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The Haiku Handbook: How to Write, Share, and Teach Haiku
The Haiku Handbook is the first book to give the reader everything needed to begin writing or teaching haiku. It presents haiku poets writing in English, Spanish, French, German, and five other languages on an equal footing with Japanese poets. Not only are the four great Japanese masters of
the haiku represented (Basho, Buson, Issa, and Shiki) but also several major Western authors not commonly known to have written haiku.
The book presents a concise history of the Japanese haiku, including the dynamic changes throughout the twentieth century as the haiku has been adapted to suburban and industrial settings. Full chapters are offered on form, the seasons in haiku, and haiku craft, plus background on the Japanese
poetic tradition, and the effect of translation on our understanding of haiku.
Other unique features are the lesson plans for both elementary and secondary school use; and lists of haiku publishers and magazines (in several languages). The Handbook concludes with a full reference section of haiku-related terms, bibliography, and a comprehensive season-word list to aid in
understanding and appreciating Japanese haiku.
the haiku represented (Basho, Buson, Issa, and Shiki) but also several major Western authors not commonly known to have written haiku.
The book presents a concise history of the Japanese haiku, including the dynamic changes throughout the twentieth century as the haiku has been adapted to suburban and industrial settings. Full chapters are offered on form, the seasons in haiku, and haiku craft, plus background on the Japanese
poetic tradition, and the effect of translation on our understanding of haiku.
Other unique features are the lesson plans for both elementary and secondary school use; and lists of haiku publishers and magazines (in several languages). The Handbook concludes with a full reference section of haiku-related terms, bibliography, and a comprehensive season-word list to aid in
understanding and appreciating Japanese haiku.
331 pages, Paperback
First published January 1, 1985
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603 people want to read
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Displaying 1 - 30 of 50 reviews
October 31, 2008
Am I the only person on the planet who wants to throw a drunken Haiku party???
April 13, 2009
A very good book, and I think a lot of people out there would say this is the introduction to haiku for English speakers.
Higginson passed away about four or five months after I began to read and write haiku. I'd seen The Haiku Handbook around at various haiku meetings, had seen it quoted on some different websites and blogs, and it eventually became one of those books with which I had a peripheral, if not personal relationship.
I believe I got a copy of this book about three or so weeks before Higginson passed away, and it was tremendously useful. Though I had already begun to write haiku, the thoughts and suggestions Higginson makes in the book helped to solidfy my appreciation for the art. He presents a strong thesis of haiku as poetry, which seems to run askew (some might even say perpendicular to) the thesis of haiku as spiritual practice. Regardless of your personal thoughts on such an issue (if you have any at all), no one can deny the depth of Higginson's thought. Thus, while this book is certainly appropriate for a person who has studied a bit of haiku, I believe this book could lend such a person insights he or she had not experienced before.
On the other hand, this book is the perfect introduction to haiku for a person who is completely clueless and simply curious. The Haiku Handbook provides lessons on the whole spectrum of haiku, from reading it to writing it. One of the sections that is most interesting is a whole chapter dedicated to teaching children haiku. Most children seem to be taught haiku as a poem written in 5-7-5 syllables. This misrepresentation, born out of a loss in translation, is felt all too painfully by those of us who write literary haiku, and do not follow that convention. In any case, the point I believe Higginson is trying to make, and that he makes well, is that haiku are deeper and more personal than most people seem to understand. Even more so, he seems to be suggesting that haiku are capable of being understood by all of us, even children.
However, I think that it is worth noting that if you are dipping your toe in the haiku waters (to borrow the expression of a friend), I'd also recommend purchasing a book os just haiku, as well. I think some people would agree that The Haiku Handbook ought to be supplemented by a broader reading of haiku, as well. Higginson's work is an explanation of haiku, not collection of it, and the reader may feel cheated if they do not have a haiku anthology to read in order to look for the themes and devices that Higginson describes.
In any case, if you write haiku and don't have this book, eventually, you probably will. If you are new to haiku, then this book will provide invaluable knowledge on the art.
Higginson passed away about four or five months after I began to read and write haiku. I'd seen The Haiku Handbook around at various haiku meetings, had seen it quoted on some different websites and blogs, and it eventually became one of those books with which I had a peripheral, if not personal relationship.
I believe I got a copy of this book about three or so weeks before Higginson passed away, and it was tremendously useful. Though I had already begun to write haiku, the thoughts and suggestions Higginson makes in the book helped to solidfy my appreciation for the art. He presents a strong thesis of haiku as poetry, which seems to run askew (some might even say perpendicular to) the thesis of haiku as spiritual practice. Regardless of your personal thoughts on such an issue (if you have any at all), no one can deny the depth of Higginson's thought. Thus, while this book is certainly appropriate for a person who has studied a bit of haiku, I believe this book could lend such a person insights he or she had not experienced before.
On the other hand, this book is the perfect introduction to haiku for a person who is completely clueless and simply curious. The Haiku Handbook provides lessons on the whole spectrum of haiku, from reading it to writing it. One of the sections that is most interesting is a whole chapter dedicated to teaching children haiku. Most children seem to be taught haiku as a poem written in 5-7-5 syllables. This misrepresentation, born out of a loss in translation, is felt all too painfully by those of us who write literary haiku, and do not follow that convention. In any case, the point I believe Higginson is trying to make, and that he makes well, is that haiku are deeper and more personal than most people seem to understand. Even more so, he seems to be suggesting that haiku are capable of being understood by all of us, even children.
However, I think that it is worth noting that if you are dipping your toe in the haiku waters (to borrow the expression of a friend), I'd also recommend purchasing a book os just haiku, as well. I think some people would agree that The Haiku Handbook ought to be supplemented by a broader reading of haiku, as well. Higginson's work is an explanation of haiku, not collection of it, and the reader may feel cheated if they do not have a haiku anthology to read in order to look for the themes and devices that Higginson describes.
In any case, if you write haiku and don't have this book, eventually, you probably will. If you are new to haiku, then this book will provide invaluable knowledge on the art.
November 12, 2015
Many people think that a haiku is any poem of three lines consisting of 5, 7, and 5 syllables, respectively. Those who’ve gotten beyond a high school literature class introduction to the form may also know that these poems are usually observations of the nature world, and, specifically, the seasons. If the preceding sentences sum up haiku for you, but you’re interested in learning more, Higginson’s book will revolutionize your understanding of the art.
As it happens, the most fundamental notions about what makes up a haiku are actually more contentious than one might believe. Take the 17-syllable format. Japanese syllables are—on average—much shorter than English syllables. (e.g. Consider that “squirreled” is one syllable, whereas a long Japanese syllable would be “shi.”) For this reason, many have argued that to have the same sparse sound quality of Japanese haiku, English language haiku should follow a format that is less than 17 syllables. Also, while many people know that haiku are poems about nature, they might not make the connection to the purely descriptive (non-analytical / non-judgmental) approach or the art form. There’s a definite connection between haiku and the Zen mode of thought. The fact that the poems are sensate descriptions doesn’t mean they shouldn’t evoke emotion; on the contrary, they should be evocative on a primal level.
Be the preceding paragraph as it may, Higginson sketches out the evolution of haiku from the traditional greats (e.g. Bashō, Buson, Issa, and Shiki) to modern haiku poets both from Japan and from the rest of the world. The many examples provided offer the reader insight into how various poets have bent and broken the rules of haiku to achieve their own ends. There are, of course, some who wish to keep the form as true to the tradition as possible. Such individuals would like those who want to get unconventional to avoid using the term haiku (or terms for related traditional forms, e.g. “tanka.”) Others, want the freedom to take the art in new and unconventional directions.
The book consists of 16 chapters divided into four parts. The first part charts the evolution of haiku from the early masters to the modern age. The second part gets into the nitty-gritty of composing haiku, and it’s where one will learn about the various thoughts on the form and content of these poems. (Those wanting to learn the craft of writing haiku are directed specifically to chapters 8 and 9, which address the key elements nicely.) The third part is about teaching haiku, and specifically how to introduce it to children in a way that is much more effective than the usual teaching method (i.e. “Hey, kids, a haiku is a poem with 17 syllables arranged in three lines of 5 – 7 – 5 syllables.”) The fourth and final part puts haiku into a context of lesser known, but related, forms of Japanese poetry such at renga, tanka, and senryu. In other words, it reflects on the forms that predated or sprung from haiku. The book also has front and post matter that readers may find useful, including explanations of Japanese pronunciation (the Japanese poems usually feature the Romanized spelling out of the Japanese words as well as an English translation), a list of season words, a glossary, and bibliographic references.
I’d recommend this book for readers and / or writers of haiku who want to learn more about the craft and its progression as an art form. There’s scarcely a page in the book that doesn’t offer example haiku to help make the author’s points more clearly. One needn’t worry that this will be dull exposition that can only help to kill one’s love of haiku. I found the book to be readable and the examples to be well chosen.
As it happens, the most fundamental notions about what makes up a haiku are actually more contentious than one might believe. Take the 17-syllable format. Japanese syllables are—on average—much shorter than English syllables. (e.g. Consider that “squirreled” is one syllable, whereas a long Japanese syllable would be “shi.”) For this reason, many have argued that to have the same sparse sound quality of Japanese haiku, English language haiku should follow a format that is less than 17 syllables. Also, while many people know that haiku are poems about nature, they might not make the connection to the purely descriptive (non-analytical / non-judgmental) approach or the art form. There’s a definite connection between haiku and the Zen mode of thought. The fact that the poems are sensate descriptions doesn’t mean they shouldn’t evoke emotion; on the contrary, they should be evocative on a primal level.
Be the preceding paragraph as it may, Higginson sketches out the evolution of haiku from the traditional greats (e.g. Bashō, Buson, Issa, and Shiki) to modern haiku poets both from Japan and from the rest of the world. The many examples provided offer the reader insight into how various poets have bent and broken the rules of haiku to achieve their own ends. There are, of course, some who wish to keep the form as true to the tradition as possible. Such individuals would like those who want to get unconventional to avoid using the term haiku (or terms for related traditional forms, e.g. “tanka.”) Others, want the freedom to take the art in new and unconventional directions.
The book consists of 16 chapters divided into four parts. The first part charts the evolution of haiku from the early masters to the modern age. The second part gets into the nitty-gritty of composing haiku, and it’s where one will learn about the various thoughts on the form and content of these poems. (Those wanting to learn the craft of writing haiku are directed specifically to chapters 8 and 9, which address the key elements nicely.) The third part is about teaching haiku, and specifically how to introduce it to children in a way that is much more effective than the usual teaching method (i.e. “Hey, kids, a haiku is a poem with 17 syllables arranged in three lines of 5 – 7 – 5 syllables.”) The fourth and final part puts haiku into a context of lesser known, but related, forms of Japanese poetry such at renga, tanka, and senryu. In other words, it reflects on the forms that predated or sprung from haiku. The book also has front and post matter that readers may find useful, including explanations of Japanese pronunciation (the Japanese poems usually feature the Romanized spelling out of the Japanese words as well as an English translation), a list of season words, a glossary, and bibliographic references.
I’d recommend this book for readers and / or writers of haiku who want to learn more about the craft and its progression as an art form. There’s scarcely a page in the book that doesn’t offer example haiku to help make the author’s points more clearly. One needn’t worry that this will be dull exposition that can only help to kill one’s love of haiku. I found the book to be readable and the examples to be well chosen.
August 12, 2025
I think that this book should be the de facto starting point for anyone interested in seriously learning about the art of haiku! Higginson does an excellent job introducing the reader to and familiarizing them with the history, philosophy, and modern thought surrounding haiku, ultimately resulting in one’s ability to read and write haiku to a great degree. This book has been paramount in my discovering of a new art form I love, and has placed me in a position to not only satisfyingly understand haiku, but even publish some myself!
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March 9, 2024I was looking for a new creative challenge to make a daily practice of, preferably something with a certain amount of structure and that would cost $0 and settled on haiku poetry! This handbook doesn’t so much “teach” you how to write it, but rather gives an extensive background on how it started, key characteristics, and figures to find inspiration from. Some parts can be skipped over, I’m not sure I really needed to know more about Eastern European haiku or what literary journals Americans published haiku in the 1970s, but it does do a great job of stressing the importance of haiku transmitting images and experiences to the reader from the poet. The section where Ron Padgett explains his teaching method was especially helpful to me, which was writing down 2 images or sensory descriptions, followed by an unexpected third image, result, or feeling. My first haikus were these:
Quiet on the couch
Chatter jogging by
Zoomies have passed
Neighbors’ bass returns
Laughing with eyes closed
Out of coffee
Brilliant ammiright??? This was a great starter for me at least, and I’m excited to get going on writing at least one haiku a day. It’s a great way to encourage staying present and pay better attention to the world you live in.
Quiet on the couch
Chatter jogging by
Zoomies have passed
Neighbors’ bass returns
Laughing with eyes closed
Out of coffee
Brilliant ammiright??? This was a great starter for me at least, and I’m excited to get going on writing at least one haiku a day. It’s a great way to encourage staying present and pay better attention to the world you live in.
September 17, 2024
Obviously, much has happened in haiku and adjacent genres since this book was first published almost 40 years ago. Though it certainly shouldn’t be the final word on modern writing, it’s certainly a fantastic introduction to the genre and a must-read until someone in the 21st century attempts to take up the pedagogic mantle
June 17, 2017
This was the textbook for a class that I took from the Writers Village University on Japanese poetic forms. It's very thorough. Describes the history of Japanese forms as well as the variations that these forms have undergone in contemporary America. I have a much deeper appreciation and respect for haiku, tanga, renga, haiga, and senryu now that I've studied this textbook. My, these are complicated, but beautiful forms that convey emotion through images. For anyone interested in writing haiku or other Japanese forms, I highly recommend this book.
June 9, 2015
When I read this book for the first time I wished that every school teacher that decides to do a haiku-writing lesson would read this book first. Haiku is more than just counting syllables!
This book goes into the traditions of haiku at great length and enables a serious student to understand what a haiku actually is, and how to tell a good one from a second-rate one.
For poets who'd like to try writing haiku, this book gives an overwhelming amount of information. I'd recommend going slow and reading and rereading useful sections rather than dashing through it and trying to apply everything you've learned all at once.
One useful feature of the book is an extensive list of traditional season-words (a traditional haiku always has a season-word). Looking over the list may help you find a season word that can act as a poetry prompt for your next haiku.
This book goes into the traditions of haiku at great length and enables a serious student to understand what a haiku actually is, and how to tell a good one from a second-rate one.
For poets who'd like to try writing haiku, this book gives an overwhelming amount of information. I'd recommend going slow and reading and rereading useful sections rather than dashing through it and trying to apply everything you've learned all at once.
One useful feature of the book is an extensive list of traditional season-words (a traditional haiku always has a season-word). Looking over the list may help you find a season word that can act as a poetry prompt for your next haiku.
January 8, 2018
A fascinatingly terrible book ... Higginson spends about 250 pages (after a too-short overview of Japanese haiku) reproducing horrendously bad haiku by himself and other self-published American haiku "poets," all the while treating haiku like a fun hobby to pick up in your spare time, like crocheting, complete with hilarious instructions ("pick one or more from this helpful list of seasonal words!" etc), as if real poetry could be written in this way. There are a dozen other books on haiku and the history of the genre that are more worthy of your attention; this book is an embarrassment to poetry itself.
March 15, 2025
I have a new found appreciation for the Japanese art of haiku after reading this book. William J. Higginson provides us with a great history of how the haiku came to be, starting off as a longer format called renga and changing with the times and culture to present us with the format of haiku as we know today.
I always assumed that haiku must follow the 5-7-5 syllable rule. That’s not necessarily the case with crafting a haiku. It’s simply a moment of one’s present surroundings, written usually in 3 lines or less with vivid imagery at the forefront. Short visual poetry. Quoting Higginson, “Haiku are as simple as life and death.”
Another passage from the book, “Kenneth Yasuda says that "what, when, and where" are the three elements of haiku.” When one understands the simplicity of what makes a haiku, the ones presented in this book are just lovely to read. Here were some of my favourites:
further in yet
further in yet
green hills
tree leaves fall
walking on and on
turning in bed
our backs
face
In the hook
of a wave—
the tide
Listening...
After a while
I take up my axe again.
Soaked
in morning dew
a parking ticket
I always assumed that haiku must follow the 5-7-5 syllable rule. That’s not necessarily the case with crafting a haiku. It’s simply a moment of one’s present surroundings, written usually in 3 lines or less with vivid imagery at the forefront. Short visual poetry. Quoting Higginson, “Haiku are as simple as life and death.”
Another passage from the book, “Kenneth Yasuda says that "what, when, and where" are the three elements of haiku.” When one understands the simplicity of what makes a haiku, the ones presented in this book are just lovely to read. Here were some of my favourites:
further in yet
further in yet
green hills
tree leaves fall
walking on and on
turning in bed
our backs
face
In the hook
of a wave—
the tide
Listening...
After a while
I take up my axe again.
Soaked
in morning dew
a parking ticket
March 30, 2021
For anyone with a moderately poetic inclination, this is a great introduction to reading and writing haiku. It is both a loving tribute to haiku's Japanese origins and an exploration of western adaptations. One quickly learns that the 5-7-5 syllable form is not widely adhered to among western poets, and that the important thing is direct imagery, and surprising juxtaposition. Japanese haiku do often occur in 17 characters, but that does not exactly match the concept of syllable. The author calculates that simply in terms of how long it takes to read a particular haiku, 12 syllables would be a better approximation to the Japanese form. The book contains many delightful haiku, though I am somewhat disappointed that it didn't contain more. Some of the later chapters also felt a little like filler, so I would say 4.5/5 rounded up.
June 3, 2017
The Haiku Handbook: How to Write, Teach, and Appreciate Haiku. This is a very specialist book which I wouldn't recommend unless you have a very specific interest teaching different forms of Haiku. If you're already an expert - this is for you.
I've only given it four stars as it gets a bit technical at times but it also contains a wonderful section on how to teach Haiku which I've been able to draw on for the Battersea Literature Festival events and teach a variation on myself.
Reading this also, I believe will have improved my own Haiku and made me fall still more in love with the form - or I should say, the many forms of a Haiku verse.
I've only given it four stars as it gets a bit technical at times but it also contains a wonderful section on how to teach Haiku which I've been able to draw on for the Battersea Literature Festival events and teach a variation on myself.
Reading this also, I believe will have improved my own Haiku and made me fall still more in love with the form - or I should say, the many forms of a Haiku verse.
May 22, 2023
2023 reads, 8/12:
A great introduction to the art of haiku. Higginson covers famous poets throughout history, and discusses their inspirations by breaking down how each of them approached haiku differently. I now definitely have a better understanding of how to both compose haiku (and why it’s best not to limit yourself to the 5-7-5 syllable 'rule') and appreciate it. Recommended for anyone interested in haiku, and even poetry in general.
“This is the main lesson of haiku. When we compose a haiku we are saying, ‘It is hard to tell you how I am feeling. Perhaps if I share with you the event that made me aware of these feelings, you will have similar feelings of your own.’”
A great introduction to the art of haiku. Higginson covers famous poets throughout history, and discusses their inspirations by breaking down how each of them approached haiku differently. I now definitely have a better understanding of how to both compose haiku (and why it’s best not to limit yourself to the 5-7-5 syllable 'rule') and appreciate it. Recommended for anyone interested in haiku, and even poetry in general.
October 10, 2022
The history and forms of haiku and related Japanese poetry types are discussed here, & there remains within this book a lot of name-dropping amongst non-Japanese practitioners of this enduring and resilient art form.
Perhaps the most interesting part of this book remains the part where North American and European variations of this form are discussed, as well as contemporary non-Japanese practitioners of those same forms utilized within the context of poetic literatures within the English speaking world.
Perhaps the most interesting part of this book remains the part where North American and European variations of this form are discussed, as well as contemporary non-Japanese practitioners of those same forms utilized within the context of poetic literatures within the English speaking world.
January 22, 2022
Very helpful book. It does a great job of explaining history, gives short biographies of many haiku poets (primarily traditional Eastern writers), and describes other similar poetry (tanka, senryu, renga, etc). Lots of practical info- how to teach, lists of kigo (seasonal words), analysis of famous haiku, lists of other reference books, etc. I will pick this up in the future as a reference guide
July 9, 2023
Positively essential. If you are interested in haiku, tanka, poetry generally, Eastern history, philosophy, culture, art, would like to learn about intersections of literature and spiritual traditions, if you enjoy Beat or Imagist writing, Kerouac, Pound, Gwendolyn Brooks, Richard Wright, there aren't any excuses or reasons not to pick this up and devour it as soon as possible, I can't encourage you enthusiastically enough. Seminal, far reaching, interdisciplinary, riveting!!!
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April 10, 2021Almost as perfect as a well formed haiku. I found the chapters on related poetry styles to be like extra words in a work that could have been perfect without them. The chapter on haibun - haiku prose, however, was a welcome addition.
June 29, 2021
Muy bueno! Un libro útil que exhibe una vasto conocimiento de las tradiciones haikus en y fuera de Japón. Pero Higginson reconoce que el haiku brota de la historia y la cultura japonesa y que los mejores haikus escritos dentro y fuera de Japón son los que participan y reconocen esa resonancia.
January 4, 2025
The book is a bit dated (1985) but the information is still relevant. The best part for me was the Season-Word List and Index which is a treasure trove of seasonal word that can be used in haiku and other Japanese form poetry.
February 18, 2019
Although dry, I give it 4 stars for being so thorough. Easy to understand, and NOT saturated with artsy-fartsy flowery language.
November 30, 2019
It was interesting to read about the evolution and spread of haiku as well as some diverse writers of haiku. The lesson plans were also fun, although overall I found the book a bit wordy, ironically.
August 28, 2020
Great overview and information on Haikus.
October 1, 2020
If you want to learn how to really write a haiku, get this book. Most of what you see in the West are not Haiku. They are words across broken lines.
April 29, 2021
The book was alright. I wanted something just plain and simple to get to the point. This book does give quite a bit of information.
February 22, 2022
An impressive resource that has an impressive chapter on poetry resources to wrap it all up.
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June 20, 2022Really helpful. Could've done without the "how to teach" section, but I'm guessing it's pretty useful for anyone engaged in instruction.
April 23, 2025
This book revolutionized my haiku. A must-have for poets of all stripes!
January 3, 2015
This was a very nice book on Haiku and is definitely a must read/own for anyone serious about writing haiku. It has great information on the history, haiku poets, writing haiku in English, etc. It does get a bit esoteric at times You do have to keep in mind that it was written in 1985, so it does feel dated when he talks about technology, how people can share haiku, and any of the "current" resources (such as magazines and publications) may very well not be available anymore. Also, the teaching section was very disappointing to me. It has some great ideas for teaching to kids, but next to nothing about teaching adults! Overall though, it is a great place to start, useful, and a great reference for anyone who wants to take up the art of Haiku.
February 15, 2008
The haiku handbook is one of the few excellent texts on haiku in English, covering the history of its traditional forms and abstraction away from earlier, longer poetry styles, the modern Western movement of haiku, and many technical chapters that find a good middle ground between the free musicality of haiku and its coherence as a form. The poems are well-chosen and give good context to the history and forms surrounding and related to haiku (for example, the imagist poems of Ezra Pound).
Highly recommended for anybody interested in writing or appreciating poetry.
Highly recommended for anybody interested in writing or appreciating poetry.
January 16, 2009
A long overdue read. I've had this on my shelf for almost 10 years, and I wished I'd read it sooner.
But still very useful. Lots of tips useful for beginners or experts. I doubt there is any haiku writer or reader who wouldn't gain something from this book.
A generous and welcoming style throughout. Also packed with great examples of the poetry in question.
But still very useful. Lots of tips useful for beginners or experts. I doubt there is any haiku writer or reader who wouldn't gain something from this book.
A generous and welcoming style throughout. Also packed with great examples of the poetry in question.
Displaying 1 - 30 of 50 reviews