{"id":77487,"date":"2026-03-05T08:45:11","date_gmt":"2026-03-05T13:45:11","guid":{"rendered":"https:\/\/thehaikufoundation.org\/?p=77487"},"modified":"2026-03-04T14:12:43","modified_gmt":"2026-03-04T19:12:43","slug":"the-renku-sessions-purple-haze-week-3","status":"publish","type":"post","link":"https:\/\/thehaikufoundation.org\/the-renku-sessions-purple-haze-week-3\/","title":{"rendered":"The Renku Sessions: Purple Haze &#8211; Week 3"},"content":{"rendered":"<p><a href=\"https:\/\/www.thehaikufoundation.org\/wp-content\/uploads\/2014\/08\/renku_300.jpg\"><img decoding=\"async\" class=\"size-full wp-image-646 aligncenter lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/www.thehaikufoundation.org\/wp-content\/uploads\/2014\/08\/renku_300.jpg\" alt=\"renku_300\" width=\"600\" height=\"200\" \/><noscript><img decoding=\"async\" class=\"size-full wp-image-646 aligncenter lazyload\" src=\"https:\/\/www.thehaikufoundation.org\/wp-content\/uploads\/2014\/08\/renku_300.jpg\" alt=\"renku_300\" width=\"600\" height=\"200\" \/><\/noscript><\/a><\/p>\n<p>Hi, everyone,<\/p>\n<p>I\u2019m Kala Ramesh from India, and I\u2019m your sabaki for this renku.<\/p>\n<p>We are writing a Junicho \u2013 a 12-verse renku (linked verses). The third verse is selected and we are on to our fourth verse.<\/p>\n<p>&nbsp;<\/p>\n<p>If you want to read my introduction to this renku, the link below:<\/p>\n<p>Intro:\u00a0<a href=\"https:\/\/thehaikufoundation.org\/the-renku-sessions-invitation-2\/\"><strong>https:\/\/thehaikufoundation.org\/the-renku-sessions-invitation-2\/<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>1<sup>st<\/sup>\u00a0week \u2013 Hokku:\u00a0<a href=\"https:\/\/thehaikufoundation.org\/the-renku-sessions-purple-haze-week-1\/\"><strong>https:\/\/thehaikufoundation.org\/the-renku-sessions-purple-haze-week-1\/<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>2<sup>nd<\/sup> Week- Wakiku: <a href=\"https:\/\/thehaikufoundation.org\/the-renku-sessions-purple-haze-week-2\/\">https:\/\/thehaikufoundation.org\/the-renku-sessions-purple-haze-week-2\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Firstly, thank you for the kind feedback many of you have shared.<\/p>\n<p>I was clean floored.<br \/>\n_()_<\/p>\n<p>&nbsp;<\/p>\n<p>I received an overwhelming number of offers for this slot. Forty-four poets submitted over 150 poems. You\u2019ve offered such beautiful verses, but many were haiku, written in the two-part image structure. Consequently, I couldn\u2019t accept them.<\/p>\n<p>Many were strong and suitable as intermediate renku verses, but they were set outdoors. A few referenced seasons. None of these verses could be selected. One poet, in her enthusiasm, sent me 33 poems for this slot!<\/p>\n<p>Please remember that only the first verse (hokku) is a haiku. All the others are sentence ku, meaning they lack the two-part image structure of a haiku. Learn to differentiate between them and to write them, understanding the difference.<\/p>\n<p>The late John Carley, a renku master, used to refer to the space between the verses as \u201cwhite space\u201d \u2013 it functions as the \u2018cut\u2019 (kire) that we observe in haiku.<br \/>\nThe white space between the verses is a game-changer! You will see this as we progress in the renku, how our perception of one verse shifts when it comes into contact with the next. New interpretations evolve!<\/p>\n<p>&nbsp;<\/p>\n<p>And that magic is something special to renku.<\/p>\n<p>Revel.<br \/>\nRejoice!<\/p>\n<p>&nbsp;<\/p>\n<p>The shortlisted verses are:<\/p>\n<p>white lace tablecloth<br \/>\nready for guests<br \/>\nlights up the dark wood<\/p>\n<p>Belinda Behne<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>at the dining table<br \/>\nI set out pills<br \/>\nbeside my plate<\/p>\n<p>Sathya Venkatesh<\/p>\n<p>&nbsp;<\/p>\n<p>another painting<br \/>\nby her daughter<br \/>\non the fridge door<\/p>\n<p>Andrew Shimield<\/p>\n<p>&nbsp;<\/p>\n<p>a table<br \/>\nby the window laden<br \/>\nwith crumpled pages<\/p>\n<p>Mahua Maulik<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>up the stairs<br \/>\nand into the attic<br \/>\nto find what is lost<\/p>\n<p>Pauline O&#8217;Carolan<\/p>\n<p>&nbsp;<\/p>\n<p>silk fabric sliding<br \/>\nover pattern pieces<br \/>\non the sewing table<\/p>\n<p>V J Green<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>by the window<br \/>\ncurled on an armchair<br \/>\na cat\u2019s deep snore<\/p>\n<p>Rupa Anand<\/p>\n<p>&nbsp;<\/p>\n<p>up to her elbows<br \/>\nkneading a loaf of rye<br \/>\nin the kitchen<\/p>\n<p>V J Green<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>hovering at the oven door<br \/>\nthe crucifix burns<br \/>\nmy neck<\/p>\n<p>Richard Greeve<\/p>\n<p>&nbsp;<\/p>\n<p>on her desk<br \/>\na late notice<br \/>\nfrom the library<\/p>\n<p>susan grant<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>two net bags<br \/>\nfull of groceries<br \/>\nawait cupboard space<\/p>\n<p>Laurie Greer<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>shoes<br \/>\ncaked with mud<br \/>\nin the kitchen<\/p>\n<p>Suraja Roychowdhury<\/p>\n<p>&nbsp;<\/p>\n<p>sitting by myself<br \/>\nwaiting for the results while<br \/>\nthe clock keeps ticking<\/p>\n<p>Diana Ming Jeong<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>After careful reading and analysis, the verse selected for daisan is:<\/strong><\/p>\n<p><strong>purple haze \u2026<br \/>\nsunlight filters through<br \/>\njacaranda branches\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0pc<\/strong> <strong><\/p>\n<p>a flight of butterflies<br \/>\non the wood corral \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0jd<\/strong><\/p>\n<p><strong>an unmarked key<\/strong><strong><br \/>\nfound at the bottom<br \/>\nof the drawer\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sa<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Renkujin so far in this renku are:<br \/>\nhokku: <strong>Pauline O&#8217; Carolan<\/strong><strong><br \/>\n<\/strong>wakiku: <strong>John Daleiden<\/strong><strong><br \/>\n<\/strong>daisan: <strong>Sanjuktaa Asopa<\/strong><\/p>\n<p>Let me tell you how my mind worked to bring these verses together.<\/p>\n<p>&nbsp;<\/p>\n<p>The hokku and the waki should support and buttress each other. They should create a solid opening to provide a strong foundation for the rest of our collaboration.<\/p>\n<p>&nbsp;<\/p>\n<p>Do they do that here?<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>purple haze \u2026<br \/>\nsunlight filters through<br \/>\njacaranda branches\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 pc<\/strong> <strong><\/p>\n<p>a flight of butterflies<br \/>\non the wood corral\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 jd<\/p>\n<p>It\u2019s one scene within a frame \u2013 above and below. Beautiful. A brilliant start.<br \/>\nPauline, I added a punctuation in your hokku. <\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Then comes our first <em>link and shift<\/em> with the daisan.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>on the wood corral<br \/>\n<\/strong><strong>an unmarked key<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Yes! The link is done seamlessly.<\/p>\n<p>Now, if you remember, the daisan is a no-season, cut-away verse, and an indoor verse.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>See how deftly Sanjuktaa steers the \u201cunmarked key\u201d indoors. <\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>an unmarked key<\/strong><strong><br \/>\nfound at the bottom<br \/>\nof the drawer<\/p>\n<p><\/strong>Daisan, if you remember, needs to \u201ccut away\u201d from the waki and hokku.<\/p>\n<p>&nbsp;<\/p>\n<p>Having finished the 1st part (introduction, verses 1, 2 &amp; 3) of the JO section, we enter the 2nd part (expansion, verses 4, 5, 6, 7, 8 and 9), of the HA section.<\/p>\n<p>How is this \u201cunmarked key\u201d going to feature in this collaborative linked verse we are creating? This task is up to each one of you, as you offer your candidates (<em>only 3 candidates per slot, please)<br \/>\n<\/em><\/p>\n<p>First:<\/p>\n<p><strong>The schema:<\/strong><br \/>\n<strong>Junicho: a twelve-verse renku (collaborative poetry)<\/p>\n<p><\/strong><\/p>\n<p>hokku \u2013 spring blossom<\/p>\n<p>wakiku \u2013 spring<\/p>\n<p><strong>daisan \u2013 cut away verse \u2013 no season (ns)<\/strong><\/p>\n<p><strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4 short \u2013 ns<\/strong><\/p>\n<p>5 long \u2013 summer<\/p>\n<p>6 short \u2013 love ns<\/p>\n<p>7 long \u2013 love winter<\/p>\n<p>8 short \u2013 ns<\/p>\n<p>9 long \u2013 end summer (monsoon in India!)<\/p>\n<p>10 short \u2013 ns<\/p>\n<p>11 long \u2013 autumn moon<\/p>\n<p>12 short \u2013 ageku \u2013 autumn<\/p>\n<p>&nbsp;<\/p>\n<p>*Please remember: you need to offer blossom, moon, love, season verses, and so on, only during the specific slots given in the schema.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Purple Haze<\/p>\n<p><\/strong>purple haze \u2026<br \/>\nsunlight filters through<br \/>\njacaranda branches<strong><\/p>\n<p><\/strong>a flight of butterflies<br \/>\non the wood corral<\/p>\n<p>an unmarked key<br \/>\nfound at the bottom<br \/>\nof the drawer<\/p>\n<p>Renkujin so far in this renku are:<br \/>\nhokku: <strong>Pauline O&#8217; Carolan<\/strong><strong><br \/>\n<\/strong>wakiku: <strong>John Daleiden<\/strong><strong><br \/>\n<\/strong>daisan: <strong>Sanjuktaa Asopa<\/strong><\/p>\n<p><strong><br \/>\nThe renku is shaping well. Thanks to each of you for showing so much interest in creating, as I like to call it, the masterpiece!<\/strong><\/p>\n<p>Our 4<sup>th<\/sup> verse is:<\/p>\n<ol>\n<li>Non-seasonal verse of two lines, not fewer than 12 syllables.<br \/>\nWords and images already used in the previous three verses should not be repeated.<\/li>\n<li>Please avoid words like moon, blossom, love, rain, or monsoon, as they will feature soon.<\/li>\n<li>Remember, the rules of the game remain the same. Renku always looks forward and never back. Each verse connects only to the immediately preceding verse and not beyond. Therefore, this 4<sup>th<\/sup> verse links only to the daisan, and shifts away from wakiku and hokku.\n<p>4. Introduce fresh and novel topics. Renku is about variety.<\/li>\n<\/ol>\n<p>Go for it.<br \/>\nAnd, most of all, have fun!<\/p>\n<p>I\u2019ll wait for your offers. The window closes every Monday, and my selection, along with the requirements for the next verse, will be posted here every Thursday.<\/p>\n<p>Your sabaki,<br \/>\n_kala<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<script>\nvar gform;gform||(document.addEventListener(\"gform_main_scripts_loaded\",function(){gform.scriptsLoaded=!0}),document.addEventListener(\"gform\/theme\/scripts_loaded\",function(){gform.themeScriptsLoaded=!0}),window.addEventListener(\"DOMContentLoaded\",function(){gform.domLoaded=!0}),gform={domLoaded:!1,scriptsLoaded:!1,themeScriptsLoaded:!1,isFormEditor:()=>\"function\"==typeof InitializeEditor,callIfLoaded:function(o){return!(!gform.domLoaded||!gform.scriptsLoaded||!gform.themeScriptsLoaded&&!gform.isFormEditor()||(gform.isFormEditor()&&console.warn(\"The use of gform.initializeOnLoaded() is deprecated in the form editor context and will be removed in Gravity Forms 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