Blyth Scholarship Essay Knights Columbus Jfk Essay
For me, haiku has always been more than a poetic form, or even a literary pursuit, but rather a Way of living awareness—an art of Zen. Charles Trumbull is a haiku poet and historian of haiku, past newsletter editor and president of the Haiku Society of America, editor and publisher of Deep North Press, organizer of Haiku North America 2001 (Chicago), and editor of Modern Haiku since 2006.
 It seems most likely that shortly after he graduated from college, Hackett was involved in a motorcycle accident and was thrown through a plate glass window.
by Charles Trumbull, New Mexico An abandoned board — shaping, sunning, becoming a Shangri-la for bugs.
 Among the more problematic poets associated with the begin- nings of the American haiku movement is James W. He catapulted to international fame in 1964 when a haiku of his took top honors among thousands submitted in the first Japan Air Lines haiku competition.  Hackett sent his work to Blyth, with whom he had begun a correspondence grounded in both men’s conviction that Zen and haiku are inseparable.
At this point, however, Hackett virtually disappeared, apparently publishing nothing and making no public appearances for fifteen years.
He surfaced briefly in 1993 at the time his collection of haiku was republished in America, then submerged again for another ten years until he began to become moderately active in non-American haiku circles. At the time of his greatest fame, in the mid-1960s, his haiku were unquestionably among the best being written outside Japan.
 A letter dated 31 May has “1964” in square brackets, apparently added by Hackett, but it must have been written a year or two earlier than 1964, if only because the “Last letter”—see below—was tentatively dated “[April? Or to put it another way, I would like to get rid of nationalism in culture as well as other things, and have Esquimaux play Othello and Hottentots excel in the organ fugues of Bach. This is all set in type, but after telephoning about it to Mr. Hackett’s haiku, together with Blyth’s consideration of haiku and Zen in English-language poetry, appear in the last chapter of his (II:351–63). They are in no way imitations of Japanese haiku, nor literary diversions. Perhaps to call attention to these verses or differentiate them from “real” haiku?
1964].” This letter was sent to cover a collection, which Hackett says has not survived, of his haiku that Blyth had marked with symbols to indicate his reactions. Nakatsuchi [of Hokuseido Press], he was more than willing to have an appendix added. Blyth explained: “The following thirty [actually thirty-one] verses are chosen, not altogether at random, from a forthcoming book of haiku by J. They are (aimed at) the Zen experience, the realising, the making real in oneself of the thing-in-itself, impossible to rational thought, but possible, ‘all poets believe’ in experience.” Curiously, the format Blyth used for Hackett’s work was different from that for the Japanese haiku in the History. Four of the haiku selected by Blyth were among those that had been published in ,  a 5 x 7 paperback containing 150 haiku, including all but one of those that had appeared in the Blyth appendix.
Nearby lived three other poets, Christopher Thorsen, David Le Count, and Christopher Herold. According to Hackett, he corresponded with Blyth for five years, until the spring of 1964. Hackett explains why he wrote to Blyth: Significantly, it was not Blyth’s awesome erudition or his intellectual genius that caused me to contact him. After some six months of writing, I sent a collection of my haiku poems in English to Dr. Editors” Note: Part Two will appear in the Spring/Summer Issue, 33:2.
A bright quiet night; Blown by the moon, a pine branch Rests against the wall. He used it in a composite of extracts from Blyth’s letters as endorsements for his later books. The story of Shangri-La is based on the concept of Shambhala, a mystical city in the Tibetan Buddhist tradition.” (accessed Dec. A version of this essay was presented at the Haiku Society of America Quarterly Meeting in Eugene, Ore., March 7, 2009.
In this letter, moreover, Blyth wrote that he was “going to put the best of the verses at the end of my 5th volume of Haiku which I am working on now.” This became his two-volume . ” The chronology of publication would suggest that Hackett’s final communication to Blyth was written within a few months before April 1964. The complete paper, including sections devoted to “That Art Thou” and Hackett’s haiku aesthetics and poetics, is available from the author at 30, 34. Higginson, Cor van den Heuvel, Ikuyo Yoshimura, and David Cobb.
A serious accident in his youth resulted in a redirection of Hackett’s life.
Details are fuzzy, and Hackett’s own descriptions move quickly from sparse facts to mysticism and even melodrama, as in this excerpt from a 2002 speech: At this time, I suffered a life-threatening injury that profoundly changed my values and direction.