rubber duck

[jimboloco]

water off a rubber duck's back
flushed down the toilet bowl of illusions
quack quack

[stilltrucking]

goose or gander
waterproof feathers don't sink
I paddle homewards

[jimboloco]

quack quack
that's that
jack

wish we cud have a beer with bennie.

[stilltrucking]

bennie a nobleman
beer drinking experience
paper labels

cause it ain't right
unless you can
peel the label off

[stilltrucking]

slipping in a yidku, for the double post

yidku
currupt form
Haiku ku

this ain't kansas anymore
just a dancing keyboard
slow boat to Japan

[jimboloco]

i'm seein double
peein trouble
got them lo down hypertrophic
prostate blues.

[stilltrucking]

four line haiku blues
i could delete it
but
...

elastic bladder
when peeing had so much torque
it rocked you back on your heels

peeing meditation
a blessing of longevity
one world sphere of peace

[jimboloco]

what is a yid ku?
texas jewboy
cat lover?

[stilltrucking]

getting late
got a appointment with a gate
outside the gate


______what is a yid ku
good question
details at six
______________

[stilltrucking]

late for the gate
looking towards the west
translucent sun
_________________________________________
Jimbo, I don't know jack shit about haiku, except they cheer me up, funny ones, thermonuclear flashes from others, a serene scene from some, erotic too. But yidku is a gift to me from my selective service board on Pratt st back in baltimore. I am one of few certified practioners of the inane, some say insane ancient art of yidku

only thing better is a drunken haiku master


the night life
it ain't no good life
just my life

I am pretty sure that I almost never really write any. I have a book called Seeds From A Birch Tree, it is floating around here somewhere's I been looking for it for weeks, one ku in there called
"Before The Garden" they say it is a very famous ku, just about a counting of flowers in his field of vision. Boggles my mind, and that is good, because I rarely smoke a cigarette when my mind is boggled.

good night amigo

[jimboloco]

Seeds from a Birch Tree: Writing Haiku and the Spiritual Journey, by Clark Strand (Hyperion, 1997).
Amid the countless books on the business of poetry — writing, revising, and publishing — I’m surprised how few deal with poetry as a strictly spiritual discipline. The only two that come to mind, in fact, are Clark Strand’s Seeds from a Birch Tree and John Leax’s Grace Is Where I Live (Baker). (No doubt, I’m forgetting some obvious ones.)


If taken for its haiku instruction alone, Seeds from a Birch Tree is that rare book in which the author has achieved a balance of authority and humility. Strand neither intimidates the reader by touting his experience nor annoys the reader with cloying self-effacement. He teaches as much by example as precept. His writing is clean, practical, often lyrical, and full of wisdom. Take for example:

“I once heard haiku described as a perfectly transparent window on the world. A few years later I came across a poet who suggested that the window was open so that it was possible to look at things directly, rather than through glass. Nowadays I would say that the perfection of haiku comes only when the house has been abandoned for the out-of-doors” (p. 172).

Strand, a former Zen monk and teacher, understands Eastern “haiku mind” better than most Westerners (including Alan Watts). Even while insisting that they don’t, most Western haiku teachers implicitly encourage the “clever” style, those haiku with a slightly intellectual “twist,” as though written by O. Henry.

In Japan, that style does indeed exist, but it is a genre all its own — senryu. The problem with clever haiku is that they are displays of the author’s wit rather than insights into the nature of the real and the present and the passing.
Haiku mind, rather, strives to transcend personality, to reach beyond self-consciousness and precocious word play. Strand is able to show how haiku writing approaches experience by not drawing attention to itself or its creator. All of which requires discipline and almost a kind of self-abnegation, which, of course, suggests the second great virtue of this book: its wisdom regarding poetry as a spiritual path.

Ultimately, haiku and religious faith have many things in common: the intentional “losing” of the self, the discipline of looking outward, the reaching for honesty, the humility, the giving of the heart, and a deep, extravagant love for the world. Strand delves into these topics and makes them integral to the writing of not just haiku but poetry in general.

If you have any interest in haiku, don’t just read this book but reread it year after year. If you find it helpful, be sure to find Strand’s fine book on meditation, The Wooden Bowl: Simple Meditations for Everyday Life (Hyperion, 1998), which is just as practical, if not quite so lyrical.

http://www.workingpoet.com/pen/pen01-01.htm#birchtree

[stilltrucking]

thanks for info jim





inspired by a country song

"you done flushed me from the toilet of your heart"

vortex delusion
illusions of love
the Coriolis Effect

counterclockwise in a clockwise world
http://www.laweekly.com/ink/98/16/first-lewis.php