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Spanish-language haiku

In Spain, several prominent poets experimented with haiku, including Joan Alcover, Antonio Machado, Juan Ramón Jiménez and Luis Cernuda. Federico García Lorca also experimented with and learned conciseness from the form while still a student in 1921. The most persistent, however, was Isaac del Vando, whose La Sombrilla Japonesa (1924) went through several editions. The form was also used in Catalan by the avant-garde writers Josep Maria Junoy (1885–1955) and Joan Salvat-Papasseit, by the latter notably in his sequence Vibracions (1921).

The 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 the 31 poems contained in Microgramas (Tokio 1940) and the Argentine Jorge Luis Borges in the collection La cifra (1981).