lesson Archives - The Cracked Door

Haikus as a Three Line Story Part 4: Blurring the Distinction between the Lines

This is the fourth and final chapter in a four part series about my friend and my experience writing a haiku a day for six years. In each part, I outline a different type of haiku we often write. Other parts of the series: Part 1, Part 2, and Part 3.

In all the previous types I have discussed, each line is a single, unique thought, but we also wrote haikus that blur the distinction between lines. Here thoughts, phrases, or even words straddle multiple lines. This often gives the haikus a distinct cadence or rhythm, as if the previous line falls or bleeds into the next line.

My words keep hyphen-

Ating. My eyes always dash-

Ing to the next line.

(This poem is about blurring the distinction between lines, intentionally hyphenating between lines. The “ing” verbs give it a feel of rushing around the corner at each line break.)

The moon shed tears of

Happiness. Hours to her-

Self in seclusion

(In this poem, breaking the word “herself” allows the read to simultaneously think about the phrases, “Hours to herself in seclusion”, “Hours to her”, and “Self in seclusion”.)

Swelling patrio-

Tism and pride: cancer in our

Body politic

*In this one, the sudden shift mid-word to the second line helps represent the disorientation when thinking about patriotism in our country.)

Considering the

Strange world we live in, why choose

To stay in one place?

(Originally published here. Here, the phrases in the sentence jump between lines, representing the desire to travel.)

Conclusion

There are many, many more ways to use a three-line haiku structure to tell a story. The four types of haikus discussed over this series are only some of the styles of haikus we have written over the years, but they give a sense of the complexity and adaptability this form can have. Three lines may seem simple, but there are a lot of options.

Haikus as a Three Line Story 3: Connections, Juxtapositions, and Non-Sequiturs

This is the third chapter in a four part series about my friend and my experience writing a haiku a day for six years. In each part, I outline a different type of haiku we often write. Other parts of the series: Part 1, Part 2, and Part 4.

Sometimes we combined several unconnected ideas. Maybe, we drew some kind of parallel or or juxtaposition like some traditional Japanese haikus. Other times, we intentionally merged unrelated ideas to create non-sequiturs. I often even took three phrases from books, articles, ads, or other poems and put them together to see what kind of poem would emerge.

Here are a few examples of each:

Connections and Juxtapositions

Tick tock of the clock

With the faint trickle underneath

Of a gushing stream

(Originally published here. This juxtaposes the noises from the clock and the stream. It was a reference to the noises I heard when visiting a clock store next to a stream in Kyoto, Japan.)

The Hermit

To stand here alone

In the desert that’s my life

In search of a path

(This one establishes a connection between the hermit’s life and the narrator’s life.)

I’m like a glacier:

Slow-moving til you get to

My ice-cracking tip.

(Originally published here.)

The cold wind howls

Blowing leaves off the trees, that

Are my inner soul.

(These use a direct simile, metaphor, or analogy to make its comparison.)

Setting up a Premise

The first line of these haikus establish a premise that the final two lines then define or in some way comment on, another strategy to connect thoughts together:

Joys of sleeplessness:

You get to marinate in

Every useless thought

Shores of Babylon:

While the just weep for Zion

I’m finally home.

Conjure the devil:

You better know what you want

He certainly won’t

Tragedy of life:

Everyone is fighting for

What they think is right.

Non-Sequiturs

I frequently cobbled together interesting five and seven syllable phrases from newspaper articles, billboard ads, books, etc. to see what kind of narratives or meanings would emerge by putting them together into a poem. Normally, when writing a haiku, we have a feeling, idea, or narrative that we are trying to convey, and we figure out how to mold that into the haiku’s stringent “requirements.”

But sometimes, I enjoyed turning that process inside out. I would start with words themselves and see what kinds of meanings could emerge from putting them together in different and interesting ways.

Do more than see. Seek.

The assent to the finite.

Desire to create.

The hustle is real

You will need experience

Ride for free after

(This second one is originally published here. I pulled each line of these haikus from ads I saw on billboards around town. To me, they represent the artificial, consumerist language common in the ads that bombard our daily lives.)

Desire to create

Nothing mattered except life

Self-interest undermines

The forgotten fire

Took almost nothing along

The road not taken

Hello to radiant

You could be solowaving

Get your FYP

(This final one is originally published here. These next two are compilations of phrases from articles and books to see what new narratives emerge when taken out of their original context and put together in this order as a haiku like this.)

Ineffableness

Immeasurability

Deification

(Another form of non-sequitur: three words, two five syllables long and one seven syllables long. I put them together into a haiku poem to see what kinds of narratives emerged in that process.)

Haikus as a Three Line Story Part 2: Twists

This is the second chapter in a four part series about my friend and my experience writing a haiku a day for six years. In each part, I outline a different type of haiku we often write. Other parts of the series: Part 1, Part 3, and Part 4.

The first two lines of these haikus set up an initial pattern and the final line breaks this pattern. This follows the broad Rule of Threes, a common technique used for jokes among many other forms of writing.”My three favorite things are breakfast burritos, listening to vinyl records, and getting a call from a number you don’t recognize.” This last one completely breaks the pattern established by the first two. The twist at the end could be funny, ironic, express the depth of an emotion, or have all sorts of other effects.

Here are a few examples of the types of effects we have used twists for:

For Humor

Cherry blossoms bloom.

Pink pedals cover the ground,

And sneeze out my nose

(In this one, the two lines establish the beautiful cherry blossoms, recalling traditional Japanese haikus, but the final line breaks that poetic pattern completely. On the block in Brooklyn where I lived, people planted cherry blossoms. When they bloomed in the spring they were gorgeous, but they also caused me horrible allergies. This poem describes the contrast of loving to see the flowers but at the same time, being made sick by them.)

Let us venture forth.

Hoist the anchor. Sail into

Abysmal failure.

(The first two lines invite the reader to join the narrator on an adventure with an implied hopeful energy, but the twist at the end negates that. Is the narrator pessimistic about the trip or just prefers to head straight into failure? That’s up to interpretation.)

Rugged pointillism

Imprinted onto my feet.

I must sweep my floor

(In this one, each line adds new meaning to the poem significantly building its meaning. The first line establishes that the poem is about abstract art. The second line puzzlingly indicates that it’s on my feet, and the third line explains what happened: I must sweep my floor because it’s so dirty that it’s caused dirty impressions on the soles of my feet.

For Contemplation

After finally

Catching you here in my trap,

Why do I feel bad?

(The first two lines establish a kind of glee in the victory of catching someone in their trap, but the final line twists this, showing that the narrator finally caught the reader, they feel guilty instead of victorious.)

To have faith is to

Live in the constant fear

That you will lose it.

(Originally published here. The twist at the end establishes a key characteristic of faith: that it is built on its opposite fear that one would lose that faith.)

Healing emulates

Even from what might be the

Most painful venom

(Originally published here. The twist at the end is that venom of all things is the source from which the healing emulates from.)

Haikus as a Three Line Story: One Way to Write a Haiku (Part 1 of a New Series)

This is the first chapter in a four part series about my friend and my experience writing a haiku a day for six years. In each part, I outline a different type of haiku we often write. Other parts of the series: Part 2, Part 3, and Part 4.

As I have already discussed in a previous article [], my friend and I have written a haiku a day for the last six years. This has been an incredibly transformative experience, and here I will focus on how we use the haiku format to tell stories.

At the end of the day, haikus are a way to use three lines to tell a story. Each new line provides an opportunity to transform the previous line, whether that be a twist or punchline breaking an already established pattern, continuation or intensification of the theme in the previous line, or something else entirely. At the same time, different haikus emphasize the first, second, or third line as the most important line in that story. The opportunities are truly endless.

Over the next few articles, I will discuss different forms of stories we might tell. This article will start with telling a story through the continued revelation of a theme.

Haiku Type 1: Continued Revelation of a Theme

The most obvious style or narrative to tell in a three-line haiku is one of continuation: introduce the theme in the first line and in each subsequent line reveal further details to make the theme clearer. This forms the most basic or bedrock version of a haiku that you compare the other styles against.

Sometimes, the new lines can further reveal the details of the theme or topic being explored. For example, the later lines could abstract the tangible observation in the first line. If the first line is itself abstract, later lines might instead provide specific examples or imagery of that theme. Or, it could provide the context in which the writer (or at least the narrator) was thinking of the items established in the first two lines. Here are a few examples of each:

Going from detailed to Abstract

The lone seagull fades

Into the vast thundercloud’s

Forceful harmony

(Originally published here. These first two lines provide specific imagery, and the final line connects the seagull’s moment with the concept of harmony.)

This winding dirt road

What wonders I must go see

To explore the world

(Originally published here. The first line starts with a vivid image of being on a road, and the second two lines connect it to a theme of exploration.)

All this background noise

Droning all around to sell

Yet another myth

(The second line provides more context for the scene, establishing that the noise is caused by sellers, and the third line connects the theme to the abstract idea advertisement as a form of mythmaking.)

New job, new projects

New toolkits, new people with

New idols they serve

(As a list poem, the final line is a continuation of items on the list, but it also establishes and summarizes the poem’s theme of work as a form of idolatry.)

Drop the heavy box

Shards of glass fly everywhere

Hope is laid to rest.

(The first two lines describe a moment, and the final line connects that imagery to broken hope. This summarizes the key theme of the poem.)

From Abstract to Specific Examples

In this type of poem, the final lines that provide specific examples or imagery of an already abstract initial lines:

I lie in the shade

Of your blistering haiku

No rest from the heat

(Originally published here. This haiku’s final line concludes with a new piece of imagery; this time about the feeling of heat.)

Always bursting through

The cracks of your perspective,

The light will shine through

(Originally published here. The second two lines add visual imagery of what is bursting through from the first line.)

My thoughts could kill me:

The sea of despair tugs me;

They hold me under…

(This final line concludes with the vivid image of despairing thoughts drowning the narrator.)

Emotional case

But I can’t talk about it

A weight inside me

(Originally published here. This final line also concludes with what it feels like to have such intense emotions that one cannot talk about.)

Reflecting on the Experience

In these poems, the later lines that provides the context in which the narrator or author is thinking about the earlier lines:

The half moon window

Betrays the glow of night sky

Comforting my thoughts.

(Here the final line shows the narrator’s perspective on and relationship with the moon they have been looking at.)

A blink of an eye

Everything can change so fast

For the good or bad

(In the final line, the narrator evaluates their stance on the sudden change described in the first two lines.)

Joys of sleeplessness:

You get to marinate in

Every useless thought

(The final two lines demonstrate the narrator’s stance on sleeplessness.)

These are all different techniques where the final lines continue to reveal the theme of the first line or lines, whether that be by broadening or abstracting the theme, narrowing it, providing rich imagery, or providing a type of reflection.

What My Friend and I Have Learned Writing a Haiku a Day for the Last Six Years

Six years ago, my friend and I started writing a haiku a day. We wanted to practice the muscle of writing, and a short poem like a haiku was something we could feasibly do once a day: it really only takes a minute or two to write out a haiku. Little did we know how much this would transform our writing and become one of the most useful meditative habits we did in our lives. We would recommend anyone interested do the same.

We’ve done it for many years. I almost think of us as having different eras. Over the months and years, we each focused on different things or tried different styles. Looking back, it feels like looking through the photo album of different eras in our lives. Here are some the major lessons we learned writing a haiku a day:

How to Write Succinctly

Writing haikus forced us to write succinctly. Haikus are short. They forced us to compress complex points and stories into only a few words and syllables. In the classic form, you have three lines and 19 syllables to get all my thoughts down. An idea or impression that might normally take me one or two paragraphs to describe, we must whittle down into only a few words. So the crucial question becomes, what about our message is most important and how to get that across as succinctly as possible?

Notice the Simple Moments of Life

It also helped us see the world anew. It became a way to notice the little experiences in life that glide by during the day. We would have to pause to reflect on them long enough to form them into a coherent poem. Traditionally, Japanese haiku writers wrote about the subtleties of nature. We did not always do that, but writing haikus still forced us to reflect on the subtle, little moments in life that we normally regulate to the background. A quirky social moment that passed as quickly as it came, a short fleeting feeling that one has before getting up to do something else, etc. We both often live with our head in the clouds, so being in the moment had a meditative effect on us.

How to Be Disciplined about Writing

Writing is a discipline, and like any discipline, practice is the best way to get better. Practicing writing, even if only through a little haiku, we noticed our writing improving significantly over the years. We not only improved our ability to write haikus but also in other forms of poetry and in other forms of writing. Stories, essays, even emails at work, these all got easier and better.

How to Build Other Habits

We wrote a haiku every single day. Our fun days, our awful days when some crisis happens, a day we’re busy at work, it doesn’t matter. We wrote a haiku on that day. This took discipline to do and taught us how to build other habits. I found the best way to build habits personally is to do it a little every day, and the best way to do something every day is to set aside a consistent time in the rhythm of my day to do it. New jobs, the pandemic, traveling the world, and other major life changes might completely change my daily rhythm, but no matter what schedule I had, I would make sure I found time to write a haiku.

Creativity Is Contagious

I noticed that nothing inspired me to write haikus than writing haikus. Especially on a long walk or even a long flight, my mind would wander and think about a nice haiku. This would inspire me to think up even more haikus, sometimes on the same theme, sometimes completely different. This would spur me to write even more haikus, and in a few minutes, I might write several dozen haikus before my inspiration slowed back down. These led to some of my favorite pieces.

Creativity energy is contagious like this. Creating catalyzes more creativity. When I had ideas, I would come up with more, or when I heard my friend’s creative ideas, it would spur more. Being in spaces full of creative energy is most important to creating. This includes being around other creatives but also open spaces where my mind can wander like a long walk, drive, or bike ride through the city.

Helping Ensure People Have a Positive, Non-Judgmental Experience Is the Essential to Whether They Enjoy Creative Writing

I also introduced other haiku activities with many other friends, and I have learned how essential a positive, welcoming environment is to people’s relationship with writing haikus. How much someone enjoys writing a haiku is based pretty much entirely on how validated they feel that their haikus are.

For example, I created a game called “Apples to Haiku”, a variant of the “Apples to Apples” but with haikus. A judge comes up with a topic for a haiku. Everyone else writes a haiku based on that topic, and the judge determines their favorite one. This game can be fun, but something about the game mechanic seems to lead to a few players’ haikus getting routinely chosen and others’ almost never chosen. The former people love the game and often grow to really enjoy writing haikus; whereas, the latter usually hate it and grow to dislike haiku writing. They will almost always be the first to give up on the idea of writing a haiku, internalizing the idea that they are “bad” at it.

Overall, when writing haikus, the external validation of one’s work seems to be the most significant factor in whether they like or dislike the activity. People seem to look to others, especially in the early stages of starting to write haikus, to determine whether they are “any good at them” and use that to construct their self-image of the activity. Thus, I stopped playing competitive haiku games like Apples to Haiku but would focus on cooperative or affirming haiku activities where everyone wrote haikus together, building off each other’s ideas. My cooperative favorite haiku game of one where one person writes the first line of haiku, the next person creates the second line, and so on (hundreds of years ago, Japanese aristocrats may have played a much more specific version of this, but as far as I can tell, their version was competitive). This is positive and affirming, where “the game” is to figure out how to form an interesting haiku together. This leaves people feeling inspired rather than discouraged.

Seeing the Contours of Our Lives

Finally, looking back at our haikus makes me reminisce about our lives over the last several years, kind of like looking through a photo album. Different major life events came and went: the highs of starting a new relationship, then the lows of the breakup, or the promise of a new job slowly turning into the slog we hate, etc. All reflected in the tone of our haikus.

Our approach to writing haikus also fluctuated over time. We might have a few months where one of us really enjoyed a certain style of haiku. For example, my friend went through a phase where each day, he would pick a tarot card, look at the image drawn on it, and write a piece based on it. This gave him inspiration for a couple months.

I went through a phase where I would assemble interesting five and seven syllable phrases from articles, titles of books, or even advertisements I saw during my daily commute into a haiku. I went through another phase where I read poets from around the world (ranging from classical Chinese poets to Syrian modernists to traditional Japanese haikus) and took specific lines in these poems that stood out to me and wrote haikus based on them in my own perspective and style. I even had a programming phase where I wrote poems in a programming language like Python or Java.

Conclusion

Writing daily haikus has been transformative for both of us, and I would recommend any reader try it. It’s not that hard once you get the hang of it. Now, after doing it for many years, we have realized how what we got out of it changed over the years. We made it our own in surprisingly different ways during different times in our lives and strongly recommend anyone develop their own ways to do it. You’ll never know where it will take you.

(Interested in reading the haikus, many of them are here. In my next post, I also plan to go through a number of haiku examples over the years, so you can also stay on the lookout for that.)

The Adventurous Balloon (A Short Story)

A little girl was holding a handful of balloons, but let go. Excited to be free, they all flew into the sky.

One, though, was even more excited than the others, and shot up within the pack. When a wind current knocked the rest down back to earth, it missed the current and soared high above them.

“Where are you going?” The others asked.

“I will ascend to the highest reaches of the heavens!”

And ascend it did. It marveled at the view, rising higher and higher over the earth. Suddenly, its skin cranked in the colder air, and it shriveled up into a raison, falling harshly back down towards the earth.