labeled heathens, not knowing that many brown skinned people didn’t believe in owning land, it belongs to the deity’s that came from below. Theysaw themselves as caretakers using earth, flora, and fauna to exist, not toreinvent the world into their own insecure images. There is much the Anglocan learn from the indigenous peoples of this earth.Is kigo and nature important to the integrity of haiku composition?Why are some in the Anglo-West advocating a haiku-like poetry, they labelhaiku, that doesn’t see a necessity for kigo, let alone resemble the genre theJapanese shared with the Anglo-Western world over a century ago? Why aremany justifying this stance by declaring that American haiku is a distinctgenre apart from haiku? Is Japan and the Anglo-West as different as some posit, to justify the stancetaken by some American haiku poets that Western English language haiku isa separate genre from Japanese haiku, and, therefore, necessitates a differentset of rules? Take note, this is a stance taken by a vocal, well organizedminority of Anglo-Western ‘haiku’ poets, who don’t speak for the majorityof haiku poets in North America; a majority who don’t belong to haikuorganizations or read North American haiku journals, blogs, and e-zines.This vocal grassroots minority has trouble defining their so-called ‘break-away genre.’ Disagreement and confusion are rampant. Some say metaphorsare taboo; others say they should be used sparingly. Some pontificate anecessity to jettison the S/L/S metric schemata indigenous to haiku, sayingthe English language is structured differently, and doesn’t have to follow theaforementioned metric schemata. To do otherwise, they claim, would be theJapanization of Anglo-Western ‘haiku,’ negating the Anglo-Western culturalidentity, which in itself, is a mixing pot of cultures and sub-cultures, so vastand interwoven, one wonders how they can claim that haiku as the Japanesehanded down to us long before the Anglo-Western colonization of Japaneseuniversities, is unsuitable for English language usage.Writes veteran American haiku poet, George Swede, regarding the use of kigo in American haiku:"
I believe they are not necessary
, but neither do I think that they should beignored. Many fine haiku clearly indicate the season and many do not.” Hefurther iterates, “. . . of the “elements absolutely vital to the definition of haiku, the conclusion is unavoidable—season words are not necessary,