Rosen, David and Weishaus, Joel
|Genre||Poetry and Art (175 pp.)|
|Keywords||Communication, Cross-Cultural Issues, Death and Dying, Empathy, Father-Son Relationship, Human Worth, Individuality, Loneliness, Memory, Mother-Son Relationship, Narrative as Method, Ordinary Life, Psychotherapy, Spirituality, Time|
David Rosen and Joel Weishaus are long-time friends, the former a psychiatrist, the latter a poet, teacher, and literary critic. Both authors have lived and traveled in Japan, and both are enamored of the haiku form. In this book, Rosen and Weishaus carry on the "renga" tradition of writing haiku as part of an on-going conversation, a call and response of commentary and haiku. Grouped into 53 two-page chapters, such as "Feeling Death," "Learning to Bow," "Eating," "Mother Ill, Mother Dead," "Tuscany," and "Turtle Wisdom," this conversation is enriched by the black and white illustrations of Arthur Okamura.
The comments and haiku range widely and deeply, reflecting the authors’ recognition of the possibility and need for healing, not only in human relationships but also with Nature. In part, this conversation is the authors’ quest to understand the "psychology, meaning, and healing value" of haiku (1), and to explore how poems might lead not necessarily to cure but to "becoming whole" (5).
The commentaries are open and transparent, interwoven as one poet picks up a word or image in his friend’s haiku and extends it, turning it over both in commentary and verse-for example, see the chapter "In the Flow" where the last line of Rosen’s haiku, "A river streaming back toward the sun," is used as the first line of Weishaus’s responsive commentary, one that transports the discussion from Japan to Africa (82-83). Often movingly honest, the poets discuss loneliness and death, their insights reflected in artist Okamura’s stark ink swirls (8-15). They examine their relationships with their fathers ("making Peace with One’s Father," 44-45), and they don’t shrink from humor ("Learning to bow," 34-35) or from sensuality ("Anima," 86-87). Their spiritual references range widely, from the Hebrew God to the Buddhist’s tribute to Nature (70-71).
The haiku are lovely, both strong and delicate, our appreciation of them enhanced by a review of haiku’s traditions in the Preface (1-5). Rather than try to describe the haiku (because, like all good haiku, these cannot be captured or retold and remain the same), I’ll present one haiku from each poet and hope readers will be compelled to seek out the book and read further.
David Rosen, on walking near his apartment in Mukaijima (40): Shimmering paddy-- / The slap of small feet nearing / Where dragonflies hover. Joel Weishaus, on September 11, 2002 (103): Sluggish creek-- / A shadow dips / And drinks.
The poems and commentaries in this book work on many levels, therefore the text has many uses. It might serve as a primer for the writing of haiku, or as impetus for students or individuals to begin their own poetic conversations. I can imagine a medical or nursing student writing haiku to his or her patients, or even carrying on a private, internal conversation about the events of the clinical day.
In presenting both the haiku and commentaries, the authors and the artist draw from many wells: Buddhism, Shintoism and Taoism, as well as from Judeo-Christian ideologies and Jungian teachings. Readers and students have much to explore here, much to savor. Most of all, the generosity of the authors and the artist invite a response from readers, furthering the conversation, like ripples from a pebble tossed in a pond.
|Publisher||North Atlantic Books|
|Place Published||Berkeley, Calif.|
|Miscellaneous||Illustrated by Arthur Okamura|
|Annotated by||Davis, Cortney|
|Date of Entry||01/25/05|