Haiku Monostich

One of the Haiku writers I’ve been reading, Hiroaki Sato, talks about how in Japanese haiku and tanka are written as a single line poem.

The three lines are a product of translation, and are an interesting discussion about ‘what makes a poem a poem’ and how that can change between cultures and languages.

In English the requirements for poetry have become less rigid over the years, especially in the last 100. Blank verse, free verse, prose poetry are all poems. But the same would not have always been true. Forms exist because there were rules about what made a poem a poem, and line breaks and stanzas were a major part of that.

Rhyme as well was a major piece of English poetry through most of its history, and as such you’ll see some older haiku translations include rhyme (A B A is the most common scheme I’ve seen). Since almost every word in Japanese ends in a vowel, rhyme is not a defining part of Japanese poetry.

So if haiku in Japanese is a single line poem, should it be translated as such? Sato thinks so, and his books have them as a single line.

I’ve been trying to write haiku, and have started writing them as a single line after reading Sato, and it works well for composition.

One of the principles of haiku that I’ve been working on is the poem is two parts. Usually this falls at a line break in translation, but that is not a requirement. By composing in a single line I can worry more about having the parts, independent of the line breaks, which impose an artificial constraint.

The other thing it does is it removes the initial urge to be rigid about the syllable count. (And yes, there is another translation discussion about English syllables and Japanese ‘sounds’ to be had)

For example, if a poem has 17 syllables, but you would have to beak a word to have a 5-7-5 line break, did you succeed? More importantly, would you have even picked that word if you were forcing yourself to have the line breaks?

For a constrained form, removing some of those constraints during composition, pushing them to editing, has helped. Because a haiku isn’t a 17 syllable poem, 5-7-5; it is a comparison of two things with a turn and seasonal word that has a syllabic constraint.

Dark Mode Twenty Sixteen

I decided I wanted to have a dark mode on this site. It’s a nice feature, and with some CSS can be made to auto change based on the user preferences—meaning you will only see it if your computer / phone is in dark mode.

The theme I use is Twenty Sixteen, which I have previously modified for some changes to typography.

The task, similar to to the typography change, started by searching through the CSS file to find any reference to color. I then took those references and organized them by what color they were using.

The pallet turned out to be 5 primary colors, two accent ones (which were used as inverses of each other). I hunted for colors to use and put together a dark theme that looks like this:

screenshot of this website with the dark mode theme active, background is black and dark grey, words are white and blue

I used a simple media query to allow the site to change with the user preferences:

@media screen and (prefers-color-scheme: dark)

There was one issue I found. Twenty Sixteen has color customizations that load stylesheets at the bottom of the header. I tried a few things to get the dark mode css to load after that, which would mean both were working, but couldn’t get it to work.

I used the functions.php file to remove both the loaded CSS and the options from the customizer to prevent any issues. I plan to figure this one out so modifications to ‘light’ mode will work with ‘dark’ mode.

I did make an option pane to let you switch which dark pallet you’d like to use. Alpenglow is a theme for Firefox with a rich purple pallet, and I wanted to see if I could make something similar for this and have the option to change back and forth if I need to (spoiler, it worked).

Continue reading “Dark Mode Twenty Sixteen”

Sometimes, the Beginning is the best place to Continue

I’ve been taking an online course on CSS that starts from the basics.

My original ‘course’ in CSS was on the job training as we converted a site from tables to CSS divs somewhere in the summer of 2000.

A lot has changed in the world of web programming since the dot-com boom when I was doing it professionally (well, as professionally as any of us were, I suppose), and while I still make web things, from WordPress plugins and themes to even dabbling in React.js and Svelte, it’s not my profession anymore. This means that while I’m dipping my toes back in everyone in a while—scraping through Google searches to find the answers to my questions—I’m not active enough in the space to catch up by working.

That was how I learned these things, programming Perl, then PHP, adding JavaScript to have mouse-overs. Tables for layout, and I’m going to admit here, in public, that there are days I wish we went back to tables for layout. I learned CSS ‘real-time’ as we updated the site from tables, hard coded styles and background images to a more fluid CSS layout over the summer.

The thing is this: sometimes the best way to learn is to start from the beginning. Sure, I know everything in the first couple lessons, but it wasn’t long before something new came out. A new term, a new phrase, a new best practice.

I know CSS. But I learned it then and patch-worked myself through updates and improvements throughout these years. I knew CSS, and even though I still use it often, the foundation is based on the lessons learned, right and wrong, all those years ago. At some point… at this point, the best way to continue learning is to start over.

Because it is not just specs and code that has changed over the years, but vocabulary, best practices, formatting and naming conventions (not that we had naming conventions in 1999).

This makes a basic course a refresher and a new foundation to build on from here. Don’t be afraid or prideful to take a step back and go over the basics once again.