Haiku 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. 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. The "kireji" lends the verse structural support, allowing it to stand as an independent poem. The use of "kireji" distinguishes haiku and hokku from second and subsequent verses of renku; which may employ semantic and syntactic disjuncture,
Haiku Mexican poet José Juan Tablada is credited with popularising haiku in his country, reinforced by the publication of two collections composed entirely in that form: "Un dia" (1919), and "El jarro de flores" (1922). In the introduction to the latter, Tablada noted that two young Mexicans, Rafael Lozano and Carlos Gutiérrez Cruz, had also begun writing them. They were followed soon after by Carlos Pellicer, Xavier Villaurrutia, and by Jaime Torres Bodet in his collection "Biombo" (1925). Much later, Octavio Paz included many haiku in "Piedras Sueltas" (1955). Elsewhere the Ecuadorian poet and diplomat Jorge Carrera Andrade included haiku among