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Momoko Kuroda (b. 1938) is a remarkable haiku spirit and a powerfully independent Japanese woman. The one hundred poems here—her first collection in English—show her evolution as a poet, her acute lyricism, and her engagement as a writer in issues central to modern Japan: postwar identity, nuclear politics, and Fukushima. Abigail Friedman's introduction and textual commentaries provide important background and superb insight into poetic themes and craft.
I wait for fireflies / I wait as if for someone / who will never return
Momoko Kuroda is one of Japan's most well-known haiku poets.
Abigail Friedman lives near Washington, DC, and is author of The Haiku Apprentice.
- Sales Rank: #1261229 in Books
- Published on: 2014-10-07
- Original language: English
- Number of items: 1
- Dimensions: 7.20" h x .50" w x 5.20" l, .0 pounds
- Binding: Paperback
- 144 pages
Review
"Despite her popularity in Japan, the haiku poet Momoko Kuroda has had few of her works translated into English. This handsome volume remedies the situation and more." - Frogpond - Haiku Society of America
"The book itself honors the poetic form; it is carefully crafted and beautiful in its details, inviting readers to savor the words—and wisdom within." - Story Circle Book Review
"..Kuroda’s poetry provides new insight about a culture through one of its most celebrated art forms." - The Absolute
"The haiku are well written, evocative and offer lucid, lyrical statements - the images immediately appealing." - Kokako
About the Author
Momoko Kuroda (b. 1938 in Tochigi Prefecture) is one of the most highly-respected haiku poets in Japan today. She has published five collections of haiku, and authored or co-authored another 22 prose works including essays, season- word compendiums, books on haiku for beginners, and a two-volume set of interviews with notable Showa-era poets. Her first haiku collection earned her the Modern Haiku Women award and the Haiku Association New Poet award. In 2011 she was awarded the Dakotsu prize, Japan’s most prestigious haiku award. She is a haiku selector for the Nihon Keizai Shimbun’s weekly Sunday haiku column, and a frequent haiku selector for NHK television. She is on the jury of several national and regional haiku contests, including the annual Mainichi Shimbun haiku award. In 1990, she founded her own haiku organization, AOI, with a nationwide membership of several thousand. All this she accomplished while working full-time at Hakuhodo, a Tokyo-based advertising firm, until her retirement at age 60.
Abigail Friedman, a retired diplomat and accomplished, award-winning haiku poet, began composing haiku in a haiku group that met at the foot of Mt. Fuji, led by Japanese haiku master Momoko Kuroda. Her book, The Haiku Apprentice: Memoirs of Writing Poetry in Japan (Stone Bridge Press, 2006), captures that experience and her insights into haiku. She is founder of HaikuQuebec, the first French/English bilingual haiku group in Quebec City. Her work has appeared in poetry publications in the U.S., Canada, France, and Japan, including: Frogpond; AOI; The Asahi Weekly; Association Francophone de Haiku (AFH); The Moss at Tokeiji (Deep North Press, 2010); ; and Bilboquet. She has presented her haiku at the Montreal Zen Poetry Festival, the Festival international de la poesie de Trois-Rivieres, Haiku Canada, and Haiku North America. In 2012, she was commissioned to compose a haiku to mark the U.S. gift of dogwoods to Japan, on the occasion of the 100th anniversary of Japan’s gift of cherry trees to the U.S. Awards and Other Honors: First Prize, Mainichi International Haiku Contest (2014); Second Prize, Mainichi International Haiku Contest (2012); Grand Prize, Yamanashi Mt. Fuji haiku contest (2011); Honorable Mention, Mainichi International Haiku Contest (2008); Finalist, Kiriyama Book Prize [for The Haiku Apprentice] (2007); Second Prize, Mainichi International Haiku Contest (2006).
Most helpful customer reviews
8 of 9 people found the following review helpful.
Day Moon
By M. E. Bessette
Its polished layout style makes this a pretty little book. And if your
interest is in knowing about the life of Momoko Kuroda this book offers glimpses through the eyes of a friend.
But if your interest is to understand the way Kuroda writes haiku you will need to explore other translations of her verses. At least some of the verses in this book are not true to the poet's actual meaning. They have been rearranged, the kireji (cutting word) misplaced or changed, and suffused with substituted words when succinct words are available.
Fortunately, Friedman reveals a more literal translation of one of the selected verses in her commentary on the flycatcher verse [pg. 110], but the verse falls close to the end of the book, leaving the reader wondering about all that came before.
The final section shows modern-day haiku as it morphs into personal introspection with its increased frequency of the self as subject matter. With this shift the natural world seems to lose its power as the broad allegory for the cycles of human existence -- a faintly visible waning day moon.
4 of 4 people found the following review helpful.
A Resonant Life-Journey in Haiku
By Story Circle Book Reviews
We think we know haiku. It's the short-short form of poetry based on seventeen syllables in a 5/7/5 line length, usually an observation of nature. It's poetry of the moment, dashed off quickly, not serious writing.
Wrong. Haiku is so much more—which is only one of the surprises in this beautiful small volume of haiku from one of Japan's most renowned poets, Momoko Kuroda, translated with insightful commentary by Abigail Friedman, a career U.S. diplomat who studied with Kuroda when Friedman lived in Japan.
Like the haiku it centers on, I Wait for the Moon cannot be summed up in simple terms. The hundred poems Friedman chooses take readers on a journey through life, writing, Japan, and the evolution of one woman's resonant writing voice.
Haiku, it turns out, are limited to 17 units, not syllables: the units are 17 sounds of Japanese Kanji, the pictorial letterforms. The line lengths are not a prescribed 5/7/5; rather they are signaled by grammatical breaks or kireji, the word that signals a "cut" or turn, a surprise in the haiku.
The point of delving into haiku form is not to mess with reader's heads, but to show the intricacy in those seventeen beats, details that make this form of poetry far more challenging and meaningful than most people realize.
Take this early Kuroda haiku:
"underground passage/ there's a wind rushing by—/ the calendar seller"
Simply a powerful observation of a moment, it seems, until Friedman comments:
"As is so often the case with haiku, it is the unstated which completes the poem. We must divine the sound of calendar pages fluttering and flapping in the wind, drawing Momoko's attention to the calendar stall. Here, everything is in motion—the poet walking through the passageway, the wind, the pages of the calendars, and time itself (the calendar being a symbol of tempus fugit)."
Friedman shows Kuroda's decades-long evolution from a classical poet of haiku, based on reporting or observation, to a poet whose haiku are deeply reflective. The changes in the poet's writing voice were sharpened by the events of March 11, 2011, when the most powerful earthquake ever recorded in Japan struck the country's northern coast, followed by a devastating tsunami and the man-made devastation at the Fukushima nuclear power plant went into meltdown.
"deep beneath the sea/ upon those in deepest sleep/ cherry blossoms fall"
Friedman writes:
Momoko believes the triple disaster changed not only the lives of the victims, but everyone's lives. She felt that she needed to achieve a 'self-revolution.' She set about contributing to the revival and rebuilding effort through her role as a haiku selector [she was asked to encourage locals to write haiku about the events]. ... Momoko urged contributors to write about their painful experiences. (Specifying such a request was particularly necessary as the cultural norm in Japan would be for victims to try not to burden others with their pain.) She embraced the idea that haiku did not have to be about the blessings of nature. She confessed regret and shame at having failed to heed early critics of nuclear power, and she took a public stand along with other artists against nuclear power. Looking back, Momoko believes that the events of March 11, 2011, forced a transformation within her, altering her perspective on life and nature, as well as haiku.
"the early rising bamboo partridge calls to those no longer alive"
I Wait for the Moon is haiku at its richest, an exploration of life and our lives through the voice of a justifiably revered poet and her insightful student. The book itself honors the poetic form; it is carefully crafted and beautiful in its details, inviting readers to savor the words—and wisdom within.
by Susan J. Tweit
for Story Circle Book Reviews
reviewing books by, for, and about women
0 of 0 people found the following review helpful.
an excellent presentation of haiku and the translations thereof
By M. Passaglia
As usual, an excellent presentation of haiku and the translations thereof. Ms. Friedman has spent many years in Japan and has been an assiduous student of the literary form. She is also fluent in Japanese both reading and writing the language.
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