On the rough road

Re-organized my blog and this collection of haiku I put together three years ago, now has its own page.

Thought I’d put it out there, in case you didn’t see it earlier – tucked away in a cluttered sidebar.

The page has a feedback option as well, so do share your thoughts – on the collection, on haiku, on Basho, on travel, on life!


Honey Glazed Sky

honey glazed sky
spring recites
the secret poems of dawn

For CDHK where we learn Basho’s ‘Sense Switching‘ or ‘Synesthesia’ technique in which the poet presents an unexpected or different sensory aspect of the object. “..closely associating a sensory experience of one kind with a sensory experience of another..” -Toshimi Horiuchi
Basho writes:
pine and cedar
to admire the wind
smell the sound
the sea darkens —
a wild duck’s call
faintly white


at a crossroads
asking for directions

For CDHK where we learn Basho’s ‘Pseudo Science‘ technique which is not merely a distorted view of science presented with poetic license but a valid thought process in the “other reality” that exists in the poet’s mind. “…what we see or experience there is so real that we report it as a normal phenomenon. Thus my name “pseudo-science..” – Jane Reichhold
Basho writes:
a falling sound
that sours my ears
plum rain


all of infinity
in an infinitesimal double helix

For CDHK where we learn Basho’s ‘Paradox” technique which encourages the reader to ponder about the juxtaposition of two incongruous realities. “..one must not think ill of the paradox, for the paradox is the passion of thought, and the thinker without the paradox is like the lover without passion…” – Søren Kierkegaard
Basho writes:
black forest
whatever you may say
a morning of snow


in this churn of sky and sea and time
from whom will the mind
learn stillness?

For CDHK where we learn Basho’s ‘riddle” technique that tries not to posture as intriguing rhetoric but to trigger, like a Zen Koan, philosophical introspection. An old classic is “ “Am I a butterfly dreaming I am a man or a man dreaming I am a butterfly?”
Basho writes:
has spring come
or the year gone away?
second last day


dark clouds rumble
a lone mynah
swallows a tear

For CDHK where we learn Basho’s ‘Narrowing Focus” technique in which you start with a wide-angle lens for the 1st line, switch to a normal lens for the 2nd and zoom in for a close up for the 3rd line, drawing the reader to a single basic element of the haiku.
Basho writes:
old village
not a house without
a persimmon tree


blurred evening
the rain dissolves
the colours in the sky

For CDHK where we learn Basho’s ‘Sketch’ or ‘Shasei” technique, strongly advocated by Masaoka Shiki, which requires the scene to be depicted exactly as it is without riddles, pun or rhyme.
Basho writes:
early autumn
the sea and rice fields
one green


the empty park bench
and the winter sun

For CDHK where we learn Basho’s ‘association’ technique – a method of relating distinct things through new and apt associations.
Basho writes:
hating flowers
the mouths of talkative people
and the wind bag



no answers
yet no questions
I return empty


gibbous moon
see how radiant


the wind that brushes my lips
drifts away
I with it

Linked to Carpe Diem Haiku Kai, where Basho’s journey to the Deep North (Oku no Hosomichi) concludes. From Tsuruga, Basho travels to Ogaki, where a joyful reunion with Sora and other friends marks the end of his trip. But, like a troubadour who cannot sing his songs in the same place for long, he soon sets off again, torn from his home, as he says, like a clam from its shell.
Previous posts in this series are HERE.
I have followed in Basho’s footsteps this entire month through the prompts at CDHK. Grateful to all who travelled along with me. Your support was invaluable. Hope 2016 brings with it many new journeys and more beautiful poetry. Have a wonderful new year!!