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Listening to Scott Mason wax poetic (pun intended!) about haiku, a traditional form of Japanese poetry, it is clear that he has a true passion for the subject having published close to 400 haiku in edited literary journals or anthologies. And that passion has helped him earn more than 150 awards, including more than 20 first place finishes in international competitions– more than any other North American, in the genre. To coincide with National Poetry Month coming in April and the launch of his latest book, The Wonder Code, Inside Press had the opportunity to sit down with this prolific poet and learn more about this art form.

Mason claims writing and also reading haiku (it is the same in both singular and plural form) has changed his outlook on life. Admitting that it sounds grandiose, Mason claims that haiku has made him “more attentive and more appreciative.” The Chappaqua resident though never intended to become a haiku poet. “If you told me twenty years ago that I would be doing this, I would have looked at you like you have three heads,” he chuckles.

As an undergraduate at Dartmouth College, Mason majored in art and did a minor in math and physics. He obtained his MBA at Harvard Business School and worked in advertising at Prudential. Following that he consulted for advertising agencies to help them strategize and win new business opportunities. “My background isn’t what people typically think of when they think about poets.”

Always an avid traveler, Mason and his wife Carla Gambescia (the former owners of the now defunct Via Vanti in the Mount Kisco train station) took a hiking trip to Japan in the early 1990s with a company called Wilderness Travel. The tour guide challenged the group to write their own haiku over dinner one evening in the traditional Japanese format of three lines with, five syllables in the first line, seven syllables in the second and five again in the last line. Mason wrote one but didn’t think much about it at the time.

Fast forward a decade later and Mason found himself wanting to express himself poetically. As he took his first attempts at writing, he noticed that his poems were short and resembled haiku.

He later learned that haiku poems in English do not need to conform to a 5-7-5 structure since English and Japanese word sounds are not comparable in duration. On a whim, he sent some of his poems to Modern Haiku magazine and they accepted one of his haiku for publication.

Since then he has become the co-editor of The Heron’s Nest, an online and print haiku journal with an international readership. Having an analytical mind, Mason sought to figure out why this form of poetry resonated with him so deeply and what characteristics the best haiku have in common. He poured through 9,000 haiku that had been published over the years in The Heron’s Nest and eventually chose his favorites writing each one on index cards. He sorted through them and found to his surprise that the poems wound up naturally being organized into five piles. “Each poem had one common denominator and that is wonder. Now wonder is both a verb and a noun and they operated on me in both ways. These poems brought me to wonder in some ways but also caused me to wonder in a verb sense,” explained Mason.

The five groups also had some imperative that eventually formed the five chapters of The Wonder Code. So for example, think small was an imperative and the haiku in that particular pile all focused on things like small animals or bugs. It struck Mason that this was the “diametric opposite of our culture and our times. Each haiku seemed to offset some aspect of our Western culture that tend to estrange us from wonder. Americans want big cars, big restaurant portions. Bigger is better is our credo but there is so much wonder and beauty in small things.”

Mason is gratified that this book has been so well-received in the haiku community but hopes to expand its readership to a wider audience. Kirkus Reviews magazine noted that is “ a superb haiku collection for readers who thought they didn’t like poetry, richly expressive and very accessible.” The first five chapters feature haiku written by various authors and the last chapter features haiku written by Mason. The book also received a Kirkus Star which signifies a book of exceptional merit.

As we wrap up the interview, Mason reminds us that “haiku is the people’s poetry. It is the opposite of elitist and truly treasures the everyday.” Mason will be giving a presentation on “Looking at Nature the Haiku Way” on March 27 from 7-8:30 pm at Teatown in Ossining–a place where he enjoys hiking and of course has inspired many of his haiku. Tickets are available at teatown.org/events/haiku-way where his book will be available for purchase at the event.

Haikus

By Scott Mason

how deer
materialize
twilight

Venetian canal –
lifting fog reveals
another mask shop

summer moonglow
the crescent
of toe prints on sand

Carly Brooke Feinman, a Chappaqua native and Greeley alum, is making a splash in the theatre world just two years after graduating Wesleyan University. This past summer, her original musical co-written with Cassie Wilson, If Sand Were Stone, made its Off-Broadway debut as part of the New York Music Festival. As if that wasn’t enough, her play Reflux was selected to premier Off-Broadway a few weeks later as part of the Broadway-Bound Theatre Festival.

Feinman loved growing up in Chappaqua. She always enjoyed poetry and writing and assumed that would lead her to a career in journalism or poetry. Her favorite teacher at Greeley was her creative writing teacher, Mrs. Chadwick. She “was the first teacher to really take interest in me and encouraged me to continue writing. I’m so grateful for her,” Feinman says.

Feinman’s road to musical theatre began when she took a class in college with the Pulitzer Prize winning playwright Quiara Alegría Hudes, who wrote In the Heights with Lin Manuel Miranda. “She changed everything for me… She is an epic human and one of my dearest friends and mentors. She showed me that the things I love about poetry and the fun language gymnastics I get to do really do lend themselves to theatre. She pushed me to dig deeper and take more classes and I found that I loved it,” recalls Feinman.

If Sand Were Stone Actors (L-R): Mari Uchida, Jhardon DiShon Milton, Jennifer Reed , Alexis Floyd and Tabatha Gayle PHOTO BY HAYIM HERON

It was in Hudes’ musical theatre class where Feinman was paired together with Wilson for an assignment. They immediately clicked and became great friends and collaborators. “To find someone that you want to work with for the rest of your career is such a gift to receive at a young age. We’ve been working on the musical for two and a half years. There will be future iterations of it and it’s more fulfilling every time we touch it,” says Feinman.

If Sand Were Stone is a musical that follows a poet as she and her family grapple with her early onset Alzheimer’s Disease at the peak of her career. It’s based on a true story about Wilson’s grandmother. Despite the sad subject, there is joy to be found in the moments on stage between family members. In preparation for writing this musical, Feinman and Wilson volunteered at an assisted living facility for memory care. “Just as many times as we would leave crying, we would leave laughing. Where there’s sadness, there’s joy. That’s a fundamental belief of ours,” says Feinman.

Feinman is proud of the fact that the musical’s creative team was all female, under 25, and included women of color. “Cassie and I are from very lucky backgrounds, we are hyper aware of the advantages we’ve had, and we have no interest in doing anything besides trying our best to be inclusive and to use what we’ve been given and share,” she explains.

Her other production this past summer, Reflux, is an absurdist comedy in a dystopian world where a man and woman are paired together randomly, and sent by boat to navigate the ocean to the honeymoon island where they must have sex. They try to figure out what sex and marriage is and how it fits into society’s expectations spoonfed to them since birth.

In Reflux, the couple is played by two gender non-conforming people of color. “We have all seen the man-woman romantic comedy and I was really interested in disrupting that whole Adam and Eve archetype… I’m interested in centering historically marginalized places and including people who have historically been disenfranchised by the institution of theatre. That’s not something that I’m looking for applause for. I just think it needs to be more of the norm,” says Feinman. Generally, she is drawn to art that disrupts and is different than anything she has seen previously. She was greatly inspired by the musicals Hamilton, In the Heights and Fun Home.

Feinman is not afraid of laying bare her creative work. “I don’t think you could fail if you try. This summer, if both of the shows were flops, that wouldn’t have been a failure to me. The failure would’ve been chickening out and saying that it would be too much to do in one summer,” she contends.

Feinman is living her dream career. “I’ve only ever wanted to be a writer. To be a songwriter was one of my early goals as a young girl but I don’t know how to play any instruments. In writing musicals, I’ve been able to call myself a songwriter. I’ve always wanted to be a poet and in writing plays, I’ve been able to do that. I’ve always wanted to collaborate with artists I admire and I’m getting to do that now. I’m so happy,” she concludes.