Here are more than two hundred of the best haiku of Japanese literature translated by one of America’s premier poet-translators. The haiku is one of the most popular and widely recognized poetic forms in the world. In just three lines a great haiku presents a crystalline moment of image, emotion, and awareness. This illustrated collection includes haiku by the great masters from the seventeenth to the early twentieth century.
Poet, editor, translator, and essayist, Sam Hamill is author of more than thirty books including two from BOA Editions, Gratitude (1998), and Dumb Luck(2002). He has been the recipient of numerous awards and fellowships, including ones from the National Endowment for the Arts and the Guggenheim Foundation, the Woodrow Wilson Foundation, the U.S.-Japan Friendship Commission, two Washington Governor’s Arts Awards, the Stanley Lindberg Lifetime Achievement Award for Editing, and the Washington Poets Association Lifetime Achievement Award for poetry. He co-founded Copper Canyon Press, and has worked extensively in prisons and with battered women and children.
I was given this book for participating in a haiku "challenge" (I was chosen randomly); and not only is the tiny book cute and elegant (Can it be both those things? Yes, I think it can.) with a few soft illustrations scattered throughout, it is a nice sampling of haiku (from my admittedly small knowledge of the genre) from the 15th century through to the 19th century.
I read it straight through, but I think it would be fun to open randomly and mediate on the one you happen to land upon. My favorites were the ones that seemed irreverent, though the one that has stayed with me concerns what the fish sees of the sky in the water below him as he leaps in the air.
Beautiful poems that I will want to re-read. The only commentary is in the intro, which is very brief. A physically small book, so you can carry it in your pocket and read it, say, when on the bus.
When I was in college Sam Hamill came and spoke to my poetry class. He was a barrel-chested, craggy man who paced the room like a caged bear—his voice was a loud rasp, and he was a little bit deaf, so he cut off everyone who asked a question by barking "Huh?" and then going on with whatever he wanted to say. I remember that his hands were massive and gave the impression of tremendous strength and potential violence.
If this sounds to you like an odd profile for an accomplished and sensitive translator of Zen nature poetry, you're right. He was a paradox. He told us how he'd been abused as a child, and went on to become an abuser himself. I don't remember the full story, but he spent time in jail and the military, eventually reforming himself, or at least chaining up the mad dog inside, through the disciplines of meditation and poetry.
He was an angry man, and radiated contempt for all of us who didn't rise at 4:30 to meditate, write ten pages of verse, and eat a breakfast of nails. At the time I found him both terrifying and ridiculous. I understand Sam Hamill much better today than I did then, as a soft and clueless 18-year-old. Now I too get up early to meditate and even try my hand at a little haiku. I understand that this is not a matter of preference, but survival. My struggles are different from his, and probably not as titanic, but still, we stop the world from breaking us by being meticulous in how we approach it. Taking care with our thoughts, attention, and time.
In other words, don't let anyone tell you that 300-year-old Japanese poetry isn't useful. It may have saved Sam Hamill's life, and it could save yours one day, too.
(This book loses one star for being almost perfectly square and the size of a folded handkerchief. Books shouldn't be square or this tiny.)
An excellent, and appropriately succinct collection of the greats (Basho, Buson, and Issa) and some other noteworthy ones at the end. Basho's haiku are the most beautiful and delicate:
With a warbler for a soul, it sleeps peacefully, this mountain willow.
This dark autumn old age settles down on me like heavy clouds or birds
Come out to view the truth of flowers blooming in poverty
Chilling autumn rains curtain Mount Fuji, then make it more beautiful to see
With dewdrops dripping, I wish somehow I could wash this perishing world.
Even these long days are not nearly long enough for skylarks to sing
Summer grasses: all that remains of great soldiers' imperial dreams
Singing, planting rice, village songs more lovely than famous city poems
Your song caresses the depth of loneliness, O high mountain bird
Tremble, oh my gravemound, in time my cries will be only this autumn wind
Basho's death poem
Sick on my journey, only my dreams will wander these desolate moors
Buson's
A lightning flash-- the sound of water drops falling through bamboo
In a bitter wind a solitary monk bend to words cut in stone
Utter aloneness-- another great pleasure in autumn twilight
Pure white plum blossoms slowly begin to turn the color of dawn
Issa's poignant and somewhat remorseful:
Before I arrived, who were the people living here? Only violets remain.
And the others at the end are great:
Since morning glories hold my well-bucket hostage, I beg for water. - Chiyo (1701-75)
Divine mystery in these autumn leaves that fall on stony buddhas - Sogetsuni
So very still, even cherry blossoms are not stirred by the temple bell - Fuhaku (1714-1807)
I've owned this for a long time, but never got around to reading it. I'm so glad I picked it up. I enjoyed the Basho and Buson haikus most, and if I hadn't read the ones by others at the end of the book, I would have been left with the erroneous opinion that writing great haiku is easy. Clearly it's not. This collection is interesting, thought-provoking, and, at times, pretty humorous.
I meant to get Basho's The Narrow Road to the Far North out from the library, but it was a very large square library-bound book that upon opening emitted that unpleasant smell of a book that is old enough to change scent while sitting unread on the library shelf but not quite old enough for that scent to be a good one. Also, the book included colour photographs from the 1970s which are the sort that seem to physically assault the sensitive aesthetic sensibilities of those of us who have grown up with the advantage of the hugely improved production values of the present age.
This book was close by, so I borrowed it instead. It is tiny and brief and allowed me to carry home a bunch of other books that I may or may not read (including a long study of the Japanese haiku for which I don't think I have the patience).
The haiku were lovely and the introduction was illuminating. Some of my favourites of Basho's:
"With a warbler for / a soul, it sleeps peacefully, / this mountain willow"
"A weathered skeleton / in windy fields of memory, / piercing like a knife"
"Through frozen rice fields, / moving slowly on horseback, / my shadow creeps by"
(That place between three and four stars is a place of torture.)
This is a tiny book, not just in page numbers, but size-wise, which is entirely appropriate for a book of haiku. It provides a good introduction to the haiku masters Basho, Buson, and Issa. (2016)
Second reading: December 10, 2025
This was a perfect little book to read on the season's first school cancellation due to snow.
Here is a little sample to whet your appetite:
From Basho:
Seen in plain daylight the firefly's nothing but an insect
With dewdrops dripping, I wish somehow I could wash this perishing world
From Buson:
New Year's first poem written, now self-satisfied, O haiku poet!
By flowering pear and by the lamp of the moon she reads her letter
From Issa:
The world of dew is only a world of dew-- and yet
A world of trials, and if the cherry blossoms, it simply blossoms
In the midst of this world we stroll along the roof of hell gawking at flowers
This book is so beautiful. I borrowed it from the library, but it’s one of those books that I think would be beautiful to have around at home all the time. Jorie Graham put me onto Basho, and I’m so glad I read this. Graham helped open up haiku for me, and helped me notice its radically economic use of words. Each new word opening up a new scale (in time or space or consciousness), each layer nested within another. These were some of the most beautiful gatherings of words I’ve ever encountered. Elegant, serene, gorgeous, sometimes even funny. Besides the excellent poems, I thought the Centaur typeface also looked gorgeous together with Kaji Aso’s paintings. The translator, Sam Hamill, is also I think an interesting poet and academic involved with anti-war activism. Great little book.
So I was all set to write a two-star review and began flipping through my bookmarks of haiku I didn't like to use them as examples here — and I found I liked them and many times loved them.
I'm not sure why this didn't grab me initially, maybe because I'd read a Red Pine book of Chinese poetry right before and the beauty of the translations was palpable. Here, things are more stripped down, more Zen. They require participation on the part of the reader, a pausing between the bite-sized poems to absorb the emotion behind the sparse words. In other words, this is how haiku is supposed to be done.
Three selections picked at random:
As the great old trees are marked for felling, the birds build their new spring nests. ~ Issa
Nothing in the cry of cicadas suggests they are about to die ~ Basho
Ungraciously, under a great soldier's empty helmet, a cricket sings ~ Basho
I enjoyed this book. I've read a few haiku books, most of which include or center around Basho and Issa, sometimes Basho. The selection was hit or miss with Basho in particular for me. I've read other haiku books I've enjoyed more. This was a solid book but it wouldn't be my first or second recommendation.
The section I may have enjoyed the most was the final section where a variety of other poets are included. Some get a page or two of haiku, others get only one.
I'll list a few of those:
Those falling blossoms all return to the branch when I watch butterflies. (Moritake, 1452-1540)
The Skylark School argues with the Frog School each with its song. (Shiki, 1867-1902)
Since the morning glories hold my well-bucket hostage, I beg for water. (Chiyo, 1701-1775)
What I liked: I like the way this book is organized, it has a perfect flow for reading. The scattered illustrations by the artist Kaji add to the feel of the book, which encompasses more than the words on the page, as it is a tiny book that fits perfectly in your hands. I love it when the actual physical book complements the content so completely.
What I didn't like: Personally, I just want to read and enjoy the haiku, whether or not I'm getting all the deeper layers. In the introduction the author explains the multiple meanings of some famous haiku and it left me feeling that if I didn't understand it that way that I'm not "getting" it and that left me a bit cold.
I know nothing of poetry in general, and even less about haiku. Even still, a solid 20% of the haiku in here give me an immediate, visceral "woah." reaction.
From memory, so apologies if I butcher this:
Along my journey through this transitory world, New Year's housecleaning
This was a pretty cute and short book of poetry! The version I read also had super pretty illustrations in it, will definitely be posting some of those on instagram because more people need to appreciate them!
A treasure! How the translator could create such perfect, beautiful, and sublime poetry in English from the original Japanese ...amazing. Listing error: this edition has 125 pages.
An excellent anthology with Haiku by Basho, Buson, Issa and a handful of other poets. Really liked my introduction to the works of Issa. Was moved by his strong emotion and sense of humor.
Sam Hamill (ed.), The Sound of Water: Haiku by Basho, Buson, Issa, and Other Poets (Shambhala, 1995)
Very small, very concentrated book. One hundred twenty-five pages, most with two haiku per page (some pages are simple illustrations from the period). I was unfortunately too much of an idiot to keep this with me until I wrote the review so I could quote some of the world's finest haiku at you, so all I can say is trust me on this one: there's a reason these guys are known as the masters of haiku and senryu. It's also a surprising look at the earthiness of the form; too many anthologies of classic haiku seem like revisionist histories, quoting the stuff the translator or editor thinks is noble and leaving out the poems about drunkenness or taking a leak or lechery or what have you. Hamill, thankfully, has no filters (in fact, in his intro, he singles out one of Issa's fecal pieces to point out this very thing). As with a lot of books along these lines, my only problem with it is that it's far too short; it's possible to polish this off in an hour, if you don't savor each piece. Even then, it'll probably take you an afternoon. I spent a couple of weeks on it, thinking and reflecting; given a book five time this size, I would have been more than happy to sit with it for a few months. ****
i checked this book out a few weeks ago but i hadn't started reading it. i was focused on finishing the three essays i had to complete and past-due horizontal graphs sheets. i woke up in bed and i didn't move, because i wasn't looking forward to doing any work. on the table next to my bed, i took my mom's tablet that i used for an alarm and opened libby for procastination purposes and finally started to read this.
i enjoy the way images of haiku form in my mind. for someone with a vivid imagination, it's enjoyable to have my mind's eye come up with the simple image a haiku conveys. this really is a book you should open each morning or night and flip to a random page. i wish it was longer!
It's a small size paperback book that one can carry everywhere..Yet, it includes the best Haiku poems in Japanese literature..You can pull it out anytime and read the greatest and shortest poetry pieces you've ever tasted .. Have this book and you won't regret it.