Haiku

Haiku (俳句, listen ) is a type of short form poetry originally from Japan. Traditional Japanese haiku consist of three phrases that contain a kireji, or "cutting word",[1] 17 on (a type of Japanese phoneme) in a 5, 7, 5 pattern,[2] and a kigo, or seasonal reference. However, modern haiku vary widely on how closely they follow these traditional elements.

This article is about the Japanese poetic form. For haiku poetry written in English, see Haiku in English. For other uses, see Haiku (disambiguation).
Haiku by Matsuo Bashō reading "Quietly, quietly, / yellow mountain roses fall – / sound of the rapids".

Haiku originated as an opening part of a larger Japanese poem, known as a renga. These haiku that were written as an opening stanza were known as hokku and eventually writers began to write them as their own stand-alone poems. Haiku was given its current name by the Japanese writer Masaoka Shiki at the end of the 19th century.[3]

Originally from Japan, haiku today are written by authors worldwide. Haiku in English and haiku in other languages have their own styles and traditions while still incorporating aspects of the traditional haiku form. Modern Japanese haiku (現代俳句, gendai-haiku) are also said to increasingly vary from the tradition of 17 on or taking nature as their subject.[4]

In Japanese, haiku are traditionally printed as a single line while haiku in English often appear as three lines.

There are several other forms of Japanese poetry related to haiku, such as senryū and tanka, as well as other art forms that incorporate haiku, such as haibun and haiga.

Traditional elements

Kiru and Kireji
Main article: Kireji

In Japanese haiku a kireji, or cutting word, typically appears at the end of one of the verse's three phrases. A kireji fills a role analogous to that of a caesura in classical western poetry or to a volta in sonnets. Depending on which cutting word is chosen, and its position within the verse, it may briefly cut the stream of thought, suggesting a parallel between the preceding and following phrases, or it may provide a dignified ending, concluding the verse with a heightened sense of closure.[5]

The fundamental aesthetic quality of both hokku and haiku is that it is internally sufficient, independent of context, and will bear consideration as a complete work. The kireji lends the verse structural support,[6] allowing it to stand as an independent poem.[7][8] The use of kireji distinguishes haiku and hokku from second and subsequent verses of renku; which may employ semantic and syntactic disjuncture, even to the point of occasionally end-stopping a phrase with a sentence-ending particle (終助詞, shūjoshi). However, renku typically employ kireji.[9]

In English, since kireji have no direct equivalent, poets sometimes use punctuation such as a dash or ellipsis, or an implied break to create a juxtaposition intended to prompt the reader to reflect on the relationship between the two parts.

The kireji in the Bashō examples "old pond" and "the wind of Mt Fuji" are both "ya" (や). Neither the remaining Bashō example nor the Issa example contain a kireji although they do both balance a fragment in the first five on against a phrase in the remaining 12 on (it may not be apparent from the English translation of the Issa that the first five on mean "Edo's rain").

On
Main article: On (Japanese prosody)

In comparison with English verse typically characterized by syllabic meter, Japanese verse counts sound units known as "on" or morae. Traditional haiku consist of 17 on, in three phrases of five, seven and five on respectively. Among contemporary poems teikei (定型 fixed form) haiku continue to use the 5-7-5 pattern while jiyuritsu (自由律 free form) haiku do not. One of the examples below illustrates that traditional haiku masters were not always constrained by the 5-7-5 pattern.

Although the word "on" is sometimes translated as "syllable", one on is counted for a short syllable, two for an elongated vowel or doubled consonant, and one for an "n" at the end of a syllable. Thus, the word "haibun", though counted as two syllables in English, is counted as four on in Japanese (ha-i-bu-n); and the word "on" itself, which English-speakers would view as a single syllable, comprises two on: the short vowel o and the moraic nasal n̩. This is illustrated by the Issa haiku below, which contains 17 on but only 15 syllables. Conversely, some sounds, such as "kyo" (きょ) may look like two syllables to English speakers but are in fact a single on (as well as a single syllable) in Japanese.

In 1973, the Haiku Society of America noted that the norm for writers of haiku in English was to use 17 syllables, but they also noted a trend toward shorter haiku.[10] Shorter haiku are very much more common in 21st century English haiku writing.

About 12 syllables in English approximates the duration of 17 Japanese on.[11]

Kigo
Main article: Kigo

A haiku traditionally contains a kigo, a word or phrase that symbolizes or implies the season of the poem and which is drawn from a saijiki, an extensive but prescriptive list of such words.

Kigo are often in the form of metonyms and can be difficult for those who lack Japanese cultural references to spot. The Bashō examples below include "kawazu", "frog" implying spring, and "shigure", a rain shower in late autumn or early winter. Kigo are not always included in non-Japanese haiku or by modern writers of Japanese "free-form" haiku.

Examples

The best-known Japanese haiku[12] is perhaps Bashō's "old pond":

古池や蛙飛び込む水の音
  ふるいけやかわずとびこむみずのおと
  furu ike ya kawazu tobikomu mizu no oto

This separates into on as:

fu-ru-i-ke ya (5)
ka-wa-zu to-bi-ko-mu (7)
mi-zu-no-o-to (5)

Translated:[13]

old pond
frog leaps in
water's sound

Another haiku by Bashō:

初しぐれ猿も小蓑をほしげ也
  はつしぐれさるもこみのをほしげなり
  hatsu shigure saru mo komino o hoshige nari[14]

This separates into on as:

ha-tsu shi-gu-re (5)
sa-ru mo ko-mi-no o (7)
ho-shi-ge na-ri (5)

Translated:

the first cold shower
even the monkey seems to want
a little coat of straw

This haiku by Bashō illustrates that he was not always constrained to a 5-7-5 on pattern. It contains 18 on in the pattern 6-7-5 ("ō" or おう is treated as two on.)

富士の風や扇にのせて江戸土産
  ふじのかぜやおうぎにのせてえどみやげ
  Fuji no kaze ya ōgi ni nosete Edo miyage[15]

This separates into "on" as:

fu-ji no ka-ze ya (6)
o-u-gi ni no-se-te (7)
e-do mi-ya-ge (5)

Translated:

the wind of Fuji
I've brought on my fan
a gift from Edo

This haiku by Issa[16] illustrates that 17 Japanese on do not always equate to 17 English syllables ("nan" counts as two on and "nonda" as three.)

江戸の雨何石呑んだ時鳥
  えどのあめなんごくのんだほととぎす
  Edo no ame nan goku nonda hototogisu

This separates into "on" as,

e-do no a-me (5)
na-n go-ku no-n-da (7)
ho-to-to-gi-su (5)

Translated:

of Edo's rain
how many gallons did you drink,
cuckoo?

Origin and development

From renga to renku to haiku
Main articles: Renga and Renku

Hokku is the opening stanza of an orthodox collaborative linked poem, or renga, and of its later derivative, renku (or haikai no renga). By the time of Matsuo Bashō (1644–1694), the hokku had begun to appear as an independent poem, and was also incorporated in haibun (a combination of prose and hokku), and haiga (a combination of painting with hokku). In the late 19th century, Masaoka Shiki (1867–1902) renamed the standalone hokku to haiku.[17] The latter term is now generally applied retrospectively to all hokku appearing independently of renku or renga, irrespective of when they were written, and the use of the term hokku to describe a stand-alone poem is considered obsolete.[18]

Bashō
Main articles: Matsuo Bashō and Hokku

In the 17th century, two masters arose who elevated haikai and gave it a new popularity. They were Matsuo Bashō (1644–1694) and Uejima Onitsura (1661–1738). Hokku is the first verse of the collaborative haikai or renku, but its position as the opening verse made it the most important, setting the tone for the whole composition. Even though hokku had sometimes appeared individually, they were always understood in the context of renku.[19] The Bashō school promoted standalone hokku by including many in their anthologies, thus giving birth to what is now called "haiku". Bashō also used his hokku as torque points within his short prose sketches and longer travel diaries. This subgenre of haikai is known as haibun. His best-known work, Oku no Hosomichi, or Narrow Roads to the Interior, is counted as one of the classics of Japanese literature[20] and has been translated into English extensively.

Bashō was deified by both the imperial government and Shinto religious headquarters one hundred years after his death because he raised the haikai genre from a playful game of wit to sublime poetry. He continues to be revered as a saint of poetry in Japan, and is the one name from classical Japanese literature that is familiar throughout the world.[21]

Buson
Main article: Yosa Buson
Grave of Yosa Buson

The next famous style of haikai to arise was that of Yosa Buson (1716–1783) and others such as Kitō, called the Tenmei style after the Tenmei Era (1781–1789) in which it was created.

Buson is recognized as one of the greatest masters of haiga (an art form where the painting is combined with haiku or haikai prose). His affection for painting can be seen in the painterly style of his haiku.[22]

Issa
Main article: Kobayashi Issa

No new popular style followed Buson. However, a very individualistic, and at the same time humanistic, approach to writing haiku was demonstrated by the poet Kobayashi Issa (1763–1827), whose miserable childhood, poverty, sad life, and devotion to the Pure Land sect of Buddhism are evident in his poetry. Issa made the genre immediately accessible to wider audiences.

Shiki
Main article: Masaoka Shiki

Masaoka Shiki (1867–1902) was a reformer and modernizer. A prolific writer, even though chronically ill during a significant part of his life, Shiki disliked the 'stereotype' of haikai writers of the 19th century who were known by the deprecatory term tsukinami, meaning 'monthly', after the monthly or twice-monthly haikai gatherings of the end of the 18th century (in regard to this period of haikai, it came to mean 'trite' and 'hackneyed'). Shiki also criticized Bashō. Like the Japanese intellectual world in general at that time, Shiki was strongly influenced by Western culture. He favored the painterly style of Buson and particularly the European concept of plein-air painting, which he adapted to create a style of haiku as a kind of nature sketch in words, an approach called shasei (写生, "sketching from life"). He popularized his views by verse columns and essays in newspapers.

Hokku up to the time of Shiki, even when appearing independently, were written in the context of renku.[19] Shiki formally separated his new style of verse from the context of collaborative poetry. Being agnostic,[23] he also separated it from the influence of Buddhism. Further, he discarded the term "hokku" and proposed the term haiku as an abbreviation of the phrase "haikai no ku" meaning a verse of haikai,[24] although the term predates Shiki by some two centuries, when it was used to mean any verse of haikai. Since then, "haiku" has been the term usually applied in both Japanese and English to all independent haiku, irrespective of their date of composition. Shiki's revisionism dealt a severe blow to renku and surviving haikai schools. The term "hokku" is now used chiefly in its original sense of the opening verse of a renku, and rarely to distinguish haiku written before Shiki's time.

Western literature

The earliest westerner known to have written haiku was the Dutchman Hendrik Doeff (1764–1837), who was the Dutch commissioner in the Dejima trading post in Nagasaki during the first years of the 19th century.[25] One of his haiku:[26]

inazuma no 稲妻の
kaina wo karan 腕を借らん
kusamakura 草枕

lend me your arms,
fast as thunderbolts,
for a pillow on my journey.

Although there were further attempts outside Japan to imitate the "hokku" in the early 20th century, there was little understanding of its principles. Early Western scholars such as Basil Hall Chamberlain (1850–1935) and William George Aston were mostly dismissive of hokku's poetic value. One of the first advocates of English-language hokku was the Japanese poet Yone Noguchi. In "A Proposal to American Poets," published in the Reader magazine in February 1904, Noguchi gave a brief outline of the hokku and some of his own English efforts, ending with the exhortation, "Pray, you try Japanese Hokku, my American poets!" At about the same time the poet Sadakichi Hartmann was publishing original English-language hokku, as well as other Japanese forms in both English and French.

In France, haiku was introduced by Paul-Louis Couchoud around 1906. Couchoud's articles were read by early Imagist theoretician F. S. Flint, who passed on Couchoud's ideas to other members of the proto-Imagist Poets' Club such as Ezra Pound. Amy Lowell made a trip to London to meet Pound and find out about haiku. She returned to the United States where she worked to interest others in this "new" form. Haiku subsequently had a considerable influence on Imagists in the 1910s, notably Pound's "In a Station of the Metro" of 1913, but, notwithstanding several efforts by Yone Noguchi to explain "the hokku spirit", there was as yet little understanding of the form and its history.

In Spain, several prominent poets experimented with haiku, including Joan Alcover, Antonio Machado, Juan Ramón Jiménez and Luis Cernuda.[27] Federico García Lorca also experimented with and learned conciseness from the form while still a student in 1921.[28] The most persistent, however, was Isaac del Vando, whose La Sombrilla Japonesa (1924) went through several editions.[29] The form was also used in Catalan by the avant-garde writers Josep Maria Junoy (1885–1955) and Joan Salvat-Papasseit, by the latter notably in his sequence Vibracions (1921).[30]

In 1992 Nobel laureate Czesław Miłosz published the volume Haiku in which he translated from English to Polish haiku of Japanese masters and American and Canadian contemporary haiku authors.

The former president of the European Council, Herman Van Rompuy, is a haijin (俳人, haiku poet) and known as "Haiku Herman." He published a book of haiku in April 2010.[31][32][33]

Blyth
Main article: Reginald Horace Blyth

R. H. Blyth was an Englishman who lived in Japan. He produced a series of works on Zen, haiku, senryū, and on other forms of Japanese and Asian literature. In 1949, with the publication in Japan of the first volume of Haiku, the four-volume work by Blyth, haiku were introduced to the post-war English-speaking world. This four-volume series (1949–52) described haiku from the pre-modern period up to and including Shiki. Blyth's History of Haiku (1964) in two volumes is regarded as a classical study of haiku. Today Blyth is best known as a major interpreter of haiku to English speakers. His works have stimulated the writing of haiku in English.

Yasuda
Main article: Kenneth Yasuda

The Japanese-American scholar and translator Kenneth Yasuda published The Japanese Haiku: Its Essential Nature, History, and Possibilities in English, with Selected Examples in 1957. The book includes both translations from Japanese and original poems of his own in English, which had previously appeared in his book titled A Pepper-Pod: Classic Japanese Poems together with Original Haiku. In these books Yasuda presented a critical theory about haiku, to which he added comments on haiku poetry by early 20th-century poets and critics. His translations apply a 5–7–5 syllable count in English, with the first and third lines end-rhymed. Yasuda considered that haiku translated into English should utilize all of the poetic resources of the language.[34] Yasuda's theory also includes the concept of a "haiku moment" based in personal experience, and provides the motive for writing a haiku (' an aesthetic moment' of a timeless feeling of enlightened harmony as the poet's nature and the environment are unified'[35]). This notion of the haiku moment has resonated with haiku writers in English, even though the notion is not widely promoted in Japanese haiku.[note 1]

Henderson

In 1958, An Introduction to Haiku: An Anthology of Poems and Poets from Bashô to Shiki by Harold G. Henderson was published by Doubleday Anchor Books. This book was a revision of Henderson's earlier book titled The Bamboo Broom (Houghton Mifflin, 1934). After World War II, Henderson and Blyth worked for the American Occupation in Japan and for the Imperial Household, respectively, and their shared appreciation of haiku helped form a bond between the two.

Henderson translated every hokku and haiku into a rhymed tercet (a-ba), whereas the Japanese originals never used rhyme. Unlike Yasuda, however, he recognized that 17 syllables in English are generally longer than the 17 on of a traditional Japanese haiku. Because the normal modes of English poetry depend on accentual meter rather than on syllabics, Henderson chose to emphasize the order of events and images in the originals.[37] Nevertheless, many of Henderson's translations were in the five-seven-five pattern.

English-language haiku
Main article: Haiku in English

The first haiku written in English was arguably by Ezra Pound, In a Station of the Metro, published in 1913.[38] Since then, the haiku has become a fairly popular form among English-speaking poets. English haiku can follow the traditional Japanese rules, but are frequently less strict, particularly concerning the number of syllables and subject matter.

The loosening of traditional standards has resulted in the term "haiku" being applied to brief English-language poems such as "mathemaku" and other kinds of pseudohaiku. Some sources claim that this is justified by the blurring of definitional boundaries in Japan.[39]

World literature
Main article: Haiku in languages other than Japanese

In the early 20th century, Nobel laureate Rabindranath Tagore composed haiku in Bengali. He also translated some from Japanese. In Gujarati, Jhinabhai Desai 'Sneharashmi' popularized haiku[40] and remained a popular haiku writer.[41] In February 2008, the World Haiku Festival was held in Bangalore, gathering haijin from all over India and Bangladesh, as well as from Europe and the United States.[42] In South Asia, some other poets also write Haiku from time to time, most notably including the Pakistani poet Omer Tarin, who is also active in the movement for global nuclear disarmament and some of his 'Hiroshima Haiku' have been read at various peace conferences in Japan and the UK.[43] Indian writer in Malayalam language, Ashitha, wrote several Haiku poems which has been published as a book.[44][45] Her poems helped popularise Haiku among the readers of Malayalam literature.[46]

The Mexican poet José Juan Tablada is credited with popularising haiku in his country, reinforced by the publication of two collections composed entirely in that form: Un dia (1919),[47] and El jarro de flores (1922).[48] In the introduction to the latter, Tablada noted that two young Mexicans, Rafael Lozano and Carlos Gutiérrez Cruz, had also begun writing them. They were followed soon after by Carlos Pellicer, Xavier Villaurrutia, and by Jaime Torres Bodet in his collection Biombo (1925).[49] Much later, Octavio Paz included many haiku in Piedras Sueltas (1955).[50]

Elsewhere the Ecuadorian poet and diplomat Jorge Carrera Andrade included haiku among the 31 poems contained in Microgramas (Tokio 1940)[51] and the Argentine Jorge Luis Borges in the collection La cifra (1981).[52]

Haibun
Main article: Haibun

Haibun is a combination of prose and haiku, often autobiographical or written in the form of a travel journal.

Haiga
Main article: Haiga

Haiga is a style of Japanese painting based on the aesthetics of haikai, and usually including a haiku. Today, haiga artists combine haiku with paintings, photographs and other art.

Kuhi

The carving of famous haiku on natural stone to make poem monuments known as kuhi (句碑) has been a popular practice for many centuries. The city of Matsuyama has more than two hundred kuhi.

Famous writers

Pre-Shiki period

Shiki and later
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See also

Footnotes
  1. See however, 'Shiki's Haiku Moments for Us Today'.[36]

References
  1. Hiraga, Masako K. (1999). "Rough Sea and the Milky Way: 'Blending' in a Haiku Text," in Computation for Metaphors, Analogy, and Agents, ed. Chrystopher L. Nehaniv. Berlin: Springer. p. 27. ISBN 978-3540659594.
  2. Lanoue, David G. Issa, Cup-of-tea Poems: Selected Haiku of Kobayashi Issa, Asian Humanities
  3. Vásquez Rocca, Adolfo (January 2005). "Lógica paraconsistente, mundos posibles y ficciones narrativas" (PDF). A Parte Rei (in Spanish) (37): 8. Retrieved 28 June 2018.
  4. "Haiku: Poetic Form". poets.org. March 1, 2016. Retrieved April 20, 2019. As the form has evolved, many of these rules—including the 5/7/5 practice—have been routinely broken.
  5. Shirane, Haruo (2004). Early Modern Japanese Literature: An Anthology, 1600-1900. Columbia University Press. p. 521. ISBN 978-0-231-10991-8.
  6. Brief Notes on "Kire-ji" Archived 2009-08-27 at the Wayback Machine, Association of Japanese Classical Haiku. Retrieved 2008-10-16.
  7. Steven D. Carter. Three Poets at Yuyama. Sogi and Yuyama Sangin Hyakuin, 1491, in Monumenta Nipponica, Vol. 33, No. 3. (Autumn, 1978), p.249
  8. Konishi Jin'ichi; Karen Brazell; Lewis Cook, The Art of Renga, in Journal of Japanese Studies, Vol. 2, No. 1. (Autumn, 1975), p.39
  9. Sato, Hiroaki. One Hundred Frogs: from renga to haiku to English, Weatherhill 1983, ISBN 0-8348-0176-0
  10. 1973 definition of haiku on the website of the Haiku Society of America
  11. definition of haiku on the website of the Haiku Society of America
  12. Higginson, William J. The Haiku Handbook, Kodansha International, 1985, ISBN 4-7700-1430-9, p.9
  13. Translated by William J. Higginson in Matsuo Bashō: Frog Haiku (Thirty Translations and One Commentary), including commentary from Robert Aitken's A Zen Wave: Bashô's Haiku and Zen (revised ed., Shoemaker & Hoard, 2003)
  14. Works of Basho, Winter on Iga and Basho ict.ne.jp website.
  15. Works of Basho, Summer on Iga and Basho ict.ne.jp website.
  16. "Issa archive". Haikuguy.com. Retrieved 2012-01-06.
  17. Higginson, William J. The Haiku Handbook, Kodansha International, 1985, ISBN 4-7700-1430-9, p.20
  18. van den Heuvel, 1986, p.357
  19. Hiroaki Sato. One Hundred Frogs, Weatherhill, 1983, ISBN 0-8348-0176-0 p.113
  20. Yuasa, Nobuyuki. The Narrow Road to the Deep North and other travel sketches, Penguin 1966, ISBN 0-14-044185-9 p.39
  21. Rimer, J. Thomas. A Reader's Guide to Japanese Literature, Kodansha International 1988, ISBN 4-7700-1396-5 pp.69-70
  22. Ross, Bruce. Haiku Moment: An Anthology of Contemporary North American Haiku, Tuttle Publishing, 1993, ISBN 0-8048-1820-7 p.xv
  23. Henderson, Harold G. An Introduction to Haiku: An Anthology of Poems and Poets from Basho to Shiki, Doubleday Anchor Books, 1958, p.163
  24. Earl Miner, Japanese Linked Poetry. Princeton University Press, 1980. ISBN 0-691-01368-3 pbk.
  25. Haiku in the Netherlands and Flanders by Max Verhart, in the German Haiku Society website
  26. Otterspeer, W. Leiden Oriental connections, 1850-1940, Volume 5 of Studies in the history of Leiden University. Brill, 1989, ISBN 9789004090224. p360
  27. Octavio Paz, La tradición del haikú, Cambridge 1970
  28. Leslie Stainton, Lorca a Dream of Life, Bloomsbury 2013, chapter 6
  29. La haiku en lengua española
  30. Jordi Mas López, Els haikús de Josep Maria Junoy I Joan Salvat-Papasseit Barcelona Free University, 2002
  31. "Herman Van Rompuy publishes haiku poems". Telegraph.co.uk. 16 April 2010.
  32. "EU's "Haiku Herman" launches first poetry book". Reuters. April 15, 2010.
  33. Charter, David (April 16, 2010). "'Haiku Herman' Van Rompuy: poet, president and fish out of water". Times Online. London.
  34. Yasuda, Kenneth, Introduction 'The Japanese Haiku' Charles Tuttle Co Rutland 1957 ISBN 0804810966
  35. Otsuiji(Seiki Osuga) Otsuji Hairon-shu 'Otsuiji's Collected Essays on Haiku Theory' ed.Toyo Yoshida, 5th edn Tokyo, Kaede Shobo 1947
  36. Hirai, Masako ed.Now to be! Shiki's Haiku Moments for Us Today' (Ima, ikuru!Shiki no sekai) U-Time Publishing, 2003 ISBN 4860100409
  37. Henderson, Harold G. (1958). An introduction to haiku : an anthology of poems and poets from Bashō to Shiki. Anchor Books. pp. viii. ISBN 9780385052252. OCLC 857309735.
  38. Haiku in English: The First Hundred Years, eds. Jim Kacian, Philip Rowland, and Allan Burns, W.W. Norton & Co, New York, 2013
  39. Grumman, Bob. A Divergery of Haiku, ToxanAtomyzd in Modern Haiku 34:2, 2003, 20–26
  40. Article on Sneh Rashmi on website of Gujarati Sahitya Parishad (Gujarati Literary Council). In it, we read: "જાપાની કાવ્યપ્રકાર હાઈકુને ગુજરાતીમાં સુપ્રતિષ્ઠિત કરી તેમણે ઐતિહાસિક પ્રદાન કર્યું છે" ("By pioneering and popularizing the famous form of Japanese poetry called Haiku in Gujarati, he has gained a place in history").
  41. Ramanathan S. & Kothari R. (1998). Modern Gujarati Poetry: A Selection. Sahitya Akedami. ISBN 81-260-0294-8, ISBN 978-81-260-0294-8
  42. "Special Feature on India — Part One: World Haiku Festival in India. 23-25 February 2008, The Art of Living Ashram, Bangalore, India". World Haiku Review. 6: 1. March 2008.
  43. See article by Yasuhiko Shigemoto, on Hiroshima Haiku and Omer Tarin, in The Mainichi daily, Tokyo, Japan, 15 August 1998, p 11
  44. T. Pillai, Meena (22 November 2018). "Small is beautiful". The Hindu Newspaper. The Hindu. Retrieved 24 June 2020.
  45. "അഷിതയുടെ ഹൈക്കുകവിതകള്‍". Mathrubhumi Newspaper. Retrieved 24 June 2020.
  46. "Author Ashitha, who popularised Haiku in Kerala, passes away". Malayala Manorama Newspaper. 27 March 2019. Retrieved 25 June 2020.
  47. Entire collection online
  48. Entire collection online
  49. Sonja Karsen, Selected poems of Jaime Torres Bodet, Indiana University 1964, p.27
  50. Spanish text online; and some translations by Muriel Rukeyser in Selected Poems of Octaviao Paz, Indiana University 1963
  51. The Quarterly Conversation, March 2012
  52. Pequeños Universos
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