Kenneth Yasuda Haiku in English being as popular as with its Japanese audience. In Yasuda's haiku theory the intent of the haiku is contained in the concept of a "haiku moment," 'that moment of absolute intensity when the poet's grasp of his intuition is complete so that the image lives its own life', (seventeen syllables corresponding to that 'moment', divided into three lines within 'one breath length' ). This notion of the haiku moment has been defined as 'an aesthetic moment' a timeless feeling of enlightened harmony as a poet's nature and environment are unified'The passing momentary experience that comes alive through
Haiku the 31 poems contained in "Microgramas" (Tokio 1940) and the Argentine Jorge Luis Borges in the collection "La cifra" (1981). In Lusophone (Portuguese-speaking) Brazil, after several early false starts, including a collection of 56 by Waldomiro Siqueira Jr. (1912–?) in his "Haikais" (São Paulo 1933), the form was popularised by Guilherme de Almeida, first through his 1937 magazine article "Os Meus Haicais" and then in his collection "Poesia Vária" (1947).. Since Modernism, several anthologies of Brazilian haikai have been published. In 1992 Nobel laureate Czesław Miłosz published the volume "Haiku" in which he translated from English to Polish haiku of