I Wait for the Moon: 100 Haiku of Momoko Kuroda Paperback – October 7, 2014

I loved this little precious book of Momoko Kuroda's haiku. So fresh and alive. And the editor's commentaries help add richness and cultural context to the work. I was sad to finish the book and quickly began again to read, digest, and enjoy these tiny marvels--the only English translation of Kuroda's haiku.

This book was a pleasure to read; well laid out. The most helpful was the author's (Abigail Friedman) inclusion of supporting commentary regarding the events and impressions inspiring the poet's (Momoko Kuroda) haiku. This made a tremendous difference in understanding the significance of the haiku in the poet's life. The long-standing haiku-related relationship between them provided another level of interest. As an aside, the author's other book (The Haiku Apprentice) was excellent. The two books together brought a full appreciation of an American's experience of haiku while in Japan and back in the U.S., enhanced by her relationship with a well-respected contemporary Japanese poet.

DO judge this book by its cover. "I Wait for the Moon" is a gift to be slowly savored as one uncovers its treasures. The book cover, the size, the texture of the paper, the visual organization, the scale of all is the perfect format for its rich contents.Beginning with the opening photograph of the poet, Momoko Kuroda, next to her haiku on a stone monument, I was intrigued and amazed at how the sculptor organized the haiku, fitting in the Kanji and kana into a "circular" format, elongating, shortening, yet all is "present”. It is the perfect introduction to a book which is far more than its description of haiku translated into English with commentary by Abigail Friedman.Following “The Haiku Apprentice”, Friedman’s first book, Kuroda is always central to this new book but enriched enormously by what is far more than commentary. The personal stories, the painting of the scenes and places at which the haiku were written, the comparisons to other quoted haiku poets interpreting the same places, and the culture and history of Japan is ever present and interwoven. More than anything else as the highest recommendation is the immensely pleasurable readability of the whole book. It is broad stroked and intimate at the same time. The unusual and highly talented persona of Kuroda comes alive within its pages and at the same time shows us the talents of translation and illumination by Abigail Friedman.

Studying Japanese literature with students and stumbled upon an online article discussing how haiku is evolving and changing. Article recommended this book. Bought it on a whim (kind of) and was pleasantly surprised that it is not merely a collection of Kuroda’s poems; rather it is a loving tribute to Kuroda’s life and work written by a friend. Highly recommend

Its polished layout style makes this a pretty little book. And if your interest is in knowing about the life of Momoko Kuroda this book offers glimpses through the eyes of a friend.But if your interest is to understand the way Kuroda writes haiku you will need to explore other translations of her verses. At least some of the verses in this book are not true to the poet's actual meaning. They have been rearranged, the kireji (cutting word) misplaced or changed, and suffused with substituted words when succinct words are available.Fortunately, Friedman reveals a more literal translation of one of the selected verses in her commentary on the flycatcher verse [pg. 110], but the verse falls close to the end of the book, leaving the reader wondering about all that came before.The final section shows modern-day haiku as it morphs into personal introspection with its increased frequency of the self as subject matter. With this shift the natural world seems to lose its power as the broad allegory for the cycles of human existence -- a faintly visible waning day moon.

As usual, an excellent presentation of haiku and the translations thereof. Ms. Friedman has spent many years in Japan and has been an assiduous student of the literary form. She is also fluent in Japanese both reading and writing the language.

Lovely haiku + information about the details of Momoko Kuroda's life make this a special book.

Excellent collection, highly recommend it!

Abigail Friedman’s selection of haiku by Kuroda Momoku is a well presented little volume. The layout of these hundred-odd haiku, scattered between commentaries and episodes from Kuroda’s life, evenly balances the prose with the poetry. The boxed highlights and thematic, rather than strictly chronological, layout diversifies the account of Kuroda’s life and work. The overall result is a book that feels effortless and light.Friedman’s translation notes are in themselves promising. She is aware of how Western audiences misperceive, or mistranslate, Japanese haiku; the 5-7-5 syllabic structure, the focus on nature and seasonal reference are identified correctly as “problems” or as only “a matter of taste.” Friedman opts to eschew traditional expectations in favour of “what best captures the original”, which is surely sign of a confident translator-poet.The actual haiku themselves I found somewhat disappointing. I enjoyed some of the early examples. ‘this town/where the dark sea roars—/I buy a diary’ indicates Kuroda’s storytelling interests. She focuses the reader’s imagination towards things unsaid in ‘underground passage/there’s a wind rushing by—/the calendar seller’. But for every successful haiku there are many that fall flat, despite the back-up of commentary. ‘Kukai’s mountain/winter thaw everywhere—/glistening drops’, and ‘a chorus of birds/flycatchers, robins/pilgrimage complete!’ could have been copy-and-pasted from the blogsite of any school-age enthusiast.This reader was left with the impression that 'I Wait for the Moon' is more about Kuroda herself than her haiku. Friedman is constantly building up her myth as a haiku pilgrim/master. Kuroda isn’t just a haiku writer, but instead “one of the most active and highly regarded haiku poets in Japan today.” We are reassured of “what a remarkable woman Kuroda is”, even though some people are somehow “still ignorant of the extent of her renown.” (Yawn)Ultimately, Kuroda’s own haiku, or perhaps Friedman’s translations, fail to match the hype. Some are nicely executed, but others fail to resonate or even intrigue. Perhaps those more familiar with Kuroda’s cultural context can better appreciate her writing, perhaps it is just a matter of taste. Those coming to haiku for the first time may also want to try Salad Anniversary by Machi Tawara, which offers a modern complement to this quiet collection.

A very enjoyable read, nicely produced book.

Edición muy cuidada en inglés y japones, con una sensibilidad didáctica que se nota en cada palabra. Recomendable para adentrarse en la poesía japonesa actual.