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ISSN 1409-6900 | UDK 82+7     Blesok no. 54 | volume X | May-June, 2007



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                     Peer-reviewed journal
Blesok no. 54May-June, 2007
Reviews

Haiku – Poetry of Integration

Towards Day and Night of Everyday by Josip Osti and For a Sparrow by Jack Galmitz, Blesok, 2007


/4
p. 1
Vladimir Martinovski

I only look and do not
    wonder. I am only
    what I see.
Inside of me
    A planetary disturbance
    And a smile

Josip Osti

Jack Galmitz

    One of the lucid conclusions in the short but exceptionally inspiring essay “Haiku – an elixir of life” by Borivoj Bukva (published in Loza magazine no. 18, translated by Marjan Minov) is that creating haiku means at least three things, three abilities, three prerequisites:
    “/1/ experience – ability for genuine, clear, real experience of oneself, world and life, genuine reality
    /2/ expression – ability for expressing the experience in words, unaltered, as is
    /3/ life – in integration of oneself, world, reality, life, in integration of experiences and expressions, haiku is born.”
    The amalgam of these components, as well as the term “integration” (and its numerous connotations) not only sublime the act of creation of haiku poetry on a general level, it also allows us locate one of the key common denominators of the contemporary haiku masters' poetics – Josip Osti (1945) and Jack Galmitz (1951). Their works are presented in two of the latest multilingual editions of haiku poetry, published by “Blesok.”
    The multilingualism of these editions is the first factor of (linguistic) integration. In the collection Day and Night of Everyday, Josip Osti's haiku poems are located on the same page with their Macedonian, Slovenian, Croatian/Bosnian and English versions, while Galmitz's poems – in English and in Macedonian translation. Author of the Macedonian translations is Igor Isakovski. Vertical alignment of the original and the translations (permitted by haiku shortness), implicitly offers a rare privilege to the reader: asks him/her to peek inside artistic lab of (re)creation, chant and translation of poetic messages. Hereupon, reading of all “versions” of a same haiku often lets integration and nuance of semantic layers, while from musical-phonetic aspect there is specific (multilingual) echo-effect in reader's mind.
    

    Second permeation and integration happens on intermediary level, otherwise deeply rooted in haiku tradition. As since early beginnings haiku verses were accompanied with artworks on the long rolls, as based on poems haigas were created and vice versa, these new titles from “Masin” edition continue, stir and emphasize the dialog between haiku and painting. Thanks to illuminative Zen-minimalist art language of drawings/haigas by Miroslav Masin, browsing through books moreover turns into “reading/watching” a mini-gallery. Very similar to a haiku by Osti (“I describe






"Blesok" editions 01-93 are also available at CEEOL web site.

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