Robin G. Gill
Eric D. Lehman
5th International Haiku Contest:
'Klostar Ivanic 2008', Croatia
Contemporary Haibun Online
dream of dreams
slightly trapped words
Happy New Year, Werner and Jane! - Tree Riesener
Dear Jane and Werner:
Someone in the kyoka group just pointed out your Poet's Profile on me –it came out in July 200l, if I remember after reading it for the first time this morning. It really surprised me, and you were quite fair with me. I'll be 82 tomorrow, so my memory may be doing tricks, but did I ever write to thank you? As I said, it seems I was reading it for the first time. Did I ever send any poems for your consideration for LYNX? I have been so busy this past year. IF I have or aven't, Werner, please let me know. I hope you are both well. With affection, Sanford Goldstei
Friends, The February issue of The Ghazal Page is now available. I hope you enjoy it. Here's a last reminder of the radif challenge; the due date is in two weeks. Finally, if you don't wish to receive these notices, just let me know and I won't send them to you. All the best, Gino Peregrini The Ghazal Page
Stayed up all night painting.
Finished #15, since last week;
probably more today if I stay awake.
Finally starting to look mature.
Whatever that means.
Middle age is ten years past
whatever your age is.
I made it to 61 today.
Still not dead, yet.
Or still alive, as far as I can tell.
The usual complaints don't need rehearsal.
I'm always between here and haunted.
There and daunted. Now I don't know.
Everywhere, the past needs ed-iting.
Shoveled the snow at midnight,
and three, and seven.
Too bad it's meaningless.
Two feet deep.
I really enjoy your work on haiku, and I thought you might be interested in knowing about a project I've been working on for the past three years. I originally put up an auction on eBay looking for a patron to pay me $1500 to do Dante's Inferno in limerick form, and a Dante enthusiast made the winning bid. I did my version using John Ciardi's translation, by rewriting each tercet (three lines) into a limerick (five lines). For a sample of the results, check out limerickinferno.com. Next I put up an auction for changing Purgatory into haiku, and the same person won this auction. The strategy here was different. I decided to pare down the tercets, which average 30 syllables, to 5-7-5 haiku. I know that many people don't go for the 5-7-5 definition of haiku, but it was a practical way of defining it. None of the seasonal rules were applied either. Now I'm concluding the project by converting the stanzas of Paradiseto clerihews, for which the same person made the bid. You're probably familiar with the clerihew form, but if not, you can find the definition on Wikipedia.
In doing the tercet-to-haiku version I followed a different set of rules. I rewrote by selecting words that totaled 17 syllables and that divided into 5-7-5 lines without having to hyphenate. I used no extra words and no different words. Dante's Purgatory has almost 500 tercets. I plan on desk-top publishing all three of the Dante rewrites on lulu.com within the next few months. Sincerely, Dave Morice
Dear Jane: Wrote these for you this morning, as promised. Took a while for the poems to come together, but these are to commemorate your trip to Japan:
she’s afraid to fly
she’s flying high
on her way to dine
holds her hand,
the mountain goat
30,000 feet up in the air.
With love, Alexis Rotella
Dear Jane, whose "grinding" printer and enthusiasm more than anything else got me to do this book before The Dolphin in the Woods, in the floods a boar and Dear Liza whose advice i followed to take the quotes off "dirty" (i was pretty much on the way to doing it myself, but you made it much easier) and check the index for your name and the quotes from two of your books and Dear Laura for suggesting the Screech book that cost me two weeks (it proved my help was needed with senryu and reading dirty pictures) and improved the value of the book and Dear Peter for being the only person to have read a majority of the draft and helping in more ways than i will write here And Lewis for your doubts about the value of senryu made me work so much the harder to prove that this was not a prime example of materium superabat opus, which is to say, that I outdid myself in the dressing up of doggerel
And MMcM for sending me Solt's Willow Leaftips And Adam Kern for the copy of the review
And Masako-sama, who was not part of this book but always an inspiration And Bill who is the only person in Usania who knows the surprise and that is enough for one letter. The proofs for the dirty senryu are UPSing to me as of 2 hours ago only three days after i uploaded them to lightning source and 4 days after i finished pdfing. And if all is in order -- which it usually is -- they will be on sale at Amazon by early November. I had intended to surprise you later with the weirdest thing i have ever done, something i tried to do once in Japan with someone else's book but could not because i was not the publisher. But, my mailing now is slow for i never know when i can get to the PO (my sister is being yoyoed back and forth to the NIH and i have no car and her insurance wouldn’t cover me using her car and the PO does not pick up media mail) and i just cannot wait to let you know about it. So please pour a glass of wine or beer or whatever, then go to the new books page at paraverse.org and see what i have done. http://www.paraverse.org/newbooks.htm And if it is something someone else has already tried, tell me. But not immediately! keigu! Robin G. Gill
Dear Jane and Werner,
I do hope that you are well. If you think the renga below is suitable for Lynx i'll send you the text when its settled. On Saturday 13th Oct 2007 we took renga out on the streets. As part of Sheffield's festival of reading and writing 'Off the Shelf' with Grow Sheffield, Anne-Marie Culhane and I led a 'renga ramble'. We took the Junicho form as our guide with a twist in that there would be an undercurrent of a theme which was 'growth and growing'. This was a first experiment to see what happens or could happen when the live renga group process is taken from its usual 'one space' performance to that of physically moving through a space. This process is different from the 'haiku hikes' that I have run/performed where essentially hikers work as individuals writing poems as they walk - here we work as a group writing to a schema set by the master poet with readings and selection of stanzas taking place live on the street throughout the walk. Here's where you can see a first draft with pictures and detail.
All that's best, Paul Conneally
I am a Professor of English at the University of Bridgeport in Connecticut and have previously published fiction, essays, and poetry in various journals, such as Hackwriters, Switchback, Nature's Wisdom, Identity Theory, The Shantytown Anomaly, Entelechy, Niederngasse, Simply Haiku, Artistry of Life and forthcoming in The New Formalist. Eric D. Lehman
Amy Nawrocki is a poet and teacher living in Hamden, CT. She teaches Writing and English at the University of Bridgeport. Her poems have recently appeared in Amaze Cinquain Journal, Modern English Tanka, Lily, White Leaf Press, Simply Haiku, SNReview, and the Loch Raven Review. She recently won an Honorable Mention in the Brodine Brodinsky Contest, and was a semi-finalist for the 2006 Paumanok Poetry Award Visiting Writers Program. Amy Nawrocki
YEAR-END REPORT 2007
Before you ask (yet again), yes, the Rockaway house is still in progress. A lawyer was hired on contingency well over a year ago to sue for damages, but because of delay that seems intrinsic in gaining
justice he hasn’t yet gotten to the first base of taking depositions. These are scheduled for early January.
Meanwhile, another architect is working on rebuilding, but this hasn’t yet begun either. I might get into my larger space this coming year, some seven years after the property was purchased, five years after the
bum building was nearly complete; but don’t bet on it. As most of my library has been stored in unmarked boxes for years now, while my physical situation is limiting, dispirited I remain. Much of the summer was spent at NYC beaches, which are preferable for various reasons to those out of town. (Consider that the gradual slope at both the Rockaways and Brighton-Coney Island permits extended bodysurfing for me and splashing for kids, both of which are impossible at beaches with a sharper slope, such as those at Jones Beach, on Fire Island, and further out on Long Island.) When I was bodysurfing with the lifeguards at Beach 60th St. in the Rockaways, one of them told me, “We watch you. We know you can do everything we can do, but you’re sort of slow.” I reminded him that I obtained my Red Cross Senior Life Saving certificate fifty-one years ago. Though I can swim a mile in less than one hour, I doubt if I can do 440 yards in less than seven minutes required to be a NYC lifeguard. I continue to take the coach’s class in springboard diving at the NYU pool, no doubt the oldest (and, alas, heaviest) diver in the class, and continue to learn new dives and get better at old ones. I expect to do both bodysurfing and diving until something unfortunate lays me low.
My major publishing project for the past year has been putting into print several languishing literary texts, some in progress for decades, that have proven too problematic for established publishers.
Among those appearing perfect bound from Archae Editions are: Autobiographies at Fifty, the third volume of a continuing monumental project, 8” x 8”, 160 pages; Kaddish and Other Audio Texts, 50 pp.,
with 2 cds (with selected audioart unavailable elsewhere). My most radical uncollected stories, both verbal and visual, appear as Furtherest Fictions continuously on recto pages whose verso have my
colleague John M. Bennett’s poems continuously, each for 289 pages. Surely the most monumental, this last avant-garde classic (from birth) is available on demand @ $28.34 not from Archae but from bluelionbooks.
Though I generally resist offers to publish anything of mine initially on the Internet (because I find it isn’t read, in contrast to previously printed texts subsequently available on the Internet), I found that Vugg Press was the most appropriate medium for all 820 pages of my Vertical Single-Sentence Stories, appropriated dedicated to William Faulkner.
I also produced in three copies handwritten editions of both Yet More Portraits from Memory and Split/tings on gold-surfaced cards and both Reversals and Identicals on semi-transparent paper. I made variously limited LaserJet Editions on cardstock 8 1/2 x 11” of varying thickness: Universe of Sentences, 244 cards; A Condensed Novel, 15 cards; Sixteen Single-Sentence Stories, from 28 to 62 cards; Metafictions, 48 cards: Ephemeralization, 6 cards; More Or Less, 127 cards; Minimal Erotic Fictions, 123 cards.; and Sinfinitie, 75 or so cards, written on both sides. Of 1000 Epiphanies, one copy appears on both sides of 500 sheets and another copy on only one side of 1000 heavier semi-gloss sheets. For various kinds of clear containers I also produced laser-printed editions of other long-languishing texts of mine: Micro Fictions, Minimal Aphorisms (thus alluding to fortune-cookie slips), English English, Short Novels, 3-Letter Texts, and 2-Letter Texts.
Among my titles appearing under other imprints are Seven Jewish Short Fictions, 7 pp. (Marymark); ulcrapoems, 36 pp. (Red Fox); Bilingual Poems: 28 pp. (Cerena Barva); Foul Stories and Minimal Aphorisms, both of which were mimeographed on card stock at the downtown book-art store Dexter Sinister (respectively 13 pp. & 11pp). Other smallpresses have asked to publish other texts of mine, the most important being Toward Secession: More Political Essays (Autonomedia); but I typically don't announce new titles until they are safely in hand. For the annual Lower East Side Howl Festival, Shalom (Neuman) and Deborah Freies of Fusion Arts, just two blocks west of the booming Bowery, mounted my Epiphanies, in progress for nearly three decades by now, with the single-sentence stories printed on 1000 sheets distributed within a basement space. Continuous on a monitor were my 1985 video realizations of some of these texts; in a boombox was my audiotape of many people speaking
these stories. On a screen were selected scenes from the film (1982-1994) that was also shown continuously for half of its four hours on the concluding Sunday. Seeing my film Epiphanies with others
for the first time in years, first at Two Boots-Pioneer and then at Fusion Arts, I was reminded how successful it is at prompting various responses from an audience (as few films do) some people laughing or gasping at certain places, other people audible at other places. Different in its beginnings, as perhaps the only fiction film compiled entirely from found footage, it is also experienced differently. I hope to see it again sometime, not only continuously but perhaps in an installation with four monitors perhaps on four sides of a space, each showing one of the four sixty-minute DVDs continuously, while a single soundtrack is heard, with or without the rest of the Fusion Arts installation. That setup would intensify the work’s cohering theme of the exhaustive experience of the experience of fictions. Much as I’m willing to share DVD copies of this film Epiphanieswith colleagues, viewing it alone cannot begin to rival the experience of seeing it with others.
When I set out to become a writer over forty years ago, I didn’t plan to do electro-acoustic music and visual art along with prose. Works in these domains arose mostly as a reflection of what I read
and saw and then my residing in lower Manhattan, which has inspired the creation of alternative work in many more people than me. (“Downtown” remains an appropriate discrimination.) The person most
surprised not just by the artistic work but the recognitions has been me. Over the years I’ve been able to make many things happen for many colleagues, sometimes by mentioning them favorably in a critical
context, more often by including them in my taste-making anthologies. Among the most surprising results of the latter move benefited Sheldon Frank, who first introduced himself to me with a critical fan
letter in 1967. When he came to NYC in the late 1970s, I got to work with him and so included his text “As I Was Saying” in my anthology Text-Sound Texts (1980), though I was not aware of him publishing anything other than literary criticism and fiction before. One reason to make books is that they have a way of reaching people whom you never met and do not even know about. It seems that two European singer son a Dutchman most adept at alternative vocalizing (Jaap Blonk), the other an Englishman renowned for performing early music (Paul Hillier)discovered Sheldon’s text in my anthology and decided to perform it apparently with their own pitching(s). That accounts for how Hillier’s Oct. 2007 program at Zankel (within Carnegie Hall) promised Sheldon Frank, Luciano Berio, and David Lang (co-founder of Bang on a Can). In short, thanks to my publishing him, Sheldon not only became a composer performed in major-league company but he got to Carnegie Hall, so to speak, all without practicing. From the start, I thought it important to do work that would survive classics, if you will and so have come to treasure recognitions that indicate this ambition had succeeded, particularly individual entries in Wikipedia, NNDB.com, Postmodern Fiction, Contemporary Poets, Contemporary Novelists, Encyclopedia Britannica, Who's Who in American Art, Advocates for Self-Government, The Chronology of American Literature, Webster's Dictionary of American Writers, Baker's Biographical Dictionary of Musicians, A Readers Guide to Twentieth-Century Writers, The Merriam-Webster Encyclopedia of Literature, The Facts on File Companion to 20th Century Poetry, Contemporary Jewish-American Dramatists and Poets, The HarperCollins Reader’s Encyclopedia of American Literature, and The Greenwood Encyclopedia of Multiethnic American Literature, among others. I’ve not met most of the people choosing to recognize my work in these books; for though I have made many friends professionally, my work has more fans. (This distinction between fans and friends will separate those whose work will survive from the cultural operators.) No matter what the name of the edifice I’ve built for myself might be, there is no doubt that I’m its king (no, King). Since my work should survive me, I’ve established an RK Trust that will inherit all my properties. Expecting to run it into the foreseeable future, I’ve nonetheless chosen three executors to succeed me.
The greatest disappointment was that the NYU athletic czars, whose pool I patronize for both swimming and diving, rejected my application to sing The Star Spangled before a basketball game. I practiced enough to know that if I begin with D in the key of G, I could hit all the notes firmly and, further, give distinction to my performance by following the pacing of the great spiritual “There Is a Balm in Gilead.” (Can’t you also hear the applause?) Though the posted solicitation seemed open to everyone, only students, I was told, could perform it. Dammit. Not having sung publicly in decades, I was looking forward to this.
Those recipients treasuring these year-end missives might like to know that previous recent ones are now treasured, so to speak, on my website which also has lots of other charming stuff. To all recipients, best wishes for the coming year, Richard Kostelanetz
"First Thought" is a new online publication that features short verse, prose poems, and haibun, two-three times monthly. Please visit my website or send any questions you may
have to First Thought.
Shelleen McQueen moved to Vermont from Worcester, Massachusetts in 2003, leaving behind the "dog-eat-dog treadmillism" of her marketing consulting business. A goldsmith and "wearable wildlife"
bead designer, McQueen views Vermont as the perfect place "to overcome life's undertow, commune with spirit, and create beauty."For McQueen, writing is a means of meditation, "a road map to inner wisdom;" and she titled a collection of short stories Kittywhiskers, because her totem, the mountain lion, "relies on its whiskers to navigate through life's process." Her poetry has been published in Poetry Northwest (University of Washington, Seattle, Washington), the chapbook Four Star Poets (Pentacle Press, Bellows Falls, Vermont), and the anthology The Other Side of Sorrow (Poetry Society of New Hampshire).
As most of you probably already know, I compile the Bibliography of Tanka in English. There are close to 700 titles in the Bibliography now, including over 100 anthologies containing tanka in English (not translations from Japan). I have over 70% of them, but there are a number of titles I am still trying to find. If anyone is willing to donate, sell, trade, send me a photocopy or scan, or otherwise get any of these titles to me, it would be greatly appreciated. M. Kei
bef. 2004 Editor Unknown. Tsuburami.
2006 Kimmel, Larry, & Linda Jeannette Ward, eds. Tanka Calendar
2006. [TCAL] Colrain, MA: Winfred Press
2006 Carter, Terry Ann , Claudia Radmore, & Grant D. Savage, eds.
Invisible Tea : haiku and tanka. In honor of Marianne Bluger.
Ottawa, ONT: Kado Ottawa
2005 Miyazaki, Hisashi, ed. Enhaiklopedia. (Haiku and haiku-like
poems, with a few brief haibun, senryu, tanka, all composed in
English by this largely Japanese haiku group.) Osaka, JP:
Hailstones Haiku Circle
2005 Kimmel, Larry, & Linda Jeannette Ward, eds. 2005 Tanka
Calendar. [TCAL] Colrain, MA: Winfred Press
2004 Leuck, Angela, ed. Tulip Haiku. Ste-Anne-de-Bellevue, QC
c 2004 Editor Unknown Tsuburami II : collection of tanka, Japanese
poems by 32 poets Sainte Martine, Québec: Nicom Books
2004 Alcock, John; Don Barnard; Martin Underwood, eds. Cannon Poets
21st Year Tanka Competion : Broadside X. Harborne, Birmingham, UK:
Cannon Poets 953890007
2003 Travisano, Thomas J.; Steven Gould Axelrod; Camille Roman, eds.
The New Anthology of American Poetry : Vol. 1 Traditions and
Revolutions. New Brunswick, NJ & London, UK: Rutgers University
2003 Howard, Dorothy, ed. RAW NerVZ Essentials. Gatineau, QC:
2001 Editor Unknown. English Tanka & Haiku on Water, River, Lake and
Sea. Gifu, JP: Japan Society on Water Environment
2001 Cathcart, Guillermo Compte, ed. and woodworker. Tanka of the
Local Village : Wooden Book. (Spanish-English) Longchamps, Argentina:
2000 Hutchison, Connie & Christopher Herold & Mary Fran Meer, eds.
To find the words: Haiku Society of America Northwest Region
members' anthology 2000. US: Haiku Society of America Northwest
1995 Haiku Poets of Northern California San Francisco International
Haiku Senryu and Tanka. [SFIT] San Francisco, CA: Haiku Poets of
1993 Gatten, Aileen & Anthoy Hood Chambers, eds. New Leaves :
Studies and Translations of Japanese Literature in Honor of Edward
Seidensticker. Michigan Monographs in Japanese, 11. Ann Arbor, MI:
Center for Japanese Studies, University of Michigan, 978-0939512560
1989 Sakura, Samuel Toyozo, & Howard Shigeru Sakura. Early
immigrant poems : waka tanka haiku. Seattle, WA: Howard Sakura
1990 American Haiku Archives. Ship of the moon : an anthology of
haiku. Jackson, TN: The Red Pagoda
1981 Kisaragi Poem Study Group Kaede / Maple. Toronto, ONT:
Kisaragi Poem Study Group
1981 Shikatani, Gerry, & David Aylward, eds. Paper Doors : An
Anthology of Japanese Canadian Poetry David Aylward, Translator.
Toronto, ONT: Coach House
1971 Wyatt, Bill, ed. Starving sparrow temple anthology : haiku,
tanka, linked verse and other pieces dedicated with gassho to Rev
Jixu Kennett Roshi. Purley, Surrey, UK: Sarum House Buddhist
1972 Kisaragi Poem Study Group Kaede / Maple. Toronto, ONT:
Kisaragi Poem Study Group
1963 Klein, Harry T., ed. Haiku and Tanka. Illustrations by Don
Blanding and Edythe Hope Genee. Los Angeles, CA: Swordsman
Publishing Co. Don Blanding's web site says poetry by Edythe Hope
Genee. 62 pages, spiral bound.
1958 Tomari, Yoshihiko, ed. Ishokurin (Transplanted Forest). Lucille
Nixon et al, trans. San Francisco, CA: Totsukuni Tankakai
1948 D'Arpajon, Noel, ed. Tankas (Contemporary poets of Dorrance).
1931 Mirick, Edith Brown, ed. Tanka and hokku; a collection of
poems done by American poets in Japanese forms. Norfolk, VA:
Any help appreciated. M Kei.
Modern English Tanka Press Announces Take Five : The Best Contemporary Tanka of 2008 February 12, 2008 - Baltimore, MD .This anthology, headed up by editor-in-chief, M. Kei, will review all tanka published in English during 2008 and make selections to showcase the breadth and quality of English-language tanka poetry. The anthology will be published early in 2009 in both trade paperback and hardcover editions.
The anthology is the brainchild of M. Kei, well-known tanka poet and editor of Atlas Poetica : A Journal of Poetry of Place in Modern English Tanka. No stranger to anthology editing, M. Kei previously
edited the ground-breaking and critically acclaimed anthology Fire Pearls : Short Masterpieces of the Human Hear in 2006. M. Kei heads up a team of editors, including Prof. Sanford Goldstein, tanka poet
and co-translator of Japanese tanka poets for more than forty years Pamela A. Babusci an award-winning poet/artist, whose awards include the Museum of Haiku Literature, Yellow Moo, and Kokako ompetitions; Liam Wilkinson, curator of the 3LIGHTS Online Gallery of Haiku and Tanka and co-editor oModern Haig; Patricia Prime, co-editor ofKokako and reviews editor ofStylus (AUS) andTakahe (NZ); and Bob Lucky, poet, writer, and teacher.
Kei explained that the project would be different from existing tanka competitions because it is an anthology with editors, not a contest with judges. "Our goal is to showcase not only the best tanka being
written and published in English today, but also to present excellence in anthology-making. We will not be voting on which tanka to include, but nominating tanka which we will discuss and debate amongst ourselves. We will select work that exemplifies both the best individual tanka and the best anthology we can produce, with due respect to the diversity of tanka in English around the world.
Editors and authors who wish to assure that their works published in 2008 are reviewed by the editorial team may submit two copies of the work to:
Attn: Take Five
M. Kei, Editor-in-chief
P O Box 111
Elkton, MD 21922-111
Email: take5tanka [at] modernenglishtankapress [dot] com
Readers who wish to draw the board's attention to works they admire are also welcome to submit copies. All copies become the property of the Take Five editorial board and cannot be returned. Please note,
parcels which require a signature cannot be received. If you wish to receive an acknowledgment of your submission, please include a self-addressed, stamped postcard with the package. International
correspondents should send an IRC in lieu of stamps. Please inquire before making electronic submissions: unexpected attachments will be deleted. M. Kei
Dear friends and colleagues,
I have begun work on a site designed to facilitate renku composition. I hope it may be of interest to you, or to persons known to you. The site is under development. I would therefore cordially invite everyone
to consider links to the url, so wishing, rather than encourage other forms of retrieval.
I'm also always happy to consider fresh renku submissions for the print
journal Moonset from those of you who are actively involved in composition. Please do forward any of this information to parties interested in poetry should you see fit - including my email address. Many thanks, John Carley
5th International Haiku Contest:
'Klostar Ivanic 2008', Croatia
Organized by ‘Three Rivers’,
Haiku Association, Ivanic Grad, Croatia
Haiku in English only.
Deadline: In hand May 31, 2008
Free of charge.
Open to all. Contestants must be 12 years or older.
Send only unpublished haiku.
Theme: Any theme is welcome,
but remember Nature and man as a part of it.
Haiku may be send by post or by e-mail.
Results will be on the Internet no later than
October 1, 2008.
The haiku meeting will be held during
September or October in Klostar Ivanic, Croatia.
First Prize: USD 50,00
Second Prize: USD 30,00
Third prize: USD 20,00
Tri rijeke, Kolodvorska 44, 10310 Ivanic Grad
Eucalypt, the print Australian tanka journal now publishes the poems and appraisals
of two selected poems from each issue on its web-site. These are known as
the Distinctive Scribblings Awards. Beverley George, P O Box 37, Pearl Beach 2256, Australia
Season Greetings, The December issue of Contemporary Haibun Online is now available: Ray Rasmussen, Managing Editor, Contemporary Haibun Online.
Anderson, Hortensia, Chrysalis
Anderson, Hortensia, Syrinx
Barber, Collin, Window
Beary, Roberta, Mother's Rainbow
Buettner, Marjorie, Burden of the Dream
Davis, Tish, Still a Tree
Dean, Sharon, His Brilliant Career
Edge, Lynn, Contemporaries
Edge, Lynn, Late Snow
Friedman, Audrey, Sifting
George, Beverley, Botswana Gold
Harpeng, Jeffrey, The Anatomy Lesson of Dr Tulp
Loetscher, Cheryl, As the Mind Clears
Masat, Francis, Distance
Masat, Francis, Silence at Rest
Montreuil, Mike, September
Nelson, Stephen, Coastal Town
Nelson, Stephen, The Orchard
Rasmussen, Ray, Fathers and Sons
Rees, Lynne, Blow
Rees, Lynne, What's Unsaid
Shaw, Adelaide, The Breakup
Straw, Richard, Desert Places
Straw, Richard, Katallagete
Straw, Richard, Signs
Tantillo, Jim, Jingle Bells
Vayman, Zinovy, Haibun for Jeffrey Winke
Webb, Diana, Appointment with Time
Woodward, Jeffrey, Goat's Beard
Woodward, Jeffrey, In Arcadia
Woodward, Jeffrey, With a Sash Untied
Zoller, Leah, Snow
Haibun by the Editors
Ken Jones: End of the Affair
Jim Kacian: Watching the Playoffs
Bruce Ross: The Voladores
THE DECEMBER SKETCHBOOK
for the Solstice isMarlene_Mountain.
"The Showcase for
Japanese Short Form poetry"
An Interview with Graham Nunn
By Patricia Prime
Plausible deniability: Nature as hypothesis in English-language haiku
By Richard Gilbert
Tanka by Kisaburo Konoshima
Newly translated by David Callner
Francis W. Alexander
Hiroko Morita Malatesta
Adelaide B. Shaw
Janet Lynn Davis
Francis W. Alexander
An Illuminating Column
Tracks in the Sand
By George Swede
Barry George, Bill Kenney, Ed Markowski,
Bob Brill, Bob Lucky, Jesse McGowan,
Alexis Rotella, Alan Pizzarelli, Jörgen Johansson,
Matthew Paul, Efren Estevez, Mathew Spano,
Ed Markowski, Kala Ramesh, Brenda Gannam,
Arizona Zipper, David Kelly-Hedrick, Carol Raisfeld,
John Stevenson, Carol Raisfeld, Gautam Nadkarni,
Alexis Rotella, Kala Ramesh, Gautam Nadkarni,
Alan Pizzarelli, Jim Doss, Mykel Board, A. Thiagarajan,
Tom Clausen, Bob Lucky, Bob Brill, Ed Markowski,
W.F. Owen, Roberta Beary, D. Claire Gallagher
Sizzling and Innovative Renku:
~ Frank Williams and Diana Webb
A row of flip-flops
~ Diana Webb
Briza diminetii (Romanian version)
~ Vasile Moldovan and Magdalena Dale
A Jump in the Calm Sea
Skok u bonacu (Croatian version)
~ CW Hawes and Raihana Dewji
My struggles with renku
~ Frank Williams
Innovative Modern Haiga:
Carol Raisfeld and Ashe
Max Verhart and Marlène Buitelaar
Aesthetic Traditional Haiga:
Suezan Aikins and Johnye Strickland
Bachmann-Eckenstein Arts and Antiques
Robert D. Wilson:
Four Decades of My Tanka Road:
The Tanka Collections of Sanford Goldstein,
by Sanford Goldstein
Dust of Summers: The Red Moon Anthology of
English-Language Haiku 2007, edited by
Jim Kacian and the Red Moon Editorial Staff
And, of course, lots of CONTEST NEWS!
ALL ISSUES ARE ARCHIVED for 24/7 access
"The online showcase for
Japanese short form poetry"
Liebe Haiku-Freunde, die Winterausgabe 2007/2008 von Haiku heute steht im Netz. Hier die Beiträge
Auswahl der Herbst-Haiku
Das neue Haiku. Die Entwicklung des modernen japanischen Haiku und das Phänomen der Haiku-Verfolgungen: Itô Yûki (pdf-Datei, Größe 0,7 MB)
Vergeben, nicht vergessen: Modernes Haiku und Totalitarismus: Itô Yûki im Gespräch mit Udo Wenzel
Wo Fäden sich kreuzen: Haiku zwischen Ost und West. Annika Reich im Gespräch mit Udo Wenzel
Rue Sedaine, 11 pm: Michael Denhoff
Gras: Ruth Franke
Zu Gast: Claudia Melchior
Tropfen zählen: Angelika Wienert
Bodendecker: Hans Lesener
Am Uferhang: Helga Stania und Ramona Linke
Neujahrsspaziergang: Cornelia Nicolay-Danisch
Kein Haiku über Nanjing: Udo Wenzel
Nachtnautik: Dietmar Tauchner
Im Schelmengraben. Udo Wenzel rezensiert Mario Fitterers „EOS ES IST ROT ÜBERHOLT“
Für das Haiku-Jahrbuch 2007 werden die besten Haiku gesucht, die 2007 entweder geschrieben oder erstmals veröffentlicht wurden. Ausdrücklich sind Verse mit und ohne Einhaltung der bekannten 17 Silben, mit und ohne Jahreszeitenwort gleichermaßen erwünscht, gerne auch in Mundart (zur leichteren Beurteilung bitte mit Übersetzung). Senden Sie bitte Ihre besten Haiku des Jahres ein (maximal 50), diese müssen keineswegs unveröffentlicht sein.
Jeder ins Jahrbuch aufgenommene Autor erhält ein Freiexemplar, alle Rechte an den Haiku bleiben bei den Autoren. Die Einsendefrist für das Jahrbuch endet am 31. Januar 2008. Jeder Autor, der Texte einsendet, gibt damit unwiderruflich die Erlaubnis zu ihrer Veröffentlichung im Jahrbuch.
Einsendungen bitte an: Volker Friebel, Denzenbergstraße 29, 72074 Tübingen (Deutschland), vorzugsweise aber durch Versand an:
Neues aus der Haiku-Welt
* Werner Reichhold hat eine englische und eine deutsche Seite mit Gedichten veröffentlicht, die auch aus Haiku-Sicht sehr interessant sind.
* Chrysanthemum: Die zweite Ausgabe des 2x im Jahr erscheinenden internationalen online Haiku-Magazins Chrysanthemum ist am 15. Oktober erschienen. Der Einsendeschluss für die Frühjahrsausgabe ist der 29. Februar 2008.
* Sommergras: Die Winterausgabe des Haiku-Magazins Sommergras, herausgegeben von der Deutschen Haiku-Gesellschaft, ist vor wenigen Tagen online erschienen:
(Die pdf-Datei erscheint bei Klick auf das Titelblatt.)
* WHCgerman: Vor zwei Monaten ist die Herbstausgabe des Online-Magazins des Word Haiku Clubs german erschienen:
Angelika Wienert bereitet derzeit eine neue Ausgabe vor. Bis 31. Dezember 2007 können an Haiku eingeschickt werden, bitte in deutscher und englischer Fassung.