Kashu Mainichi Shimbun Jiji Orai --1987 year 11 month 25 day--
= California Daily News (1931-1992, Los Angeles) =
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As the name suggests, there is no "kimari=regulation" in Jiyu-ritsu haiku. It can be longer or shorter than the seventeen characters of five-seven-five unlike normal HAIKU , and <kigo=season-related words> are not required. There may be an implicit explanation instead of <kimari>. As can be seen from the name of a one line poem, it seems that there is no long poem so that the breath enters in the middle of composing a poem.
There is a `doujinshi=club magazine=literary coterie magazine` by artists of Jiyuu Ritsu haiku "So Un=LAYERED CLOUD". This year, 1987, the magazine that Seisensui presided over for a long time, printing the eight hundred and ninetieth issue in November.
In the October issue, I encountered a poem by a writer named Kazuo who visited Okinawa and wrote several One-Line-Poem.
*** An afterimage of a war not weathered blooming in the color of hibiscus blood
The color of this tropical flower can be seen as the color of passion raised by the sun, or the color of blood shed in the war. Even though it is too straightforward to express, it produces, instead, the effect that many words might speak out.
*** The pointed expression of the base town on the back of the tourist information
A friend of mine once commented that sightseeing in Okinawa is tantamount to a trip to be informed of the vastness of the US military base there. Kazuo knows that what he sees as a "pointed expression" is nothing more than a landscape of his own chest pain.
*** There was a war, nenetheless, too blue sky of Mabunin Hill
Compared with the previous two poems, the distance between the subject and Kazuo is different here. At the moment when "there was war" and "nonetheless" were connected, Kazuo was able to expand the realm of consciousness, taste freedom, and swing his gaze into the sky. With the reason that the subject matter here is strongly objectified, this poem has been much better-perfected thanthe first two poems.
*** The crumpled face of a survivors of war is staring at the sea.
The only phrase in Kazuo's five Okinawan poems that shows the shadow of a person. Who is the one who "survived"? Facing the sea of Okinawa, the artist who felt "regret" was barely able to utter this phrase by letting the other person of "wrinkled face" stands just by him.
*** What a white serenity of the southern sea, which has eaten away the ravages of war.
Again, it is a phrase that deliberately puts straightness to the front. In fact, the artistry of this phrase, which clearly shows "it's stillness," is concentrated in this single letter of "da=a word that shows mental decisivenee". Without being swept away by anger, without drowning in sentimentality, he instantly brings out the "Southern Sea" in front of his imagination. It is a phrase that excels the power of this author.
Kazuo is now seventy-six years old. What about the sometimes shown excessive youthfulness of these five poems? It seems that Okinawa, the subject matter, invited this author to a time slip trip.
*** Nonchalantly, a woman takes a glass of wine from the man urging her to believe him.
Above is the poem of the human-feeling-filled world that Kazuo is best at.
We, the M\all member of KAHUU MAINICH, are looking forward to New Year's public literary contest. Thesis, creation, essays, tanka, haiku, Senryu, children's composition. What kind of encounters do you have with literary fans in Southern California this winter? It's a fun season.
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YANDEX TRANSLATE partially used
