HERO OF THE WEEK

HERO OF THE WEEK
POET OF THE WEEK: DAN DEDIVER OBODOEFUNA . "SONNET VIII (18th April, 2013)

Monday, 21 October 2013

HAIKU AND HOW WE WRITE IT (PART 2) on the 21st of Octorber, 2013













HAIKU AND HOW WE WRITE IT. (PART TWO)
 compiled by: MOSES S. ROTIMI

#Help promote poetry, #COMMENT on this article, and help forge letters into golden words.

USE SENSORY LANGUAGE

(1)  Describe the details. Haiku are comprised of details observed by the five senses. The poet witnesses an event and uses words to compress that experience so others may understand it in some way. Once you have chosen a subject for your haiku,
(2)  think about what details you want to describe. Call the subject to mind and explore these questions
·         What did you notice about the subject? What colors, textures, and contrasts did you observe?
·         How did the subject sound? What was the tenor and volume of the event that took place?
·         Did it have a smell, or a taste? How can you accurately describe the way it felt?

(3)   Show, don't tell. Haiku are about moments of objective experience, not subjective interpretation or analysis of those events. It's important to show the reader something true about the moment's existence, rather than telling the reader what emotions it conjured in you. Let the reader feel his or her own emotions in reaction to the image.
o   Use understated subtle imagery. For instance, instead of saying it's summer, focus on the slant of the sun or the heavy air.
o   Don't use cliches. Lines that readers recognize, such as "dark, stormy night," tend to lose their power over time. Think through the image you want to describe and use inventive, original language to convey meaning. This doesn't mean you should use a thesaurus to find words that aren't commonly used; rather, simply write about what you saw and want to express in the truest language you know.


ABOVE ALL
Be inspired
Practice a lot
Communicate with other poets.

ADDITIONAL TIPS:
·         Haiku has been called "unfinished" poetry because each one requires the reader to finish it in his or her heart.
·         Contemporary haiku poets may write poems that are just a short fragment with three or fewer words.
·         A Haiku doesn't always need to rhyme.
·         Haiku originated from haikai no renga, a collaborative group poem that is usually one hundred verses in length. The hokku, or starting verse, of renga collaborations indicated the season and also contained a cutting word. The haiku as its own form of poetry continues in this tradition.

Sample Love Haiku
  • Refreshing and cool,
    love is a sweet summer rain
    that washes the world.
  • Love is like winter
    Warm breaths thaw cold hearts until
    one day the spring comes
  • A bird flies sweetly
    on paper wings. Telling all
    of my love for you.
  • Every day I will
    love you more than you could know.
    We are here as one.
  • The softest whisper
    beckons me closer to you.
    I love you, dearest.
  • Vast as a mountain,
    my love for you shines through for
    all the world to see.

Sample Funny Haiku
  • One shark said to the
    other when eating a clown
    fish: this tastes funny.
  • The bartender said
    to the neutron, “For you, sir,
    there will be no charge.”
  • A question for you:
    Where does Washington keep his
    armies? His sleevies.
  • An octopus went
    off to war. It’s a good thing
    that he was well-armed.
  • A wise man once asked,
    “Why, pray tell, is the sand wet?”
    Because the sea weed.
  • The best way to carve
    wood is extremely slowly,
    whittle by whittle.
 Compiled By: MOSES S. OLAROTIMI (Sheyzznote)

Tuesday, 8 October 2013

HAIKU AND HOW WE WRITE IT (PART 1) on the 8th of Octorber, 2013











HAIKU AND HOW WE WRITE IT. (PART ONE)
compiled by: MOSES S. ROTIMI

#Help promote poetry, #COMMENT on this article, and help forge letters into golden words.

(1) Know the sound structure of Haiku. 
Japanese Haiku traditionally consist of 17 on, or sounds, divided into three phrases: 5 sounds, 7 sounds, and 5 sounds. English poets interpreted on as syllables. Haiku poetry has evolved over time, and most poets no longer adhere to this structure, in either Japanese or English; modern Haiku may have more than 17 sounds or as few as one.
When you're deciding how many sounds or syllables to use in your Haiku, refer to the Japanese idea that the Haiku should be able to be expressed in one breath. In English, that usually means the poem will be 10 to 14 syllables long.

(2) Use Haiku to juxtapose two ideas. 
The Japanese word kiru, which means "cutting," expresses the notion that Haiku should always contain two juxtaposed ideas. The two parts are grammatically independent, and they are usually imagistically distinct as well.

Japanese haiku are commonly written on one straight line, with juxtaposed ideas separated by a kireji, or cutting word, that helps define the ideas in relation to each other. The kireji usually appears at the end of one of the sound phrases. There is no direct English translation of the kireji, so it is often translated as a dash. Note the two separate ideas in this Japanese haiku by Bashō: “how cool the feeling of a wall against the feet — siesta”.

English haiku are most often written as three lines. The juxtaposed ideas (of which there should only be two) are "cut" by a line break, punctuation, or simply a space. This poem is by American poet Lee Gurga:
fresh scent—
the labrador's muzzle
deeper into snow

CHOOSE A SUBJECT

(3) Distill a poignant experience.
Haiku is traditionally focused on details of one's environment that relate to the human condition.

Japanese poets traditionally used haiku to capture and distill a fleeting natural image, such as a frog jumping into a pond, rain falling onto leaves, or a flower bending in the wind. Many people go for walks just to find new inspiration for their poetry, known in Japan as ginkgo walks.

Contemporary haiku may stray from nature as a subject. Urban environments, emotions, relationships and even humorous topics may be haiku subjects.

(4) Include a seasonal reference.
 A reference to the season or changing of the seasons, referred to in Japanese as kigo, is an essential element of haiku. The reference may be obvious, as in using a word like "spring" or "autumn" to indicate the season, or it might be subtler. Example: poem by Fukuda Chiyo-ni:
morning glory!
the well bucket-entangled,
I ask for water

(5) Create a subject shift. 
In keeping with the idea that haiku should contain two juxtaposed ideas, shift the perspective on your chosen subject so that your poem has two parts. For example, you could focus on the detail of an ant crawling on a log, then juxtapose that image with an expansive view of the whole forest, or the season the ant is currently inhabiting. The juxtaposition gives the poem a deeper metaphorical meaning than it would have if it were a simple, single-planed description.

        Sample Nature Haiku
An afternoon breeze
expels cold air, along with
the fallen brown leaves.
Cherry blossoms bloom,
softly falling from the tree,
explode into night.
The warmth on my skin.
Fire falls beneath the trees.
I see the sun set.
Summer here again.
Music plays sweetly, drifting.
And life is renewed.
A winter blanket
covers the Earth in repose
but only a dream
An ocean voyage.
As waves break over the bow,
the sea welcomes me.

Compiled by: MOSES S. ROTIMI

Friday, 16 August 2013

FRAGMENTS (By: PRESIUS RUKEYSXZ DRE)













finally the wind is without a
voice.
It is tired of humming this dead
boys tune.
Pale within my own skin.
I used to love having so much to
loose.
Close your eyes, dream of me just as
i dreamed of you.
Open it to find everything in ruins.
Sober serene tunes..
Evergreen tales.
Father, did u ever read what i
wrote you?.
Hidden beneath that old grey
shelf.
Did u ever listen to what i told u?.
Under that old num tree?.
Did u ever listen to the song the
wind sang?.
Close to those mountains?.
Did u ever let in what the world
said?
The poet and the swaying blade.
The distant gossips and the
deafening sighs.
Have u ever thought this world as
a dream.
Many mistakes seems
uncorrected.
Are u the martyr? Are u the saint?.
Are u God?, Are u an Angel?.
How blind can u be, cant u see.
I choose the long road but will u
wait?
Through these waves, Through
Aragons trail.
A sinners gift to that princess of
lust.
His coins an open gift.
Can u blindfold the blind?.
Can u sing to the deaf?
Can u tell the lost to find his way?
Or preach to the preacher to
preach what is right?
A friendly hangman and his noose
around a frayed heart.
Eternity torn apart.
As the priest yells "MAY GOD HAVE
MERCY ON HIS SOUL"
are u God? Aren't u just like us?
Death toll now the funeral bells.
And the hymn for the dead.
A song for the lost one.
Now he is free, Swimming in the
sea of souls.
Home-bound he is, to heaven or
hell I know not"

Written By: PRESIUS RUKEYSXZ DRE
Posted By: Moses S. Rotimi

     
                                                         All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the written permission of the publishers.

Wednesday, 24 July 2013

WHY FEAR DEATH (BY: JOSEPH SUCCESS)

















Why fear death when life in itself is damned
Speaking evil of death when it is our final resting place
Both the rich and the poor will share
A life of fulfillment and equality
And the noble lords shall be dressed same with the pauper
Brushing shoulders as they are rushed into eternity
Of fabled damnation or eternal rest
But who cares for this life
When each day reminds you of your final succor
Death in itself

Why fear humans when you are one
Standing on two legs with tails shaped into buttocks
Terrorizing creatures so far named animals
Using them for meat while condemning their tastes
Caring not if they have souls for reckoning
Giving them no chance to repent of their animistic sins
What happens if their blood should cry against you
And your fellow two feet standing humans eats you
Sharing your body parts over a camp fire
While in death you termed them cannibals
Forgetting that you once preyed on four footed animals

Why marry when you can leave alone
Doing things the way you want
Priding yourself as the lord of your decisions
Lying on the bed with a self fulfilled smile
Yet loneliness still creeps to your heart
Which neither prostitutes nor masturbation can take off
A partner being the ideal solution
Coming into your life and turning it around
Complaints the order of your peaceful day
But who are you to say anything
Your life is no longer yours
Wait patiently for death to make you fulfilled

Why fear death when life in itself is damned
And the only hope rest in a keg of palm-wine
Drown that fear and face life headlong
Making necessity the father of your inventions
For death is the continuation of life in silence.


WRITTEN BY:  JOSEPH SUCCESS
EDITED BY: Moses S. Olarotimi

Author's Info: PROFILE

                                                           
                                                         All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the written permission of the publishers.

Tuesday, 16 July 2013

TRUE FRIENDSHIP (by OYEM GARY EMEKE)




















I sit here today, thinking
of dreams we've had, and days gone by
Wondering if my world would be so beautiful
if I hadn't looked into your lovely eyes


Spent all dawn thinking of the merriment we've had
  sitedunder thy glowy shades
as the chilling west-wind
whistled past


A great companion you are
even when the lake seemed gloomy
your beauty kept us company
majestic and serene
juicy as the fairest of maiden's breast
your gaze ruptures d hardest of hearts n embrace, a guide through the
loneliness of night..


A companion you've been
my only dual guide
my mentor, and
waitful friend.


Written By: OYEM GARY EMEKE (NEGRO)
Edited by; Moses S. Olarotimi



Author's Info: PROFILE








                                                      All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the written permission of the publishers.