moonlit pines dimming the flashlight

However, one cannot follow the same 'rule' in writing the phrase portion of the ku. Sometimes critics make the comment in a workshop that a haiku is 'choppy'. What they are referring to is the feeling that at the end of each line the break in syntax is final. The two lines of the phrase are not hooked together in a flow of grammar and meaning. Notice the difference between:
low winter sun
red and green

mountain heart in the stone mountain tunnel light

A cricket disturbedthe sleeping child; on theporcha man smoked and smiled.

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Fortunately for haiku writers, their catch doesn't getsmelly if it gets mislaid in the trunk of the car and takinga live fish off a hook is certainly different from scratchingwords on paper but the thrill is very similar.

1. Seventeen syllables in one line.

However, in this way you meet a lot of interestingpeople, many who become great friends, and what a thrill itis when the local restaurant, with a blare of trumpets,serves your fish on their menu. The local paper may evenreview your book.

2. Seventeen syllables written in three lines.

28. Invent lyrical expressions for the image.

Yet, if you have studied and written longer poems, youKNOW the use of metaphor is one of the essential aspects, oneof the most time-tested techniques, of poetry. Our greatestEnglish language poets were the best masters of discoveringand using metaphor.

31. Use images that evoke classical elegant separateness.(shubumi)

How many times, in your years of studying haiku, have youbeen told "never use metaphor or simile in haiku"?How many times have you written a pretty good haiku but havebeen afraid to send it to an editor for fear it would berejected because it "kinda has a metaphor" init?

4. Seventeen syllables written in a vertical (flush leftor centered) line.

10. Never have all three lines make a complete or run-onsentence.

Outside reporters invariably focus on the issues of racism, sexuality, and alcohol. It is important that people not misunderstand this as a racial issue. Reversing social order and pretending to be someone else go much farther back than our immediate roots of racism in the south. Still today, Black Creoles frequently whiten their faces and the earliest illustrations of African and Caribbean carnival include Blacks in white face. Related to this is the fact that most older Cajun runners identify themselves with the sauvage, which is the Cajun French term for Native American. This is their version of l'homme sauvage or the wildman in European tradition. Evidence includes the traditional Cajun costume which from shoulder to ankle is clearly Native American and the many masks that bear a striking resemblance to illustrations of the wildman. Concerning alcohol, many people forget that Mardi Gras is based on rites of passage that have for centuries used mind-altering drugs which loosens inhibitions and allows participants to "play the other."

6. Less than 17 syllables written in three vertical linesas short-long-short. (Ala Barry Semegran)

15. Limited use (or non-use) of personal pronouns.

Living this somewhat solitary life, he spent time withvarious members of his family until he was thirteen years ofage, at which time his father decided to kick him out intothe world, and he walked to old Yedo, which is now Tokyo.

9. Use a caesura at the end of either the first or secondline, but not at both.

22. Save the "punch line" for the end line.

What makes the haiku fascinating to us is that all above,and surely much more, can be contained by juxtaposing barebranch, a crow settling and autumn dusk. For me, the elementsthat securely tie the crow in place as metaphor for an autumnevening are: one, the verb "settling" (because wesay dusk settles -- but not lands or perches), a techniqueBasho so often employs one automatically checks his verb forthis two-sidedness when one appears in a poem and two, theimage of a bare branch which can accept naturally both thearrival of a bird image and autumn dusk.