It is not merely the brevity by which the haiku isolates a particular group of phenomena from all the rest; nor its suggestiveness, through which it reveals a whole world of experience. It is not only in its remarkable use of the season word, by which it gives us a feeling of a quarter of the year; nor its faint all-pervading humour. Its peculiar quality is its self-effacing, self-annihilative nature, by which it enables us, more than any other form of literature, to grasp the thing-in-itself.

Regarding R. H. Blyth: Blyth's four volume Haiku became especially popular at this time [1950's] because his translations were based on the assumption that the haiku was the poetic expression of Zen. Not surprisingly, his books attracted the attention of the Beat school, most notably writers such as Allen Ginsberg, Gary Snyder and Jack Kerouac, all of whom had a prior interest in Zen.

There is no greater difference between men than between grateful and ungrateful people.

Zen is poetry; poetry is Zen.

The love of nature is religion, and that religion is poetry; these three things are one thing. This is the unspoken creed of haiku poets.

Zen is mind-less activity, that is, Mind-ful activity, and it may often be advisable to emphasize the mind, and say, Take care of the thoughts and the actions will take care of themselves.

Thus we see that the all important thing is not killing or giving life, drinking or not drinking, living in the town or the country, being unlucky or lucky, winning or losing. It is how we win, how we lose, how we live or die, finally, how we choose.