Poetry Discussion 3: Spark Images

In my previous journal, I discussed juxtaposition and its role in haiku. I examined the importance of juxtaposition in creating resonance, and featured several haiku illustrating the concept. In addition, I discussed helpful ways for beginning haijin to incorporate juxtaposition into their haiku.

In this journal, I will be discussing a poetic technique which I call the "spark image."  I will examine its importance in creating multiplicities, and include examples of the concept. In addition to this journal, my haikai brother SOLARTS will be posting a response journal on the theory and practice of floating lines. I will be posting a link to his journal once it is completed.

For those that know me, I often refer to spark images as "floating lines." These terms mean the same thing. The basis for them just stems from different philosophers. The theory of the spark image/floating line is a concept that SOLARTS and I have been discussing and experimenting with for quite awhile.

In haiku, the spark image refers to any middle image that seems to "travel" between the first and last line of the poem, without being concretely attached to either one. While there is no formal definition for this technique, I have termed this concept the spark image because the middle line acts as a kind of "current" between two poles; illuminating multiplicities while remaining in motion. This allows for a wider range of unfolding within the haiku. While ambiguity in haiku has traditionally been frowned upon, I believe that when the principles of juxtaposition are understood, ambiguity can be used to create different entry points into the poem. In addition to spark images, this idea is also illustrated by repetition in haiku. Again, everything stems from the basic principles.

In structure, a haiku using a floating line would appear something like this…

Concrete image
Spark image
Concrete image

or

starry night
in the birdbath
a handful of coins
laurence55.deviantart.com/art/…

In this poem, I have used the water "in the birdbath" both as a reflection of the starry night and a lens for the viewing of coins, and thus human dreams. Acting as opposite poles, the stars and coins also appear to mirror one another. In this instance, the spark is occurring between millions of miles and is juxtaposing the solid (coins) with what cannot be touched (the starlight). There is also linkage in that the light of both is held by the water.

When spark imagery is used correctly, the middle line becomes the folding point of the haiku. For me, this effect is underscored by the absence of a pivot point. While some haijin consider pivot points and spark images to be the same thing, I believe that the difference lies in that pivot points isolate one phase of the poem, in order to create the space for juxtaposition with the other phase. Unlike pivot points, which create boundaries, the spark image hovers in the crawlspace meant for drawing interpretations of the poem. In learning to use spark images, I find that an understanding of juxtaposition is most helpful. In this case, it requires a dual juxtaposition with the concrete areas of the poem.

That is all for now! To be honest, I have not yet decided what my next journal will cover. I'm kind of between topics.

As always, please note me with questions, comments, or rants!