marlene mountain

other rens  [book one] 2000


I think of haiku as an encompassing term much like rock and roll or jazz. A variety of approaches beneath that umbrella. How could it be otherwise? Since c. 1991, as part of my ongoing discarding of as many Japanese words/terms/attitudes as possible, I've spoken of renga as 'linked haiku.' Please see 'backward' in from the mountain* for many of the reasons for this discarding process. Although I don't believe a contemporary woman needs any reasons.

In the late 1960s through the mid-1970s I became more interested in the concepts of haiku; yet over time I've been fortunate enough to disregard them as internal visions seeped out or erupted; that is, interrupted what I was doing. Still, I call them haiku.

Even as I also call visual aspects from that period, unaloud haiku and
visually aloud haiku. And call the haiku criticisms dadaku. The haiku tear outs began around 1974 and over the years have included other-and one-line haiku, nature talks back, visualante, sheku and a follow up of dadaku, high coup.

Other terms, forms and ideas include blind and found renga [sic], talking haiku, untamed haiku, beyond untamed haiku, high coup hai ku, a crone's highcoup captions, deliberate reverse sexism and, a more encompassing phrase, women's haiku, which is an opening up rather than a narrowing of haiku content.

*mm website

October, 1999

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