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sarasade · 6 months

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One of the most generally useful things to come out of Hbomberguy's plagiarism video and Todd in the Shadows' similar video on misinformation is how they bring transparency to the internet phenomenon of "I made up a guy to get mad at".

Seriously, I've seen people make up a lot of stupid shit on the internet over the years and it's often just a manipulative attempt to paint a group of marginalized people in a bad light.

That's the TL;DR version of this post.

ANYWAY here is the long version

Those videos are mostly about James Somerton's plagiarism of other queer people's work. However I'd like to talk about that 20-30% of Somerton's original writing- and oh boy. It's mostly about complaining about White Straight Women and misgendering well-known trans creators such as Rebecca Sugar and calling Becky Albertalli a straight woman while it's pretty common knowledge that she was forced to out herself as bi because she received so much harassment over "being a cishet woman who appropriates LGBT+ stories".

One thing that irks me especially is how in his Killing Stalking and Gay Shipping videos Somerton brings up how straight women/ teen girl shippers exploit gay men for their personal sexual fantasies. This gets brought up several times in his videos.

Being all up and arms about Somerton being a "White Cis Gay Who Hates Women and Queer People tm" is not that useful because the kind of rhetoric he's using is extremely common in fandom and LGBT+ spaces on Tumblr, TikTok and Twitter. We really don't need to bring Somerton's identity to this since he is in no way an unique example.

It's hypocritical to make this about an individual person when I've seen A TON of posts, tweets and videos where queer people talk about these Sinister Straight Women who are supposedly out there fetishizing and exploiting queer men. It's pretty clear to me that this is just an excuse to shit on women and queer people for having any sexual interests. At worst these comments are spreading misinformation about BL, a form of media that has been excessively studied by both Asian feminists and Asian queer women.

This all sounds really familiar and I think it's good that people are calling it out as what it is: misogyny and transphobia. I'd also point out the potentially racist motives behind being this hypervigilant about Asian media.

People can absolutely be misogynist regardless of gender or orientation. I really don't know why we need to create some kind of made up enemy to get mad at. I actually think it's almost sinister how "anti-fujoshi" people call Slash shippers and fujoshi misogynists or claim that they have internalised misogyny while being dismissive about women's interests and creative pursuits under Japanese obscenity laws, China's censorship, book bans in American schools and various other disadvances that are part of being a queer and/or female creator.

I think we shouldn't be naive about the bad faith actors who want to turn queer people against each other. For example Fujoshi.info mentions anti-gender (TERF, GC etc) movement using this kind of rhetoric as well.

Anyway if you want to read more:

- about the false info around BL fandom fujoshi.info

-There is the scholar Thomas Baudinette who studies gay media in Japan. Here is a podcast with him and the scholar Khursten Santos

-James Welker is a BL scholar as well. Here is a podcast interview about the new international BL article collection he edited.

-I've already talked about this Youtube channel by KrisPNatz and his great Killing Stalking video that actually engages with the themes of the manhwa

- There is also HR Coleman's thesis DO NOT FEED THE FETISHIZERS: BOYS LOVE FANS RESISTANCE AND CHALLENGE OF PERCEIVED REPUTATION where she interviews 36 BL fans and actually breaks down why fetishization has become such a huge talking point in the fandom discourse. Spoilers, it's mostly about young queer people and women being worried that they will get judged and pathologized for their interest in anything sexual.

-Great podcast about Danmei and censorship with Liang Ge

#Also I don't mean that you can always tell if someone is a transphobe or a TERF based on a couple of things they have said.#My point is that sometimes ok people can have very regressive ideas too.#This is not a call out post about how we should go around accusing anti-fujoshi people #todd in the shadows #hbomberguy #sarasade text #even I've got those “Fandom is mostly straight women fetishizing gay men” comments once and it begins to sound kind of passive-aggressive #when you're a bi woman. Lot of fandom stats at AO3 show that fandoms are montly bi women. who are these people calling straight exactly hmm #also straight women are completely ok leave them alone. I know I know Yes I'm so brave for saying this #cw: transphobia

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poorly-drawn-mdzs · 1 month

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Do you like sci-fi and indie animation? Check out Monkey Wrench!

#monkey wrench #digital art #This series is very delightful and also in need of more attention!#Usually I would ramble about why love it - however I am going to go a little off the rails and talk about something else.#Namely that this is a gift for a very dear friend who loves this series a lot! One of my favourite people of all time!#Thank you for so many things. For keeping me going when times are dark. For sticking by in the hard times.#Thank you for the incredible soup and the fun moments! For the great recommendations on series.#I sometimes feel like I should thank the universe for letting our paths cross when they did.#It feels cheesy to say all this but I really am such a better person because of you.#Thank you for reading all my silly comics even though you have *no* idea what is going on in them. It means a lot.#My gift of a silly doodle and hopefully getting a few people to check out this show is not adequate to express my gratitude.#But hey - we've got the rest of our lives to keep saying thank you.#Love you lots mate. Can't say it enough B'*)

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sp0o0kylights · 2 months

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Wayne takes in a Beat to Shit Steve Harrington after Starcourt as n Owed Favor to Hopper Part 4

Part Three: link

First Chapter (parts 1-3 on tumblr) on A03: Link

The kid was madder than a wet hen.

Just as slippery as one too, when he got like this--music pulsing like a living thing to signal all his rage and upset.

Not like Wayne hadn’t expected it.

He just wished it wasn’t quite so damn loud.

The music had started up almost immediately after Eddie had stormed to his room, startling Steve awake and nearly making Wayne curse for it.

Normally it was a good thing--music meant Eds was willing to listen instead of heading for the hills.

Normally, they didn't have a house guest who looked like he'd gone ten rounds with a bear.

They had a routine for this, was the thing and the music was a key part of it. It worked all the edges off for Wayne, and he'd long figured out that about thirty minutes was a the perfect length of time for Eddie to stew before he could actually talk things through.

Given the hand Harrington put to his forehead, Wayne wasn't eager to give him that thirty minutes.

Not when Steve deserved little peace he could have.

Unfortunately, so did Eds.

Still.

Strutting through the door and demanding to talk right now was a bad move and so, with a sympathetic look given to Steve, Wayne did what he did best

Gave space.

Let Eddie rage, as Wayne got up and shuffled about the kitchen.

Pulled out the soft earplugs he pretended weren’t there for Eds to steal (playing that damn loud guitar all the time could not be good for his ears) and offered them to Steve, before making two cups of what Wayne privately thought was the Munson “chitchat” drink.

One cup of hot water, one packet swiss miss, a small amount of maple syrup drizzled in, topped with little marshmallows they reserved for these types of situations.

Wayne took his time with it, thinking through what he wanted to say.

‘I understand that this is a screen door on a submarine kind of situation...’

Nope.

‘Son I know you hate listening to anyone for anything but this is serious...’

Absolutely not--that would end up with the boy bolting for sure.

‘Ed’s, I love you but could we please turn Ozzy off while we talk? That man wails louder than any damn cat I have ever met.’

That one was purely self indulgent, mostly because the wall was starting to shake.

Wayne put the finishing touches on the cocoa before staring at both of them.

Perhaps if he stared the Garfield mug in its eyes hard enough, the right words would come through.

They did not.

He kept trying, standing there long enough for the cocoa to reasonably have cooled and for Eddie’s song to flip over to something with more screaming in it than singing.

Wayne supposed that this was the hardest part of being a parent. You just didn’t get to have the magical one liner. The right thing to say at just the right time.

The joke that would ease all the tension and let things progress forward nice and easy.

Instead, you got to fumble your way through the dark with a flashlight up your ass and hope you were going in the right-ish direction. Ideally without making things worse.

Wayne was here though, and that had to count for something.

(Knew it counted for something--because Eddie was still here.

They had cleared hurdles far higher than this when it came to trust. They’d get through this too, come what may.

Steve too.)

“Can I just ask,” Eddie started, aggressive as always when Wayne finally gave in and entered his room, feeling all sorts of awful for the migraine Steve had to have, “what the absolute fuck is happening?”

Sure as fire he was sitting on his bed, leg bouncing a mile a minute.

An unlit cigarette hung between two fingers, looking a little chewed on, but otherwise undisturbed--as it should be, because one of Wayne’s few rules was that smoke stayed outside the house.

“You could.” Wayne said loudly but agreeably, as he turned himself around and dropped down next to his kid.

Held out the Garfield mug, and was happy when it was taken from him.

“Figured you might have other things to say, though.”

Likely a lot of things.

It was as good an opening as any, and his kid didn’t disappoint, launching right to it.

“Why is he here and not at a hospital?”

‘Here’ was punctuated by Ed’s hand winging towards the door, and while it wasn’t the righteous fury Wayne expected, it was at least, an easy answer to give.

“Steve has some people looking for him. Bad people. Hospital makes him an easy target.”

Wayne was still talking loud. Could only hear Eddie himself because he was looking at the kid’s lips more than he was actually hearing his voice.

Eddie took that in, swallowing it about as well as he’d swallowed anything he hadn’t liked.

And thank the stars above, he finally reached a hand out and turned the music down. Not a lot--Steve wouldn’t be able to hear them over all this--but enough that Wayne didn’t have to struggle.

“We’re hiding him from the cops now?!” Ed’s spat.

“Cops know he’s here. Hopper’s the one who asked me to take him.” Wayne reminded him, because it was the truth.

Not the full truth, but given how Ed’s pissed off half the local PD on a good day, Wayne absolutely did not want to see his nephew take on Federal Agents.

(Particularly not the kind who were going ‘round killing kids.)

“So--what?” Eddie yanked hard on his hair, a gesture that looked less intentional and more like he was trying to fight his own anger down. “Hopper just called you up and said ‘Hey, we had a whoopsie with the rich kid, the hospital’s not safe anymore. Can we stash him with you for a few days?”

Wayne nodded once, slow-like.

Always remembered how too fast movements had made Eddie flinch and jerk back when was littler, and given the way Steve was looking, figured it was a good time to be cautious again.

“He did.”

“And you just--agreed? Just like that!?”

“I did.”

He pretended not to see Eddie boggle at him at the simple admission, so furious that he seemed to struggle for words when he normally had too many to say.

Wayne took advantage.

“We did talk a bit more than that, I’ll admit.”

Ed’s scoffed. “About the weather I’m sure.”

“‘Bout trust.”

Eddie blinked at that.

“Trust.” He echoed flatly.

“What have I always told you? People like to ask you to trust them, but you they don’t get to have it until--”

“They provide proof or a reason.” Eddie finished with an eyeroll. “So which did Hopper provide then?”

Wayne took a noisy sip of his coca. Smacked his lips a little before saying: “Both.”

Didn’t bother to say anything else, because he knew Eddie would finish the thought for him.

“One of them was me, wasn’t it.”

Eds didn’t say it like a question, but Wayne hummed in agreement anyway.

He wasn’t gonna shame his boy, but he wasn’t gonna sugar coat Eddie’s involvement in this either. Not when he’d already admitted that was half the reason Hopper had gone to Wayne to begin with.

“No one is expecting Steve to be here.” He said, seeing the chance to hammer home the most important part of this entire shitshow. “So long as no one finds out he’s here, he’ll be safe. Everyone will be safe.”

Steve from the Feds who were hunting him for while he was busy being involved in shit he couldn’t control and Eddie because he had a mouth that most people didn’t like.

Not small town people anyway, and absolutely not authority figures with guns.

“Who’s even after him?” Eddie was theatrical as always, hands waving away as he talked. “Did he make a deal with the mob? Piss off some other rich guy? I know it’s not anything drug related, I’d have heard about it by now.”

After years of experience, Wayne knew exactly how far to lean away to stay out of range, too used to his nephew talking with his entire body.

“That’s his story to tell ya, Ed’s. It ain’t mine. Same way it ain’t my place to tell him your story.”

That at least got the boy to think for a minute. Put down that frustration he carried with him all the time, and use the brain they both knew he had.

“How long is he staying here?”

Wayne shrugged. “Don’t know.”

Eddie sighed and mockingly mimicked Wayne, taking an obnoxious slurp of his cocoa. “The neighbors are going to notice if he’s here more than a few days. The trailer park isn’t exactly big.”

“They didn’t notice that time you decided to make fireballs with the cooking spray and about blew up half the driveway. Don’t think they’re gonna notice someone being quiet in the house.”

Eddie snorted, and probably rolled his eyes again, not that Wayne could see it given the kid was looking into his own mug as he thought it all through.

Wayne sat with him as he processed.

Eds worked at his own pace with things, and while life at large might be against that, Wayne was happy to let him do it. Found it easier that way, then trying to poke and prod and force him like so many father figures did.

Wayne’s patience was rewarded not even a full minute later, when Eddie turned to him and asked;

“What if he finds out?”

This in a quieter voice. An unsure one--words and body hunching in a way unlike the Eddie the world outside knew, but very much like the little boy Wayne had brought inside his home.

It took Wayne a moment to connect the dots--he’d been speaking out of the place parents and authority figures often do, and in doing so hadn’t thought much of the fact his nephew had a real secret.

The kind small town minds didn’t like--and would kill him over.

This all wasn’t about Wayne taking in Steve, he realized abruptly. It was that Steve being here meant Eddie couldn’t be himself.

Could not relax in a place he was accepted for who he was, because Wayne knew and made sure Eddie understood he was wanted here, had a place here, regardless of who he loved.

Now, Wayne had gone and removed it.

‘Shit.’

“He won’t.” Wayne said.

Knew that wasn’t enough, and so, promised: “But if he does, I’ll make sure he understands his safety here relies on your own.”

Ed’s chin jerked in a nod, the two of them sitting in silence for a moment before the boy did as he often did when he wanted a hug but felt too awkward to ask for one, and tipped himself into Wayne’s side.

“Thanks old man.” Eddie whispered into his shoulder and not for the first time, Wayne wished things were easier for the poor kid as he put his mug in one hand and hugged his kid with the other.

Hoped that in the future, it would be.

Even if he had to force everyone and everything coming after him--and now Steve--to do it.

(Wondered vaguely, how bad it was that he was already getting as protective as Steve as he was of his own kid.

Probably very, given his kid clearly hated Harrington.)

xXx

Wayne took the first night of Steve’s stay off.

He wasn’t the type to use his PTO lightly. Was used to rationing it for any possible thing Eddie might need him for.

A night up sick when he was younger, to a night spent chasing him down during some of their bad spots--but the last year or so Wayne had slowly realized he hadn’t had to use it much.

He was still careful with it though, precious as it was, and was thankful for it now as it ensured his nephew didn’t murder their house guest.

Or at the very least, didn't sit there pecking at him.

The kid might've failed English a few times, but he had a real gift with words and an even better one with insults.

(Wayne wasn't quite clear on what all the "King" jabs were about, and absolutely did not get why Steve looked far more hurt at the comment about his "sad ass floppy hair" but given the increasingly flat look Steve was throwing Eddie's way, Wayne figured it couldn't be anything good.)

Thankfully a pointed reminder about Steve's injuries had finally gotten them all some peace, enough for Harrington to drop back to sleep--and for Wayne to realize he looked a little too dead while he did it to be comfortable getting any sleep himself.

The kids chest barely moved, and that it ate at Wayne’s until he got up and shoved a hand under his nose.

Felt his breath, and told himself the poor sod was fine.

Hurt, absolutely, but alive.

Over and over again, until the sun had made its rotation in the sky, bringing the morning with it.

‘Better than nightmares, I suppose.’ Wayne figured, as exhaustion scraped at his eyelids.

Those Wayne knew, would come later. When Steve’s brain caught up to the rest of him, and stopping dumping survival chemicals through his battered body.

He'd given up on sleep entirely sometime around 1 am, and now he sat at his small kitchen table, writing out a medication schedule for Harrington so he and the kid both knew when he could have his next Tylenol.

Wasn’t even halfway through it before Eddie made his typically late appearance and blew through his door.

Had his back up from the moment he’d stepped a foot in the kitchen and it didn’t take a genius to see he’d worked himself into a snit again.

Unfortunately for him, whatever scenario that imaginative brain of his had cooked up fell flat to the reality that was the poor kid on the couch.

Steve Harrington was one a hell of a sight.

Didn’t help that he was doing his level best to make himself as small as possible, curled deep into Wayne's ancient couch.

The blankets covered the ribs and hid away most of the damage, but there wasn’t much Steve could do to hide the shiners on his face--or the marks around his neck.

Not when they’d grown worse overnight, practically inviting questions.

It was almost laughable how quickly Eddie ate whatever words he’d prepared, mouth awkwardly chewing around them as if they were tangible.

The less-than-sneaky looks he threw at the younger teen were equally amusing, and if Wayne wasn’t trying to peace keep, he’d have given in and chuckled when Eds split attention caused him to pour half his coffee into the sink rather than a cup.

Looked utterly lost when, after finishing putting his coffee together and grabbing some junk food thing that absolutely was not a breakfast item, he came to stand awkwardly at Wayne's shoulder, openly staring as Steve blatantly ignored him.

Eds didn’t know what to do, and Wayne couldn't blame him.

Seemed to keep thinking he was going to encounter a boy that likely no longer existed, and whose blood tinged specter just made things sad.

Shit like this, Wayne knew, took a man’s ego and warped it, shaping it to something else entirely.

At least for Steve, it seemed that getting wrapped up in whatever mess he had had shaped him for the better, instead of pretzeling him into something worse. That, Wayne thought, spoke to the boy's character more than anything he’d done prior.

(It helped to know what Hopper tolerated and what he didn’t. That he’d vouched for Steve in the same way Wayne knew he’d vouched for Eddie, even if Eddie didn’t yet realize the cop he antagonized so much would do that for him.)

That didn't erase the history his kid had with Harrington, though.

Wouldn't stop him from seeing the old Steve, first.

‘Don’t you got school?” Wayne asked when he decided Ed had stared enough.

“Yeah, yeah.” Eddie waved him off, trotting out the door. “Bye old man, house parasite!”

It was clearly a jab, meant to nettle, but Steve barely acted like he heard it.

Wayne rolled his eyes.

“Goodbye, Eds.” He said firmly, much of a warning as he ever gave, and fondly watched his nephew scuttle out the door.

Turned to see how Steve was taking things, and was once again given a reminder that Steve wasn’t doing a hell of a lot other than feeling his injuries.

“I think I promised you a game, son.” Wayne said gently, startling Steve out of the distant, dim look he had trained on the wall.

It wasn’t a lot to offer in terms of a distraction, but it would have to do.

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biblically-accurate-dca · 2 months

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got your nose !!!!

#my art #daycare attendant #dca fandom #moondrop #this is a little old (same time as my ecl¡pse doodle where they're holding hands)#but i still think its funny #i see a lot of ppl who draw them with little to no nose #so it's fun to see that trait in a style where the nose is a huge part of it #now that i think about it though it'd be hard for moon to do the 'got your nose' thing because their thumbs are blue #so the illusion doesn't really work.. unless they say they squeezed it so hard that it turned blue? but idk

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atalana · 9 months

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so the good place is widely lauded on this site for its takes on morality and capitalism, which i totally agree with

but i think it should get more recognition for the line "all humans are aware of death. so we're all a little bit sad all the time. that's just the deal. we don't get offered any better ones. and if you try and ignore your sadness, it just ends up leaking out of you anyway. i've been there, and everybody's been there. so don't fight it. in the words of a very wise bed bath and beyond employee i once knew - go ahead and cry all you want. but you're gonna have to pay for that toilet plunger."

#i dunno i've been thinking about grief lately #and i think the nature of humanity is everyone's grieving something #it might not always be as straightforward as the death of a loved one - sometimes it is #but sometimes you're grieving a life you never got to live #the person you used to be #hell an old toy you just realised you lost years ago and are never going to get back #we're all just a little bit sad all the time #and i think looking at the world like that makes it a lot more friendly place #because everyone is someone who needs a bit of comfort - or just someone to say hey its okay to be sad and angry and confused #and when you're finally ready to let whatever you're grieving go the world will be a happier place #and you'll find a new thing to grieve because there's always something to be a little bit sad about #but the world keeps getting better for every one you get through and every friend who helps you through it #and sometimes you just need to throw a dumb joke in there at the end #that's what it means to be human #the good place #tgp

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corvidcall · 2 years

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None Of You Know What Haiku Are

I'm going to preface this by saying that i am not an expert in ANY form of poetry, just an enthusiast. Also, this post is... really long. Too long? Definitely too long. Whoops! I love poetry.

If you ask most English-speaking people (or haiku-bot) what a haiku is, they would probably say that it's a form of poetry that has 3 lines, with 5, and then 7, and then 5 syllables in them. That's certainly what I was taught in school when we did our scant poetry unit, but since... idk elementary school when I learned that, I've learned that that's actually a pretty inaccurate definition of haiku. And I think that inaccurate definition is a big part of why most people (myself included until relatively recently!) think that haiku are kind of... dumb? unimpressive? simple and boring? I mean, if you can just put any words with the right number of syllables into 3 lines, what makes it special?

Well, let me get into why the 5-7-5 understanding of haiku is wrong, and also what makes haiku so special (with examples)!

First of all, Japanese doesn't have syllables! There's a few different names for what phonetic units actually make up the language- In Japanese, they're called "On" (音), which translates to "sound", although English-language linguists often call it a "mora" (μ), which (quoting from Wikipedia here) "is a basic timing unit in the phonology of some spoken languages, equal to or shorter than a syllable." (x) "Oh" is one syllable, and also one mora, whereas "Oi" has one syllable, but two moras. "Ba" has one mora, "Baa" has two moras, etc. In English, we would say that a haiku is made up of three lines, with 5-7-5 syllables in them, 17 syllables total. In Japanese, that would be 17 sounds.

For an example of the difference, the word "haiku", in English, has 2 syllables (hai-ku), but in Japanese, はいく has 3 sounds (ha-i-ku). "Christmas" has 2 syllables, but in Japanese, "クリスマス" (ku-ri-su-ma-su) is 5 sounds! that's a while line on its own! Sometimes the syllables are the same as the sounds ("sushi" is two syllables, and すし is two sounds), but sometimes they're very different.

In addition, words in Japanese are frequently longer than their English equivalents. For example, the word "cuckoo" in Japanese is "ほととぎす" (hototogisu).

Now, I'm sure you're all very impressed at how I can use an English to Japanese dictionary (thank you, my mother is proud), but what does any of this matter? So two languages are different. How does that impact our understanding of haiku?

Well, if you think about the fact that Japanese words are frequently longer than English words, AND that Japanese counts sounds and not syllables, you can see how, "based purely on a 17-syllable counting method, a poet writing in English could easily slip in enough words for two haiku in Japanese” (quote from Grit, Grace, and Gold: Haiku Celebrating the Sports of Summer by Kit Pancoast Nagamura). If you're writing a poem using 17 English syllables, you are writing significantly more content than is in an authentic Japanese haiku.

(Also not all Japanese haiku are 17 sounds at all. It's really more of a guideline.)

Focusing on the 5-7-5 form leads to ignoring other strategies/common conventions of haiku, which personally, I think are more interesting! Two of the big ones are kigo, a season word, and kireji, a cutting word.

Kigo are words/phrases/images associated with a particular season, like snow for winter, or cherry blossoms for spring. In Japan, they actually publish reference books of kigo called saijiki, which is basically like a dictionary or almanac of kigo, describing the meaning, providing a list of related words, and some haiku that use that kigo. Using a a particular kigo both grounds the haiku in a particular time, but also alludes to other haiku that have used the same one.

Kireji is a thing that doesn't easily translate to English, but it's almost like a spoken piece of punctuation, separating the haiku into two parts/images that resonate with and add depth to each other. Some examples of kireji would be "ya", "keri", and "kana." Here's kireji in action in one of the most famous haiku:

古池や　蛙飛び込む　水の音 (Furu ike ya　kawazu tobikomu　mizu no oto) (The old pond — A frog jumps in The sound of the water.)

You can see the kireji at the end of the first line- 古池や literally translates to "old pond ya". The "ya" doesn't have linguistic meaning, but it denotes the separation between the two focuses of the haiku. First, we are picturing a pond. It's old, mature. The water is still. And then there's a frog! It's spring and he's fresh and new to the world! He jumps into the pond and goes "splash"! Wowie! When I say "cutting word", instead of say, a knife cutting, I like to imagine a film cut. The camera shows the pond, and then it cuts to the frog who jumps in.

English doesn't really have a version of this, at least not one that's spoken, but in English language haiku, people will frequently use a dash or an ellipses to fill the same role.

Format aside, there are also some conventions of the actual content, too. They frequently focus on nature, and are generally use direct language without metaphor. They use concrete images without judgement or analysis, inviting the reader to step into their shoes and imagine how they'd feel in the situation. It's not about describing how you feel, so much as it's about describing what made you feel.

Now, let's put it all together, looking at a haiku written Yosa Buson around 1760 (translated by Harold G. Henderson)

The piercing chill I feel: my dead wife's comb, in our bedroom, under my heel

We've got our kigo with "the piercing chill." We read that, and we imagine it's probably winter. It's cold, and the kind of cold wind that cuts through you. There's our kireji- this translation uses a colon to differentiate our two images: the piercing chill, and the poet stepping on his dead wife's comb. There's no descriptions of what the poet is feeling, but you can imagine stepping into his shoes. You can imagine the pain he's experiencing in that moment on your own.

"But tumblr user corvidcall!" I hear you say, "All the examples you've used so far are Japanese haiku that have been translated! Are you implying that it's impossible for a good haiku to be written in English?" NO!!!!! I love English haiku! Here's a good example, which won first place in the 2000 Henderson haiku contest, sponsored by the Haiku Society of America:

meteor shower . . . a gentle wave wets our sandals

When you read this one, can you imagine being in the poet's place? Do you feel the surprise as the tide comes in? Do you feel the summer-ness of the moment? Haiku are about describing things with the senses, and how you take in the world around you. In a way, it's like the poet is only setting a scene, which you inhabit and fill with meaning based on your own experiences. You and I are imagining different beaches, different waves, different people that make up the "our" it mentioned.

"Do I HAVE to include all these things when I write haiku? If I include all these things, does that mean my haiku will be good?" I mean, I don't know. What colors make up a good painting? What scenes make up a good play? It's a creative medium, and nobody can really tell you you can't experiment with form. Certainly not me! But I think it's important to know what the conventions of the form are, so you can appreciate good examples of it, and so you can know what you're actually experimenting with. And I mean... I'm not the poetry cops. But if you're not interested in engaging with the actual conventions and limitations of the form, then why are you even using that form?

I'll leave you with one more English language haiku, which is probably my favorite haiku ever. It was written by Tom Bierovic, and won first place at the 2021 Haiku Society of America Haiku Awards

a year at most . . . we pretend to watch the hummingbirds

Sources: (x) (x) (x) (x) (x) (x)