Thursday, December 24, 2015

short story slam week 35, Signs of Shopping,

short story slam week 35, Dece 17 to Janu 10, 2016

 Close up of bright yellow daffodils with the words "Woods Hole Colors"

the time wheels spin
lots of people opt for Christmas thing
a sparkling coat of a carp fin
brown leaves fall
burnt emotions befriend with unmarked sins
windows lead to Wunn
five loaf writes shopping mall
Penn Square or Woodland Hills Shines
open the pantry door for spring
White fur under Mr. Rylan's chin
let Angelina Jolie paint
Seaside mandala arts win 
Nims street lays near Witchita,
Sam Bullock hosts a party near Newton
Carl Victor rejects burnt fire drill

  photo 80dde9c4-56d8-4206-9e74-c172573a9a7c_zpssqghsox5.jpg
Whirligig 38


some mandala art...  

Saturday, December 12, 2015

blue christmas, six word saturday, and shadow shot sunday

some Christmas blue... 

Almost Got Knocked Out of Microhotel
Six Word Saturday
 My Memory Art six word fridays
Davis Stigler Family Is World Famous

Six Word Fridays ~ Hope

 make visible invisible
  no more visual communication
  current and ghostly emotion


 morning replacing night
nothing else but inner flight to hide
the terrain of white

 curled inside 
far away from noble street
existing file expires

colt ferguson
transforming into yaya's hometown
an angel's dream

Whirl 228


honor roll from Amelia Little of San Jose

many people carry pride,
they work hard,
and they play and serve both intelligent and wise

as the 2015 year of sheep comes to an end,
a ram, a goat, a cock, a dragon, a snake, and
a horse do tic toc toe dance

I walk far and near,
I look north and south,
I find lots of people who impress

here is a list of them from Amelia Little

Sarah Little
Jennette Wilson
Mario Chambers
Jenifer Chambers
David Chun
Stephen Miller
Kaitlyn Altman
Jefferson Bryant
Gina Noble
Valden Hargis
Mary Burns
Ann Hargis
Patricia Young
Tyrek Young
Theresa Burke
Abby Kelly
Jim Hill
Amy Loper
Frank Wang
Emily Wang
Judy Blume
Todd Holm
Katie Hickerson
Stephan Wilson
Ammie Bryant
Nancy Fried
Rob Woods
Bob Moore
Bob Baker
Mervs Grifin
Dick Peterson 

Friday, November 13, 2015

shepherd haiku

passing Shepard hall
I am blocked by a locked door
northwestern security

stepping into empty space
my body drops due to speed increase
Newton's law of gravity

eating Popeye chicken stripes,
my figures grab and gravy seduces
what an Inchon experience

a goat appear on TV,
At & T internet service rocks
Sara Shepard rocks

Tuesday, November 10, 2015

too Red to be admired (short stroy slam w32, R is for Red Rasberry)

Raspberry Ketone Plus | Λιποδιαλύτες  r is for red raspberry
The Tuesday Platform

 Carpe Diem Haiku Writing Techniques #18 Yugen haiku

a yell for Roamnce
a tie to rosy shy cheeks

so, a rain could mend
a relation, leading to residence of

don't be rude
let raspberry bring in joy

no more arguments
but many more ketchups

robert frost poetry
emily dickerson adds layers of onion rings

short story slam week 32, and ...


Bluebell Books Twitter Club!

Emily Wiley writes from The Campus,
high lighting Fiji and its islanders,
if you agree that Jimmy Johns has sandwiches unexpected,
we know that Arrash Allahyar feels the same

math and science are authentic science,
so does poetry, novel, and short fiction writing,
vote YES today to fundraiser Pottawatomie county schools,
Technology trades will benefit Asher, Bethel, Dale, Earlsboro, Shawnee

cooper gordon has fun at Firelake,
thus Kayla McKenna decides to feature Ian McGee,
the Dean promotes OU medical
and that's why David Boren is surprised about the nursery schools

Joe and Martin are good friends,
they won't agree to shop at PAPA Johns,
no wonder we all opt to walk at isolated tunnels,
and let Prince Valberry come to Rhode Island. 

Monday, October 19, 2015

Monday Blues, Sunday Whirl, October WriMo, and Short Story Slam with Poetry Pantry

Bluebell Books Twitter Club!

Wordle 221 

the given words are weapons,
energy, food, pick, transform, walk, breathe, view, deep, practice, path and run.

 Poetry Pantry #274

  OctPoWriMo 2015

here is my entry:

a cup
of cappuccino,
a sorry

a cup
cold coffee
is the end
of everything?

not really,



Tuesday, October 13, 2015

Christmas in the Haunted House!! by Gareth Barsby

Chapter 1

It was December the first in the uncanny country of the apparitions and spirits and in a old-fashioned, crumpling mansion-house, coffins creaked leisurely in a room with pictures of famous people, cobwebs and Christmas trees.

The things in the coffins were the skilful spirits society. Now, the skilful spirits society weren't the kind of ghosts you'd see in Halloween.

Put it this way. If you made a chart of how many specters came out at Halloween, you'll never have had the skilful spirits society. These are the species of ghosts who come out at Christmas which included Sam Smart, Gary the graveyard guardian, Wilbur the wraith, Percy the pumpkin and Bill the bogyman.

These were sharp-witted phantoms which were the only ones to talk and were marvelous to any ghost in the universe. That day, the phantoms had a scheme. "Let's plan a Christmas party for our phantasm pals. "Wilbur cried.

"But how," moaned Gary. "Loads of ghosts adore Halloween greater than Christmas." What could they do?

Chapter 2

"We need amusement! Music! Superior stuff! Ahem!" Bill cried out. "Fabulous idea! That's what we need! And we know who has it!" Therefore, the specters went to the nation of oddities and weirdoes to see the head with the taste of recreation, Darren the dragon!

He was watching the news when the skilful spirits society scurried straight through the wall of his home. "Well, well, if it isn't the skilful spirits society! What have you come to me for?" "We need a man (or dragon) of entertainment and you're just the thing we need!" explained Sam in an thrilled sort of way. So, at the skilful spirits society's house, Sam was explaining to Darren what they needed him for.

Chapter 3

"Why did the cricket team give up cricket? Dracula took all the bats!" Darren was practicing his distraction after the talk. Then, he sang MONSTER MASH two times and even played uncanny melodies on a organ. "Superb! Superb!" cried Wilbur.

"You better watch out. You better cry. You better shout. I'm telling you why. The specters and phantoms...are here!" sang Darren. Sam and his mates clapped very loud. "We're spooky ghosts in the phantom worrrrrrld. We're real, not plastic. Dracula's fantastic!" chanted Darren. "You're a dragon of entertainment, all right!" said Wilbur, in a "That was marvelous "voice. "Listen," exclaimed Darren. Then he sang, "Jingle bells, the swamp monster smells.

The vampire bats are here. The eerie ghosts are having a huge host with monsters with pointed ears. "Couldn't be better!" said Percy.

Chapter 4

Darren's music went on and on. It was so good that the skilful spirits society made a disco. The other phantoms of the world heard the great music. The ghosts bolted to the house of the skilful spirits society. Then, Darren saw all the guests and let them do the cha-cha and did the organ tunes. Before long,
Darren said, "Alright, do the sea monster dance." Ever heard of the sea monster dance? It's like the conga but it has ghosts and monsters. Darren's music has only been heard in December but it was too scary to be in the music library. He could muddle words too.

Thursday, October 8, 2015

a few disney movie to look at

many times, we fall short
when it comes to movie, poetry, and vacation places,

glad that richard burns knows best,
we can have mary burns smile when jack rabbit hops

space travel with,
say cheese to some old friend from yahoo valley

today, I feel the urge to share
tomorrow i may jump into the Charles river to disappear

no kidding,
I am just blogging

 MAYA THE BEE - Season I

 Frozen Fever

 Cinderella (2015) (Theatrical)


Jack-Jack Attack - Pixar Short

Wednesday, September 23, 2015

Magical Light At Morty's Backyard Tools by jingle yan

Are you inspired? Do you love your children? what's your hobby besides work? Well, no matter where you are, which category your background roots, you love to have fun and feel entertained by someone or something such as a good book. Magical Light At Morty's Backyard Tools sets you off to an awesome journey about making friends with Words, and let your imagination soar and shine like stars, turn the page, read, and enjoy being an element connected to Jingle The Jingely Nozelar!

a book link from is here:

Tuesday, September 8, 2015

liu yan or Ada


 born hunan hengyang,

singer, host, actress


柳岩(Ada),1980年11月8日出生于湖南衡阳,祖籍安徽芜湖。中国大陆女演员、歌手、主持人。1999年参加广州“美在花城”初赛并签约广州电视 台34频道担任节目主持人,随后又参与拍摄了多条广告、小品剧集和短剧等作品。2005年9月参加《猫人超级魅力主持秀》电视节目获第七名,同年12月加 入光线传媒,与谢楠及大左被合称为“光线三宝”。2009年获得第二届音乐风云榜新人盛典“年度最佳多栖新人”奖。2010年获得第三届“《综艺》年度节 目暨电视人”年度最具潜力主持人”以及中国十大最具网络影响力 ... >>>
出       生 1980年11月8日 湖南省衡阳市
国       籍 中国
人物信息 A型 | 天蝎座 | 164CM | 47KG
经纪公司 光线文化传媒

Saturday, August 29, 2015



From Wikipedia, the free encyclopedia
This article is about the Japanese poetic form. For haiku poetry written in English, see Haiku in English. For other uses, see Haiku (disambiguation).
Haiku (俳句, About this sound listen , haikai verse?) (plural: haiku) is a very short form of Japanese poetry. It is typically characterised by three qualities:
  • The essence of haiku is "cutting" (kiru).[1] This is often represented by the juxtaposition of two images or ideas and a kireji ("cutting word") between them,[2] a kind of verbal punctuation mark which signals the moment of separation and colors the manner in which the juxtaposed elements are related.
  • Traditional haiku consist of 17 on (also known as morae), in three phrases of 5, 7 and 5 on respectively.[3]
  • A kigo (seasonal reference), usually drawn from a saijiki, an extensive but defined list of such words.
Modern Japanese haiku (現代俳句 gendai-haiku?) are increasingly unlikely to follow the tradition of 17 on (syllables) or to take nature as their subject, but the use of juxtaposition continues to be honored in both traditional and modern haiku.[4] There is a common, although relatively recent, perception that the images juxtaposed must be directly observed everyday objects or occurrences.[5]
In Japanese, haiku are traditionally printed in a single vertical line while haiku in English often appear in three lines to parallel the three phrases of Japanese haiku.[6]
Previously called hokku, haiku was given its current name by the Japanese writer Masaoka Shiki at the end of the 19th century.

    Kiru and Kireji

    Main article: Kireji
    The essence of haiku is "cutting" (kiru).[1] This is often represented by the juxtaposition of two images or ideas and a kireji ("cutting word") between them,[2]
    In Japanese haiku a kireji, or cutting word, typically appears at the end of one of the verse's three phrases. A kireji fills a role somewhat analogous to a caesura in classical western poetry or to a volta in sonnets. Depending on which cutting word is chosen, and its position within the verse, it may briefly cut the stream of thought, suggesting a parallel between the preceding and following phrases, or it may provide a dignified ending, concluding the verse with a heightened sense of closure.[7]
    The fundamental aesthetic quality of both hokku and haiku is that it is internally sufficient, independent of context, and will bear consideration as a complete work.[citation needed] The kireji lends the verse structural support,[8] allowing it to stand as an independent poem.[9][10] The use of kireji distinguishes haiku and hokku from second and subsequent verses of renku which, although they may employ semantic and syntactic disjuncture, even to the point of occasionally end-stopping a phrase with a shōjoshi (少女詩 sentence ending particle), do not generally employ kireji.[citation needed]
    In English, since kireji have no direct equivalent, poets sometimes use punctuation such as a dash or ellipsis, or an implied break to create a juxtaposition intended to prompt the reader to reflect on the relationship between the two parts.
    The kireji in the Bashō examples "old pond" and "the wind of Mt Fuji" are both "ya" (や). Neither the remaining Bashō example nor the Issa example contain a kireji although they do both balance a fragment in the first five on against a phrase in the remaining 12 on (it may not be apparent from the English translation of the Issa that the first five on mean "Edo's rain").

    Syllables or on in haiku

    Main article: On (Japanese prosody)
    In comparison with English verse typically characterized by syllabic meter, Japanese verse counts sound units known as "on" or morae. Traditional haiku consist of 17 on, in three phrases of five, seven and five on respectively. Among contemporary poems teikei (定型 fixed form) haiku continue to use the 5-7-5 pattern while jiyuritsu (自由律 free form) haiku do not.[citation needed] One of the examples below illustrates that traditional haiku masters were not always constrained by the 5-7-5 pattern.
    Although the word "on" is sometimes translated as "syllable," one on is counted for a short syllable, two for an elongated vowel, diphthong, or doubled consonant, and one for an "n" at the end of a syllable. Thus, the word "haibun," though counted as two syllables in English, is counted as four on in Japanese (ha-i-bu-n); and the word "on" itself, which English-speakers would view as a single syllable, comprises two on: the short vowel o and the moraic nasal . This is illustrated by the Issa haiku below, which contains 17 on but only 15 syllables. Conversely, some sounds, such as "kyo" (きょ) may look like two syllables to English speakers but are in fact a single on (as well as a single syllable) in Japanese.
    The word onji (音字; "sound symbol") is sometimes used in referring to Japanese sound units in English[11] although this word is no longer current in Japanese.[citation needed] In Japanese, each on corresponds to a kana character (or sometimes digraph) and hence ji (or "character") is also sometimes used as the count unit.[citation needed]
    In 1973, the Haiku Society of America noted that the norm for writers of haiku in English was to use 17 syllables, but they also noted a trend toward shorter haiku.[12]
    Some translators of Japanese poetry have noted that about 12 syllables in English approximate the duration of 17 Japanese on.[13]


    Main article: Kigo
    A haiku traditionally contains a kigo, a word or phrase that symbolizes or implies the season of the poem and which is drawn from a saijiki, an extensive but prescriptive list of such words.
    Kigo are often in the form of metonyms[citation needed] and can be difficult for those who lack Japanese cultural references to spot.[citation needed] The Bashō examples below include "kawazu", "frog" implying spring, and "shigure", a rain shower in late autumn or early winter. Kigo are not always included in non-Japanese haiku or by modern writers of Japanese "free-form" haiku.[citation needed]


    The best-known Japanese haiku[14] is Bashō's "old pond":
    ふるいけやかわずとびこむみずのおと (transliterated into 17 hiragana)
    furuike ya kawazu tobikomu mizu no oto (transliterated into romaji)
    This separates into on as:
    fu-ru-i-ke ya (5)
    ka-wa-zu to-bi-ko-mu (7)
    mi-zu-no-o-to (5)
    old pond . . .
    a frog leaps in
    water's sound
    Another haiku by Bashō:
    hatsu shigure saru mo komino wo hoshige nari[16]
    This separates into on as:
    ha-tsu shi-gu-re (5)
    sa-ru mo ko-mi-no wo (7)
    ho-shi-ge na-ri (5)
    the first cold shower
    even the monkey seems to want
    a little coat of straw
    This haiku by Bashō illustrates that he was not always constrained to a 5-7-5 on pattern. It contains 18 on in the pattern 6-7-5 ("ō" or "おう" is treated as two on.)
    fuji no kaze ya ōgi ni nosete Edo miyage[17]
    This separates into "on" as:
    fu-ji no ka-ze ya (6)
    o-o-gi ni no-se-te (7)
    e-do mi-ya-ge (5)
    the wind of Mt. Fuji
    I've brought on my fan!
    a gift from Edo
    This haiku by Issa[18] illustrates that 17 Japanese on do not always equate to 17 English syllables ("nan" counts as two on and "nonda" as three.)
    edo no ame nan goku nonda hototogisu
    This separates into "on" as,
    e-do no a-me (5)
    na-n go-ku no-n-da (7)
    ho-to-to-gi-su (5)
    how many gallons
    of Edo's rain did you drink?

    Origin and development

    From renga to renku to haiku

    Main articles: Renga and Renku
    Hokku is the opening stanza of an orthodox collaborative linked poem, or renga, and of its later derivative, renku (or haikai no renga). By the time of Matsuo Bashō (1644–1694), the hokku had begun to appear as an independent poem, and was also incorporated in haibun (a combination of prose and hokku), and haiga (a combination of painting with hokku). In the late 19th century, Masaoka Shiki (1867–1902) renamed the standalone hokku to haiku.[19] The latter term is now generally applied retrospectively to all hokku appearing independently of renku or renga, irrespective of when they were written, and the use of the term hokku to describe a stand-alone poem is considered obsolete.[20]


    Main articles: Matsuo Bashō and Hokku
    In the 17th century, two masters arose who elevated haikai and gave it a new popularity. They were Matsuo Bashō (1644–1694) and Ueshima Onitsura (ja) (1661–1738). Hokku is the first verse of the collaborative haikai or renku, but its position as the opening verse made it the most important, setting the tone for the whole composition. Even though hokku had sometimes appeared individually, they were always understood in the context of renku.[21] The Bashō school promoted standalone hokku by including many in their anthologies, thus giving birth to what is now called "haiku". Bashō also used his hokku as torque points within his short prose sketches and longer travel diaries. This subgenre of haikai is known as haibun. His best-known work, Oku no Hosomichi, or Narrow Roads to the Interior, is counted as one of the classics of Japanese literature[22] and has been translated into English extensively.
    Bashō was deified by both the imperial government and Shinto religious headquarters one hundred years after his death because he raised the haikai genre from a playful game of wit to sublime poetry. He continues to be revered as a saint of poetry in Japan, and is the one name from classical Japanese literature that is familiar throughout the world.[23]


    Main article: Yosa Buson
    Grave of Yosa Buson
    The next famous style of haikai to arise was that of Yosa Buson (1716–1783) and others such as Kitō, called the Tenmei style after the Tenmei Era (1781–1789) in which it was created.
    Buson is recognized as one of the greatest masters of haiga (an art form where painting is combined with haiku or haikai prose). His affection for painting can be seen in the painterly style of his haiku.[24]


    Main article: Kobayashi Issa
    No new popular style followed Buson. However, a very individualistic, and at the same time humanistic, approach to writing haiku was demonstrated by the poet Kobayashi Issa (1763–1827), whose miserable childhood, poverty, sad life, and devotion to the Pure Land sect of Buddhism are evident in his poetry. Issa made the genre immediately accessible to wider audiences.


    Main article: Masaoka Shiki
    Masaoka Shiki (1867–1902) was a reformer and modernizer. A prolific writer, even though chronically ill during a significant part of his life, Shiki disliked the 'stereotype' haikai writers of the 19th century who were known by the deprecatory term tsukinami, meaning 'monthly', after the monthly or twice-monthly haikai gatherings of the end of the 18th century (in regard to this period of haikai, it came to mean 'trite' and 'hackneyed'). Shiki also criticized Bashō.[citation needed] Like the Japanese intellectual world in general at that time, Shiki was strongly influenced by Western culture. He favored the painterly style of Buson and particularly the European concept of plein-air painting, which he adapted to create a style of haiku as a kind of nature sketch in words, an approach called shasei (写生), literally 'sketching from life'. He popularized his views by verse columns and essays in newspapers.
    Hokku up to the time of Shiki, even when appearing independently, were written in the context of renku.[21] Shiki formally separated his new style of verse from the context of collaborative poetry. Being agnostic,[25] he also separated it from the influence of Buddhism. Further, he discarded the term "hokku" and proposed the term haiku as an abbreviation of the phrase "haikai no ku" meaning a verse of haikai,[26] although the term predates Shiki by some two centuries, when it was used to mean any verse of haikai.[citation needed] Since then, "haiku" has been the term usually applied in both Japanese and English to all independent haiku, irrespective of their date of composition. Shiki's revisionism dealt a severe blow to renku and surviving haikai schools. The term "hokku" is now used chiefly in its original sense of the opening verse of a renku, and rarely to distinguish haiku written before Shiki's time.[citation needed]


    Main article: Haibun
    Haibun is a combination of prose and haiku, often autobiographical or written in the form of a travel journal.


    Main article: Haiga
    Haiga is a style of Japanese painting based on the aesthetics of haikai, and usually including a haiku. Today, haiga artists combine haiku with paintings, photographs and other art.


    The carving of famous haiku on natural stone to make poem monuments known as kuhi (句碑) has been a popular practice for many centuries. The city of Matsuyama has more than two hundred kuhi.

    Haiku movement in the West

    The earliest westerner known to have written haiku was the Dutchman Hendrik Doeff (1764–1837), who was the Dutch commissioner in the Dejima trading post in Nagasaki, during the first years of the 19th century.[27] One of his haiku:[28]
    inazuma no
    kaina wo karan
    lend me your arms,
    fast as thunderbolts,
    for a pillow on my journey.
    Although there were further attempts outside Japan to imitate the "hokku" in the early 20th century, there was little understanding of its principles.[citation needed] Early Western scholars such as Basil Hall Chamberlain (1850–1935) and William George Aston were mostly dismissive of hokku's poetic value. One of the first advocates of English-language hokku was the Japanese poet Yone Noguchi. In "A Proposal to American Poets," published in the Reader magazine in February 1904, Noguchi gave a brief outline of the hokku and some of his own English efforts, ending with the exhortation, "Pray, you try Japanese Hokku, my American poets!" At about the same time the poet Sadakichi Hartmann was publishing original English-language hokku, as well as other Japanese forms in both English and French.
    In France, haiku was introduced by Paul-Louis Couchoud around 1906. Couchoud's articles were read by early Imagist theoretician F. S. Flint, who passed on Couchoud's (somewhat idiosyncratic) ideas to other members of the proto-Imagist Poets' Club such as Ezra Pound. Amy Lowell made a trip to London to meet Pound and find out about haiku. She returned to the United States where she worked to interest others in this "new" form. Haiku subsequently had a considerable influence on Imagists in the 1910s, notably Pound's "In a Station of the Metro" of 1913, but, notwithstanding several efforts by Yone Noguchi to explain "the hokku spirit," there was as yet little understanding of the form and its history.[citation needed]


    Main article: Reginald Horace Blyth
    R.H. Blyth was an Englishman who lived in Japan. He produced a series of works on Zen, haiku, senryū, and on other forms of Japanese and Asian literature. In 1949, with the publication in Japan of the first volume of Haiku, the four-volume work by Blyth, haiku were introduced to the post-war English-speaking world. This four-volume series (1949–52) described haiku from the pre-modern period up to and including Shiki. Blyth's History of Haiku (1964) in two volumes is regarded as a classical study of haiku. Today Blyth is best known as a major interpreter of haiku to English speakers. His works have stimulated the writing of haiku in English.


    Main article: Kenneth Yasuda
    The Japanese-American scholar and translator Kenneth Yasuda published The Japanese Haiku: Its Essential Nature, History, and Possibilities in English, with Selected Examples in 1957. The book includes both translations from Japanese and original poems of his own in English, which had previously appeared in his book titled A Pepper-Pod: Classic Japanese Poems together with Original Haiku. In these books Yasuda presented a critical theory about haiku, to which he added comments on haiku poetry by early 20th-century poets and critics. His translations apply a 5–7–5 syllable count in English, with the first and third lines end-rhymed. Yasuda considered that haiku translated into English should utilize all of the poetic resources of the language.[citation needed] Yasuda's theory also includes the concept of a "haiku moment" based in personal experience, and provides the motive for writing a haiku. His notion of the haiku moment has resonated with haiku writers in North America, even though the notion is not widely promoted in Japanese haiku.


    Main article: Harold G. Henderson
    In 1958, An Introduction to Haiku: An Anthology of Poems and Poets from Bashô to Shiki by Harold G. Henderson was published by Doubleday Anchor Books. This book was a revision of Henderson's earlier book titled The Bamboo Broom (Houghton Mifflin, 1934). After World War II, Henderson and Blyth worked for the American Occupation in Japan and for the Imperial Household, respectively, and their shared appreciation of haiku helped form a bond between the two.
    Henderson translated every hokku and haiku into a rhymed tercet (a-b-a), whereas the Japanese originals never used rhyme. Unlike Yasuda, however, he recognized that 17 syllables in English are generally longer than the 17 on of a traditional Japanese haiku. Because the normal modes of English poetry depend on accentual meter rather than on syllabics, Henderson chose to emphasize the order of events and images in the originals.[citation needed] Nevertheless, many of Henderson's translations were in the five-seven-five pattern.

    English-language haiku

    Main article: Haiku in English
    The first haiku written in English was by Ezra Pound, published in 1913. Since then, the haiku has become a fairly popular form among English-speaking poets. English haiku can follow the traditional Japanese rules, but are frequently less strict, particularly concerning the number of syllables and subject matter.
    The loosening of traditional standards has resulted in the term "haiku" being applied, perhaps wrongly, to brief English-language poems such as "mathemaku" and other kinds of pseudohaiku. Some sources claim that this is justified by the blurring of definitional boundaries in Japan.[29]