Walden by Haiku Review

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Walden by Haiku ReviewAs the editor of the website [...], I'm occasionally sent books to review. I have to admit I was frightened by the idea of Walden rewritten as a book of haiku. Americans have turned a beautiful Japanese poetic tradition into a disaster through generations of poorly educated teachers explaining to their classes that anything with a 5/7/5 meter is a haiku.
I was immediately comforted and reassured as I read, learning that the very best American haiku has to offer was part of Marshall's training and understanding of haiku. American masters of haiku such as Michael Dylan Welch, Cor Van den Heuvel, and Bruce Ross, and master editors and educators such as Charles Trumbull, Lee Gurga, and Jane Reichhold had been part of the poetic world into which Marshall brought Thoreau.
From the introduction, where Basho and Thoreau are blended together, two poets, living in a hut by a pond, listening and looking, and writing their observations about nature, the reader is hooked on the plausibility of the book before them. I hope I am forgiven for believing that Thoreau himself would have appreciated this interpretation of his work. Haiku adds the pauses, the breathes, the time, that is needed to properly appreciate all that Thoreau was describing. As a reader of prose, we are likely to let the lines of the book tug us along, and insisting we continue, rather than pause and reflect on the observations that have just been unveiled before us.
Plan to read this book over a course of days and weeks - not at a single sitting. Take the time to enjoy and fully experience the images brought not only to the mind but to the entirety of your senses.
I believe Thoreau would have wanted it that way.Walden by Haiku OverviewIn this intriguing literary experiment, Ian Marshall presents a collection of nearly three hundred haiku that he extracted from Henry David Thoreau's Walden and documents the underlying similarities between Thoreau's prose and the art of haiku.
Although Thoreau would never have encountered the Japanese haiku tradition, the way in which the most important ideas in Walden find expression in the most haikulike language suggests that Thoreau at Walden Pond and the haiku master Basho at his "old pond" might have drunk at the same well. Walden and the tradition of haiku share an aesthetic that embodies ideas in natural images, dissolves boundaries between self and world, emphasizes simplicity, and honors both solitude and humble, familiar objects. Marshall examines each of these aesthetic principles and offers a relevant collection of "found" haiku. In the second part of the book, he explains his process of finding the haiku in the text, breaking down each chapter of Walden to highlight the imagery and poetic language embedded in the most powerful passages.
Marshall's exploration not only provides a fresh perspective on haiku, but also sheds new light on Thoreau's much-studied text and lays the foundation for a clearer understanding of the aesthetics of American nature writing.

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