on the vine

    Julie Schrein, First Frost #1

    While berries are a summer kigo, in Julie Schrein’s haiku, we see them rotting. In addition, the opening line illustrates the passage of time. That the berries are rotting does not inherently mean that autumn has arrived. Berries that are ready earlier in the summer can rot before autumn arrives. However, autumn is the season of decay, and the clear passage of time suggests that even if autumn hasn’t fully arrived, we’re in a transitional state. I’m tempted to move this haiku to autumn, but the word “berries” is such a classic kigo that I still have it in the summer.

    purple petal flowers focus photograph
    Photo by Pixabay on Pexels.com

    her scent on my fingers
    lavender harvest

    Robert Piotrowski, First Frost #2

    When I think of lavender ready for harvest, I think of Blanco, Texas, which hosts an annual festival where visitors can travel to farms to harvest their own lavender. The festival takes place in May, which is early summer in the Lunar calendar, and late spring in the Gregorian calendar (however, in Texas, it’s definitely feeling like summer already). In addition, different varieties of lavender bloom throughout the year, with some in early spring, and others late in the summer (Gregorian)/early fall (Lunar). I haven’t moved this haiku out of the summer category yet, but I wonder if lavender isn’t best specified by the type it is (True/Common, Spanish/Butterfly, Fringed/French) in order to best place it in a specific season. That being said, given the minimalist tendencies in English-language haiku, poets might not want to add an additional modifying word . . . though if they’re aiming to be as specific as possible, that might be the most pragmatic choice.

    slice cake
    Photo by Elli on Pexels.com

    finishing dessert . . .
    one last smear
    of sunset

    Tony Williams, Failed Haiku #70

    “Sunset” is listed as an all-year kigo in Haiku World, but appears as a summer kigo in A Dictionary of Haiku Classified by Season Words with Traditional and Modern Methods. (I can’t find reference to it in The Five Hundred Essential Japanese Season Words.) By that logic, I should move Tony Williams’ haiku to the spring section. However, dining outdoors reminds me more of summer than of spring, when the late nights and dry weather are more conducive to outdoor dining. I think this is an example in which the whole of the haiku creates the season, rather than a specific word.

    rose wine splashing from a wine glass
    Photo by solod_sha on Pexels.com

    sunset . . .
    uncorking a bottle
    of rose wine

    Joe Sebastian, Haiku Pea Podcast, Series 5, Episode 6

    As mentioned above, in the established saijiki I’m working with, “sunset” is either an all-year kigo or a spring kigo. However, I associate rose wine with summer, especially because frose (frozen rose) was a trendy summer millennial drink a few years ago. While “sunset” as a kigo might be ambiguous, to me, “rose” is not . . . However, that might be my own biases and preferences talking.

    I look forward to your thoughts and suggestions! Even if you disagree with me, I hope the explanation of my thought process has been interesting.

  • Initial Observations Part 1: Food Kigo

    I’m about seven weeks into my yearlong study of saijiki. While my personal writing practice isn’t centered around food, working with Higginson’s Haiku World, as well as the companion volume The Haiku Seasons, have been invaluable as I also explore the ways in which food and the seasons work in haiku.

    Photo by Josh Hild on Pexels.com

    As of this writing, I have collected 93 haiku that incorporate food in some way. Taking a cue from Haiku World, I am organizing them by season, as well as maintaining an All-Year category. Based on what I have collected so far, I have observed three broad categories:

    1. Food words that are a definite seasonal referent;
    2. Food words that are not a part of any specific season;
    3. Food words that become seasonal with an additional modifying word

    I will focus on the first category in this post, the second category in my May 24th post, and the third category in my June 14th post.

    Some Observations

    At this point in the project, inherently seasonal food words make up the smallest proportion of haiku that I have collected. Most of the poems in my Scrivener file involve all-year food words, or foods that become seasonal through additional modifiers. The greatest proportion of inherently seasonal food words falls into the summer category. Spring and winter have the lowest proportions. However, I have nothing close to a statistically significant sample size, so I won’t be surprised if the proportions change as I go.

    As I’m still early in my journey of collecting haiku, I’m only giving 2-3 examples for each season of food kigo.

    Spring

    As spring is the planting season, seeds are a specific kigo. Even if there is another food referent that might indicate a later season, as in Cherie Hunter Day’s haiku below, the presence of seeds grounds the poem in spring. Seeds speak to the potential food we will eat in the future.

    hidden in the seed packet star songs

    Stuart Barrow, bottle rockets #46

    lockdown
    starting a lemon tree
    from seed

    Cherie Hunter Day, First Frost #1

    The sugar maple is another image of food that is not yet ready for consumption. It also illustrates the challenge of working in two traditions. Sap harvesting season runs 4-6 weeks, and can start as early as February. While that’s still deep winter for those of us working with the Gregorian calendar, in the haiku calendar, it’s spring. There’s also no accounting for climate. You can be well past the spring equinox and still get snow in areas where sugar maples thrive!

    sugar maple
    pressing my tongue
    against the wood

    Genevieve Wynand, Kingfisher #3

    Summer

    The best iced tea is that which has been brewed slowly. Sun tea is a perfect summer beverage, and therefore a summer kigo. The heat of the sun allows for a long, slow infusion of tea leaves. Then, you can pour the tea over ice for a refreshing beverage.

    my writing
    slow as that snail
    sun tea

    John S. Green, First Frost #2

    Tomatoes are one of the quintessential summer foods in the Western hemisphere. I remember that some years, my parents struggled to get theirs to thrive, and other years, we had more tomatoes than we could handle!

    heirloom tomato
    the want ads
    rustle

    Aidan Castle, Kingfisher #3

    Ice cream is a treat best enjoyed in the summer. It’s cold, rich, and a delightful treat during hot weather. I still remember the ice cream socials held in June and July in the town where I grew up.

    maternity dress
    a scoop of homemade
    ice cream

    Deborah P. Kolodji, Kingfisher #3

    Autumn

    Apples are a quintessential autumn fruit. Cultural motifs might include apple picking, pressing cider, making apple pies a Thanksgiving, and bringing an apple for the teacher at the start of the school year.

    cut apple slices
    the star
    in all of us

    Gillen Cox, Haikuniverse, March 27th, 2022

    in the old orchard
    sad apple trees
    concede their mortality

    Phil Huffy, Haikuniverse, April 1st, 2022

    apple blushed and ripe
    I close my eyes with the taste
    yes, Eve, yes

    Ellen Rowland, Kingfisher #3

    Kale is one of the last greens to be harvested in the year. One of the hardiest cruciferous vegetables, it grows late into the season, which makes it a fitting fall vegetable.

    picking kale—
    the darkened veins
    in grandma’s hands

    Jacob Salzer, Kingfisher #3

    Winter

    At first I was undecided about whether to consider sweet potatoes a fall kigo or a winter kigo. While they are harvested just when it’s starting to get cold, they’re stored in root cellars, and eaten during the coldest months. I see sweet potatoes as providing nourishment when the gardens and fields are fallow.

    sweet potato
    the peeling away
    of intimacy

    Joanna Ashwell, First Frost #1

    Even without a seasonal word such as wind chill, like in Lenard D. Moore’s haiku below, the idea of rich, warm hot chocolate as an antidote to the cold makes it a winter kigo.

    wind chill
    the hot chocolate
    still too hot

    Lenard D. Moore, Kingfisher #3

    Tthe gingerbread house, along with other variations of gingerbread, is a winter image, associated with Christmas. (I’m partial to the Kemp’s gingerbread men ice cream sandwiches . . . it’s definitely weird to be eating ice cream in winter, but they are also delicious.)

    a gingerbread house in this economy

    Aaron Barry, Kingfisher #3

    I’d love to hear your thoughts on these first observations in the comments. Also, don’t forget to send me your haiku for the special themed bonus post at the end of May!