Cold Moon

Up, and to the office, where we sat all the morning, and here among other things come Captain Cocke, and I did get him to sign me a note for the 100l. to pay for the plate he do present me with, which I am very glad of. At noon home to dinner, where was Balty come, who is well again, and the most recovered in his countenance that ever I did see. Here dined with me also Mrs. Batters, poor woman! now left a sad widow by the drowning of her husband the other day. I pity her, and will do her what kindness I can; yet I observe something of ill-nature in myself more than should be, that I am colder towards her in my charity than I should be to one so painful as he and she have been and full of kindness to their power to my wife and I. After dinner out with Balty, setting him down at the Maypole in the Strand, and then I to my Lord Bellasses, and there spoke with Mr. Moone about some business, and so away home to my business at the office, and then home to supper and to bed, after having finished the putting of little papers upon my books to be numbered hereafter.

Cold Moon
I finish putting paper
on my books


Erasure haiku derived from The Diary of Samuel Pepys, Thursday 20 December 1666.

Vulpes vulpes

Up, and very well again of my pain in my back, it having been nothing but cold. By coach to White Hall, seeing many smokes of the fire by the way yet, and took up into the coach with me a country gentleman, who asked me room to go with me, it being dirty — one come out of the North to see his son, after the burning his house: a merchant. Here endeavoured to wait on the Duke of York, but he would not stay from the Parliament. So I to Westminster Hall, and there met my good friend Mr. Evelyn, and walked with him a good while, lamenting our condition for want of good council, and the King’s minding of his business and servants. I out to the Bell Taverne, and thither comes Doll to me, and yo did tocar la cosa of her as I pleased; and after an hour’s stay, away and staid in Westminster Hall till the rising of the house, having told Mr. Evelyn, and he several others, of my Gazette which I had about me that mentioned in April last a plot for which several were condemned of treason at the Old Bayly for many things, and among others for a design of burning the city on the 3rd of September. The house sat till three o’clock, and then up: and I home with Sir Stephen Fox to his house to dinner, and the Cofferer with us. There I find Sir S. Fox’s lady, a fine woman, and seven the prettiest children of theirs that ever I knew almost. A very genteel dinner, and in great state and fashion, and excellent discourse; and nothing like an old experienced man and a courtier, and such is the Cofferer Ashburnham. The House have been mighty hot to-day against the Paper Bill, showing all manner of averseness to give the King money; which these courtiers do take mighty notice of, and look upon the others as bad rebells as ever the last were. But the courtiers did carry it against those men upon a division of the House, a great many, that it should be committed; and so it was: which they reckon good news. After dinner we three to the Excise Office, and there had long discourse about our monies, but nothing to satisfaction, that is, to shew any way of shortening the time which our tallies take up before they become payable, which is now full two years, which is 20 per, cent. for all the King’s money for interest, and the great disservice of his Majesty otherwise.
Thence in the evening round by coach home, where I find Foundes his present, of a fair pair of candlesticks, and half a dozen of plates come, which cost him full 50l., and is a very good present.
And here I met with, sealed up, from Sir H. Cholmly, the lampoone, or the Mocke-Advice to a Paynter, abusing the Duke of York and my Lord Sandwich, Pen, and every body, and the King himself, in all the matters of the navy and warr. I am sorry for my Lord Sandwich’s having so great a part in it.
Then to supper and musique, and to bed.

not seeing me
the city fox’s
full ears


Erasure haiku derived from The Diary of Samuel Pepys, Friday 14 December 1666.

Coal train

View on Vimeo

A new videohaiku. It’s silent, in part because I was blasting music when I shot the footage, waiting for a train to clear our crossing. Had no idea the footage would be so hypnotic. This is less than half the total length of the train, by the way. Every car loaded high with bituminous coal, heading east.

Frozen

Up, and to the office, where we sat all the morning. At noon dined at home. After dinner presently to my office, and there late and then home to even my Journall and accounts, and then to supper much eased in mind, and last night’s good news, which is more and more confirmed with particulars to very good purpose, and so to bed.

ice all morning
in my mind
last night’s particulars


Erasure haiku derived from The Diary of Samuel Pepys, Tuesday 4 December 1666.

Autumn Metropolis (videohaiku sequence)

If you experience playback issues with the Vimeo link above, try the YouTube playlist version instead.

This 17-video sequence of videos based mostly in London, with one from the outskirts of Swindon, concludes my year-long series of haiku videos, which began with Winter Trees and continued in Pennsylvania Spring and Summer in the UK: 80 videos in all. As with the other three collections, the canonical link is at davebonta.com.

Let me paste in the text, with the first line of each haiku linking to the original post here at Via Negativa where I wrote about where it was shot and what might’ve prompted it. I’ll post some concluding thoughts below.

Autumn Metropolis

peace garden
the nonresistance
of leaves

*

back alleys
it’s not whether but how
we go to seed

*

building site
the four-square mounds
of unearthed earth

*

poetry festival
someone says the lake
isn’t a lake

*

in wild
flower beds now
only the cosmos

*

200 years
after Keats’ ode
autumn persists

*

churchyard labyrinth
zeroing in
on the X

*

where the dead
are said to sleep
my autumn face

*

skyline
the immensity
of our loss

*

wet sidewalk
beneath the fallen leaves
another sky

*

London after Blake
bearded hipsters open
a pop-up brothel

*

in this human city
an ash tree sings
possessed by starlings

*

hunting mushrooms
I find
a small circus

*

November rain
a mouse forages under
the garden table

*

this slower autumn
from which there’s no return
cold to my bones

*

guard dog
wagging your tail
I’m leaving now

*

moon at the station
imagine belonging
to just one place

*

Today I watched the whole sequence together for the first time, three weeks after finishing the last video and returning to the U.S., and I have to admit I’m kind of pleased with it — which isn’t my usual reaction to things I’ve made. I think I can detect a gradual improvement in both my haiku writing and my video editing over the course of the year, though I think there’s more continuity than not. I still think single-shot videos work best for haiku, freeing the viewer to give these super-brief texts their full (if not undivided) attention. For that reason, out of this sequence I think “poetry festival”, “skyline” and “moon at the station” are the most successful, though with a video like “peace garden”, I wouldn’t not want the extra shots at the beginning, which help establish context and also introduce additional found text. “Guard dog” does this perhaps even better. Other videos where I took advantage of additional text in the shots include “London after Blake”, “hunting mushrooms”, “churchyard labyrinth” (that cross read as an X, as in Xmas). In “back alleys” and “this slower autumn”, graffiti lend a calligraphic touch, and could be seen as tongue-in-cheek allusions to traditional haiga.

The plethora of texts within the environment is one interesting aspect of making videohaiku, or any sort of videopoetry, in urban locations. Then there’s the ability to connect to great artists or writers who may have lived or worked nearby — not generally as easy a thing to do in the backwoods. So for example the Keats and Blake references set in parts of London where they’d actually spent time.

But most of all, what I have enjoyed about walking around towns and cities this year is not knowing what I might discover around the next bend — which is actually very similar to the way I experience forests. The rich cultural and historical diversity compensates to some extent for the radically impoverished biodiversity. “Hunting mushrooms” is my attempt to suggest something of that sleight-of-hand here. Though it could’ve used a better shot focusing on the mushroom-cap shape of that circus tent… which points up one of the pitfalls of working in this ekphrastic manner. The spontaneity of haphazard shooting on a cellphone is a great fit with the modern haiku ethos, but it does mean that you often have to settle for less-than-ideal footage. The shot in “building site” is really rather sub-par, for example, due in part to poor light and in part to constant vibrations of the road surface I was shooting from as huge trucks rumbled past behind me. But it ended up sparking a fairly interesting text, I thought, even if as a haiku it’s perhaps a bit too clever, too lacking in lightness.

Where do I go from here? It’s tempting to go back and re-do some of my videos from last winter and spring, applying new techniques I learned in the course of the project. I thought about putting all the videos into one humongous Vimeo collection and YouTube sequence, but I don’t know that anyone would ever actually watch it. A better idea might be to select the best half or two-thirds of them and roll them into a single film with a run-time of under one hour, presuming I can figure out how to do this with the video editing tools at my disposal, and call it something like Crossing the Pond: A Transatlantic Haiku Year. Then I’d have something I could, I don’t know, put on a DVD? With an accompanying book? I’d appreciate feedback from anyone who’s been following this project. What would you like to see? Or are the four online sequences sufficient?

Monochrome

Up, and with Sir W. Batten to White Hall, where we attended as usual the Duke of York and there was by the folly of Sir W. Batten prevented in obtaining a bargain for Captain Cocke, which would, I think have [been] at this time (during our great want of hempe), both profitable to the King and of good convenience to me; but I matter it not, it being done only by the folly, not any design, of Sir W. Batten’s. Thence to Westminster Hall, and, it being fast day, there was no shops open, but meeting with Doll Lane, did go with her to the Rose taverne, and there drank and played with her a good while. She went away, and I staid a good while after, and was seen going out by one of our neighbours near the office and two of the Hall people that I had no mind to have been seen by, but there was no hurt in it nor can be alledged from it. Therefore I am not solicitous in it, but took coach and called at Faythorne’s, to buy some prints for my wife to draw by this winter, and here did see my Lady Castlemayne’s picture, done by him from Lilly’s, in red chalke and other colours, by which he hath cut it in copper to be printed. The picture in chalke is the finest thing I ever saw in my life, I think; and did desire to buy it; but he says he must keep it awhile to correct his copper-plate by, and when that is done he will sell it me.
Thence home and find my wife gone out with my brother to see her brother. I to dinner and thence to my chamber to read, and so to the office (it being a fast day and so a holiday), and then to Mrs. Turner’s, at her request to speake and advise about Sir Thomas Harvy’s coming to lodge there, which I think must be submitted to, and better now than hereafter, when he gets more ground, for I perceive he intends to stay by it, and begins to crow mightily upon his late being at the payment of tickets; but a coxcombe he is and will never be better in the business of the Navy. Thence home, and there find Mr. Batelier come to bring my wife a very fine puppy of his mother’s spaniel, a very fine one indeed, which my wife is mighty proud of. He staid and supped with us, and they to cards. I to my chamber to do some business, and then out to them to play and were a little merry, and then to bed.
By the Duke of York his discourse to-day in his chamber, they have it at Court, as well as we here, that a fatal day is to be expected shortly, of some great mischiefe to the remainder of this day; whether by the Papists, or what, they are not certain. But the day is disputed; some say next Friday, others a day sooner, others later, and I hope all will prove a foolery. But it is observable how every body’s fears are busy at this time.

I would draw
this winter in chalk
but for a crow


Erasure haiku derived from The Diary of Samuel Pepys, Wednesday 7 November 1666.

Moon at the station

View on Vimeo.

A videohaiku filmed at our local London Overground station, Kensal Rise. This is the final video in the seasonal series and also in the larger cycle of videohaiku that began last December with footage Rachel shot from the Amtrak approaching our crossing in central Pennsylvania. I know that leaves a month-long gap, but this feels complete now, and I’ve resisted mixing PA- and UK-based videohaiku in a single seasonal series, which I guess reflects some feeling that, however modern haiku might become, however much they might dispense with seasonal words and traditional conceits, they should still be rooted in particular times and places.

Imagine belonging like that. It’s easy if you try…

Guard dog

View on Vimeo.

My time in the UK is coming to a close for the year, so this is the penultimate video in the current haiku series, which I’m calling Autumn Metropolis. It was shot in a neighborhood of London we’ll call Anytowne, UK. It begins with a sign that I found both haiku-like and ironic:

do not enter
large dogs
may be running free

The ambiguity of “free”, especially in the British context where citizens are also subjects, and where a large proportion of them—possibly a majority—are demanding greater restrictions on their own and others’ movements, is not unlike the ambiguity of one of the dogs’ reactions to me. I feel as if it’s missing its calling as a member of the Border Force.

November rain

View on Vimeo.

The latest videohaiku combines footage shot this morning through a half-open upstairs window with an observation made yesterday through the downstairs window. I was kind of pleased with the way the footage looks like a mash-up of Impressionism and Cubism.