For the past nine years, acclaimed historian H. W. Brands has been tweeting the history of the United States. But this has been no ordinary version of the American tale. Instead, Brands gives his 5,000-plus followers a regular dose of history and poetry combined: his tweets are in the form of haikus. Haiku History presents a selection of these smart, shrewd, and always informative short poems. “Shivers and specters / Flit over hearts in Salem / And so nineteen hang” describes the Salem Witch Trials, and “In angry war paint / Men board the British tea ships / And toss the cargo” depicts the Boston Tea Party. “Then an anarchist / Makes one of the war heroes / The next president” recalls the assassination of William McKinley and the ascension of Teddy Roosevelt to the presidency, while “Second invasion: / Iraq, where Saddam is still / In troubling control” returns us to the invasion of Iraq in 2003. As he travels from the thirteen colonies to the 2016 election, Brands brings to life the wars, economic crises, social policies, and other events that have shaped our nation. A history book like no other, Haiku History injects both fun and poetry into the story of America—three lines at a time.

In the past hundred years, haiku has gone far beyond its Japanese origins to become a worldwide phenomenon—with the classic poetic form growing and evolving as it has adapted to the needs of the whole range of languages and cultures that have embraced it. This proliferation of the joy of haiku is cause for celebration—but it can also compel us to go back to the beginning: to look at haiku’s development during the centuries before it was known outside Japan. This in-depth study of haiku history begins with the great early masters of the form—like Basho, Buson, and Issa—and goes all the way to twentieth-century greats, like Santoka. It also focuses on an important aspect of traditional haiku that is less known in the West: haiku art. All the great haiku masters created paintings (called haiga) or calligraphy in connection with their poems, and the words and images were intended to be enjoyed together, enhancing each other, and each adding its own dimension to the reader’s and viewer’s understanding. Here one of the leading haiku scholars of the West takes us on a tour of haiku poetry’s evolution, providing along the way a wealth of examples of the poetry and the art inspired by it.

Everything you want to know about haiku written by one of the foremost experts in the field and the “finest translator of contemporary Japanese poetry into American English” (Gary Snyder) Who doesn’t love haiku? It is not only America’s most popular cultural import from Japan but also our most popular poetic form: instantly recognizable, more mobile than a sonnet, loved for its simplicity and compression, as well as its ease of composition. Haiku is an ancient literary form seemingly made for the Twittersphere—Jack Kerouac and Langston Hughes wrote them, Ezra Pound and the Imagists were inspired by them, Hallmark’s made millions off them, first-grade students across the country still learn to write them. But what really is a haiku? Where does the form originate? Who were the original Japanese poets who wrote them? And how has their work been translated into English over the years? The haiku form comes down to us today as a cliché: a three-line poem of 5-7-5 syllables. And yet its story is actually much more colorful and multifaceted. And of course to write a good one can be as difficult as writing a Homeric epic—or it can materialize in an instant of epic inspiration. In On Haiku, Hiroaki Sato explores the many styles and genres of haiku on both sides of the Pacific, from the classical haiku of Basho, Issa, and Zen monks, to modern haiku about swimsuits and atomic bombs, to the haiku of famous American writers such as J. D. Salinger and Allen Ginsburg. As if conversing over beers in your favorite pub, Sato explains everything you wanted to know about the haiku in this endearing and pleasurable book, destined to be a classic in the field.

Highlighting a lesser-known aspect of one of America's most influential authors, this new collection displays Jack Kerouac's interest in and mastery of haiku. Experimenting with this compact poetic genre throughout his career, Kerouac often included haiku in novels, correspondence, notebooks, journals, sketchbooks, and recordings. In this collection, Kerouac scholar Regina Weinreich supplements an incomplete draft of a haiku manuscript found in Kerouac's archives with a generous selection of Kerouac's other haiku, from both published and unpublished sources. With more than 500 poems, this is a must-have volume for Kerouac enthusiasts everywhere.

Step into a series of dazzling, funny, melancholy, and joyous moments with this collection of haiku masterworks. Beloved translator Peter Beilenson's goal was twofold: to craft a book of haiku accessible to anyone, and to render his best guess at what the poets would have written in English. His translations preserve the sublime spirit of each verse, conjuring vivid visual and emotional impressions in spare words.Haiku icon Basho is represented amply here, as are imagery-virtuoso Buson and wry, warm, painfully human Issa. The verses of Shiki, Joso, Kyorai, Kikaku, Chora, Gyodai, Kakei, Izen, and others also appear, all illuminated by lovely woodblock prints. Ranging from exquisite (In the sea surf edge/Mingling with the bright small shells.../Bush-clover petals -Basho) to bittersweet (Dead my fine hopes/And dry my dreaming, but still.../Iris, blue each spring -Shushiki) to silly (Dim the grey cow comes/Mooing, mooing, and mooing/Out of the morning mist -Issa), this collection will stir your senses and your heart.

DIVUnique collection spans over 400 years (1488–1902) of haiku by greatest masters: Basho, Issa, Shiki, many more. Translated by top-flight scholars. Foreword and many informative notes to the poems. /div

2005 CHOICE Outstanding Academic Title Basho's Haiku offers the most comprehensive translation yet of the poetry of Japanese writer Matsuo Bashō (1644–1694), who is credited with perfecting and popularizing the haiku form of poetry. One of the most widely read Japanese writers, both within his own country and worldwide, Bashō is especially beloved by those who appreciate nature and those who practice Zen Buddhism. Born into the samurai class, Bashō rejected that world after the death of his master and became a wandering poet and teacher. During his travels across Japan, he became a lay Zen monk and studied history and classical poetry. His poems contained a mystical quality and expressed universal themes through simple images from the natural world. David Landis Barnhill's brilliant book strives for literal translations of Bashō's work, arranged chronologically in order to show Bashō's development as a writer. Avoiding wordy and explanatory translations, Barnhill captures the brevity and vitality of the original Japanese, letting the images suggest the depth of meaning involved. Barnhill also presents an overview of haiku poetry and analyzes the significance of nature in this literary form, while suggesting the importance of Bashō to contemporary American literature and environmental thought.