June, 2012

A Journal for Linking Poets  



. . .I  received the news of Kawamura Hatsue-san's death today. I feel very, very sad. Without her invitation I would not start writing English tanka. Yours cordially,Konno Mari

. . .Yesterday, The former President of The Japan Poets’ Club Mr. Fujioka , several members of The Tanka Journal and I attended Hatsue-san’s funeral. I could deliver your words of condolences to Yasuhiro-san. It is said that she passed away by blood poisoning – sepsis. Aya Yuhki

. . .Very sad to hear of Hatsue's passing. My condolences to you, as I know you knew her well. I met her several times, in Canada and in Japan, and was once a guest of the tanka club in Tokyo, for which she served as a most generous host. It was heartbreaking to hear of her coma and how her husband would visit her every day with practically no response from her. Hopefully she hadn't been suffering, but if she had, at least that is over now, and perhaps also a relief for her husband. Again, condolences.  Michael Dylan Welch

. . . I would like to title the four haiku in the sequence simply "Like Heaven II".  After thinking about it, my first true "heavenly" experience was with  my wife, and now that we have a son, it's kind of a new heavenly  experience, which in turn, could produce a whole new series of my  work that is heaven related...:) Thanks so much for accepting my work and for the idea to title the  four haiku.  I had not even thought about this, and now it opens new  doors and possibilities for a larger type of work! One final thing, this will be my first written and published  haibun!!!  I wrote free verse poetry throughout my 20's and then came  to haiku, and just started going back through some older poems that  had never been published and pairing them up with recent haiku that I have written. And thus, "Like Heaven" was born!  Also, writing without punctuation  has always been more natural for me, and so it gives me a great deal of pleasure  to see my first haibun published without punctuation!!  Thanks again, Werner!  Many Blessings,  Ryan Jessup

. . .good sunny but cool afternoon. Thank-you so much for accepting  'In Full Sun'. it was a work in progress until this latest revision. I   always feel so proud whenever you accept any of my work. i respect you   both (professionally and personally) very much.          it is the second day of spring here but you would never know  it. just east of edmonton and then south to the U.S. border, there  were terrible blizzards and most schools were closed. we could have  used the moisture but are not sorry about the road closures etc. as  the haibun says, both dick and i are getting on in years. i will be 69  and dick will be 79. pretty hard to believe.  however, we are both quite active. if i am not reading or writing, i  attend dance and tai chi classes every week. dick retired early but   has always been handy and helps out my second oldest brother north of  edmonton. he could be 'working' every day of the week if he wanted.         enough of my rambling. i hope that you are both well and  that your aches are few.  fondest regards,  jeanne   jorgensen

. . .Just a little back ground information about a renray (a renray = 3, 2, 3, 2 ,2, 3, 2, 3 lines)
 from Curtis Dunlap, the form's creator: Terri French and Ray French were in Mayodan, North Carolina recently. They stayed at Susan's house. I live two blocks away. We wanted to do a collaborative poem but, with four, a rengay was out of the question. I sat down and developed the stanza (line count) for a renray. Ray started the renray. I suggested that we call our poem a renray in honor of Ray (plus it was a fun play on words with rengay). A renray is very spontaneous and improvisational like jazz--you have to let it flow.<<  Terri Hunter

Dennis Holmes, who is doing Lynx book reviews wrote around trying to find out about “tanka chains” and here is some of the correspondence:

From: Amelia Fielden <
Date: April 21, 2012 10:33:28 PM EDT
To: <
Cc: Maggie Chula <
Subject: RE: tanka chains
Dear Dennis, I don't have an authorized definition for tanka chains. In the English tanka community at large, it seems that tanka chains is vaguely an alternative nomenclature for tanka strings/tanka sequences/tanka clusters etc.
 However, as used/practiced by Mari Konno, a tanka chain is  formed strictly by taking the last word of a tanka as the first word of the responding tanka, so that the link is verbal and clearly visible within a theme, such as 'winter'.
 For example, in The Tanka Journal 2011 no.39 our tanka chain 'Where Are You'
 a robot voice
 is all I can get now
 from your phone ---
 where are you, where are you
 under concrete, under water
 water, a great wall
 attacks, washing away
 even a mother, then
 from her arms, the baby
 baby cries
 adult screams --- almost
 against the raging
 of a tsunami
 a Japanese word
 has become
 an international term,
 to my everlasting grief
Of course this chain is bilingual, but I have just typed the English here. I have also highlighted the links by putting them in italics. Do you have access to Tanka Journal? Our chains are also published in 2011 ,no.38,: 2010  no.37; 2010  no.36.  Best wishes, Amelia Fielden
. . ."When I saw scenes of destruction by the tsunami on television screens, I was deeply moved, and I thought it was a duty of a poet to give a poetic expression, pretty much in the same way as ancient epic poets felt. While I was wondering what to write, I attended a renku meeting. We were writing a shisan, a chain of 36 verses linked together. Traditionally, the same subject should not be repeated in renku. The starting verse was about the tsunami, but when my turn came, I proposed write another verse about the same subject, but my proposal was turned down by the leader. He was acting by traditional rules, but I strongly felt that the scale of the disaster demanded a modification of the traditional rules. So when I came home, I started to write this solo shisan, consisting of all verses dealing various aspects of the earthquake and tsunami. It was not so easy for me to write it, for I had to secure variety and seasonal change within a short span. The solo renku was written by some classical writers, most notably by Saikaku, who tried to exhibit his ingenuity and talent by writing a long chain of verses by himself with a tremendous speed. After Basho criticized this kind of practice, the solo renku was abandoned. However, I saw new possibilities for the solo shisan. The usual renku is a collaboration of the group members. This means that even the leader does not really have the control of its whole structure. In a solo shisan, the author has the complete control, and so long as he can secure variety and seasonal change, you can try all sorts of structural experiments. I think a solo shisan is peculiarly suited for modern society, where it is difficult to organize a congenial group for writing renku." Nobuyuki Yuasa

Dear Jane,
   I have been thinking about your kind proposal to print my shisan on the March 11 disaster in Lynx. I consider your request as a great honour. On the other hand, my shasan has been published in thee different places besides JRR2. First it was published in a Spanish haiku magazine with a Spanish translation, then it was published in Poetry Nippon, and finally, I printed it myself in the booklet of the Kikakuza Haibun Contest which I had been judging for three years together with Stephen Gill. This Haibun contest is now terminated, but Stephen and I have started a new contest called Genjuan Haibun Contest. So you can probably see that it has not been so easily for me to make up my mind. In principle, I do not wish to publish the same work in many different places. However, the subject of my shisan probably requires special consideration. If it is published in your magazine, it will reach a wider audience than before. With some hesitations, therefore, I accept your proposal. I should appreciate it very much if you would print it with your own comment about my feeling. Also, I am wondering if I could ask you to advertise our haibun contest in your magazine. I am attaching a copy of our guidelines for last year. I do not think there will be many changes in our guidelines for this year, but we have not finalized them yet. Stephen and I are now reading the entries we have received.   With best wishes, Yours, Nobuyuki

Dear Ms. Muramoto,
Thank you very much for your kind email and the pictures you kindly sent me. I am glad that your performance went well. Your pictures made me very nostalgic to San Francisco and the Bay Area. I studied at Berkeley many, many years ago. I was a frequent visitor to Japanese restaurants in San Francisco. I also taught as a visiting professor at Stanford University. I am now eighty, too old to travel abroad, but I am glad my solo shisan made its way to San Francisco. What you mention about Facebook is a mystery to me. In principle, I do not like the idea of using the same poem in many different places because I am not interested in publicity. However, the tsunami disaster is not yet over. In fact it will continue for many years to come. So if you can use my poem to the help the victims, I have no objection. What I am now most worried about is the fate of the nuclear reactors. The Government says they are under control. I am only praying that they will not have another explosion. Well, I must end with this grim note. May I thank you again for using my poem for your performance. With best wishes, Yours sincerely, Nobuyuki Yuasa



in Japantown in San Francisco March 2012



I am pleased to announce that Emiko Miyashita and I have a waka (tanka) translation appearing on the back of a U.S. postage stamp, in an edition of
150,000,000 copies, that will be released on March 24, 2012. You can read more about the stamp at
ial_ ( . The translation, shared below, is from our 2008 artbook, 100 Poets: Passions of the
Imperial Court (PIE Books, Tokyo) -- for more information, see
( . This "forever" stamp
celebrates the 100th anniversary of the cherry trees in Washington, DC.

hisakata no hikari nodokeki harunohi ni shizugokoro naku hana no chiruran

Ki no Tomonori (c.850 - c.904)

the light filling the air
is so mild this spring day
only the cherry blossoms
keep falling in haste—
why is that so?

Translated by Emiko Miyashita and Michael Dylan Welch


lynx cat

. . . There has to be some meaning here. A couple weeks ago we looked out to see this lynx in our yard. The photo was taken out the dining room window. After snarling at the house when he noticed us, he made this beautiful pose before going back to spy on gopher holes. Jane



for tanka in English

Call for Submissions:
Open to everyone
Entry Fee: None

Submission Period: April 1st – June 30th, 2012

Address for submissions: ITF SHONAN VILLAGE CENTER Competition
         c/o Nihon Kajin Club
         Shuei Bldg. 2F, 1-12-5 Higashigotanda,
         Shinagawa ku, Tokyo, 141-0022, Japan
Rules of Entry:
1. Tanka must be previously unpublished and not under consideration elsewhere.
2. Post two copies of each tanka, with your name and address on one copy only.
    Entry is by mail only.
3. Any theme is acceptable. (Five line form only)
4. Judging is anonymous.
5. Winning tanka and commended tanka will be published in the Festival brochure.




An open-theme haiku contest with proceeds going to the Haiku Pathway project in Katikati, New Zealand.

  • 18 & over: $100 for first; $50 for second and $25 for third
  • 17 & under: $50, $25, $10 (all prizes in New Zealand dollars).

Poems should preferably be typewritten, otherwise clearly handwritten.
Haiku should not have been previously published (including on the web or broadcast).
Submit 2 copies of each haiku with 1 only including your name, address, phone number (no mobiles, please), e-mail address, and for the junior section only, your age. Putting several poems on an A4 sheet is fine.
There is no limit to the number of entries that an individual may make.
Entry fee:

  • Within NZ: 18 & over $5 for 3 haiku or $2 for 1 haiku. 17 & under $1 for up to 2 haiku.
  • For overseas entrants: $US5/3 haiku or $US2/haiku; $A5/3 haiku or $A2 per haiku.

Entries in hand by Friday, May 16. Post to: Katikati Haiku Contest, PO Box 183, Katikati 3166, Bay of Plenty, New Zealand. No email entries.
A judge's report will be sent by email, otherwise please include a stamped addressed envelope. Judges are Owen Bullock (senior) and Catherine Mair (junior).
Results will be announced and presented on Saturday, June 16 at the Haiku Festival Aotearoa.
Any entry not accompanied by the correct entry fee will be disqualified. Entrants send cash at their own risk. Cheques drawn on New Zealand bank accounts should be made out to: Katikati Haiku Pathway Committee.Please note: Due to bank charges, we will no longer accept personal cheques in any currency other than NZ$. Entry fees may be paid by PayPal using the email recipient address maggib at replacing the "at" with an "@". If so, please include your PayPal receipt number with your entry.
Inquiries to Sandra.  Good luck!


Genjuan Haibun Contest 2013

Genjuan is the name of the cottage near Lake Biwa where, in 1690, Basho lived for a while and wrote one of his most famous haibun. It was probably the happiest period of his life. This is the second year of the contest crowned by the name of Basho’s cottage, and its purpose remains to provide a common arena for haibun writers of the world. Fortunately, we had a warm response in 2012, receiving 96 entries from 14 different countries. The award for the Grand Prix will remain the same – a good replica of a Hokusai ukiyo-e print – and smaller gifts will be sent to authors winning an An (‘Cottage’) Prize. The writers of the decorated works will each receive a certificate of merit. We sincerely look forward to your participation. Some sample haibun can be read at the following site:

Guidelines for 2013
1 Subject:        Free, but discretion must be used to avoid slander and obscenity.
2 Style:                        No restrictions, but attention should be paid to honour the spirit of haikai.
3 Length:         In total, between 20 and 40 lines (at 1 line = 80 spaces) on a single page.
4 Haiku/Title:             At least one haiku should be included, and a title should be given.
5 Format:                Print on a sheet of A4-size paper and write at the bottom your name (and your pen name, if you have one), together with your address, telephone number, and your email address. Your privacy will be strictly protected, and the judges will not see your names while selecting works for decoration.
6 Deadline:             All entries should reach the following address by 31 January 2013.  Entries received after this date will not be accepted. Please send your entries by airmail to: Ms. Motoko Yoshioka, Regalia 907, 7-32-44 Fujimi-cho, Tachikawa-shi, Tokyo 190-0013, Japan. You are requested not to use express airmail or extra-large envelopes, which can cause problems at delivery.
7 Entry Fee:    None.
8 Restrictions:        Entrants may send up to three pieces, each on a separate sheet of paper. They should be unpublished. As we cannot return your entries after screening, please don’t forget to retain your own copies.
9 Questions:    All questions should be sent to the address above.
10 Winners:           The authors of the decorated works will be requested to send us their pieces by email. This is important, and we expect your cooperation.




2010 senior haiku winners:

a moment before sunrise -
ice singing
beneath the swans' feet
- Martin Lucas (England), First

3 a.m
the overhead fan
clicks clicks clicks
- Joanne Watcyn-Jones (Australia), Second

he leaves in an ambulance -
the chrysanthemum buds
closed tight
- Kirsten Cliff (Papamoa, NZ), Third

Highly Commended:

a field in bloom -
the foal's tracks
follow the mare's
- Carole MacRury (USA)

his father's death ...
shadows of raindrops
on the window ledge
- Beverley George (Australia)

fallen leaf -
the stream carrying
another silence
- Eduard Tara (Romania)

already my toddler's hair
- Vanessa Proctor (Australia)

full moon at Motuhoa
cloud the evening tide
- Barbara Hart (Tauranga, NZ)

soft mist ...
a mother cups
her baby's head
- Joanne Watcyn-Jones

half light
the river scarred
by a heron

  • Beverley George

Jane Reichhold International Prize for Traditional Haiku

1st Place
sickle moon
a canoe’s bow
parts the stars

Michele L. Harvey
Hamilton, NY

 2nd Place
the sound of sunlight
dripping from icicles

Julie Warther
Dover OH

3rd Place
awakening –
my nightmares fade
into chickadees

Seren Fargo
Bellingham WA

Honorable Mention 1
thick moss
coasts the roof of my house
foggy memories
Chen-ou Liu
Ajax, Ontario, Canada

Honorable Mention 2
song thrush
a wisp of cloud
in its beak
Andre Surridge
Hamilton, New Zealand

Honorable Mention 3
in love again –
a pair of spoonbills
return to the estuary
Marg Beverland
Katikati, New Zealand

Jane Reichhold International Prize for Innovative Haiku
1st Place
a lingering echo
teases my curiousity
Olivia Cooper
Ukiah, CA

2nd Place
no wind
a single leaf falls
catching my breath
Laura Leigh
Arena, CA

3rd Place
I bury myself
in the patchwork quilt –
birthday coming
Earl R Keener
Bethany, WV

Honorable Mention 1
back to school
all that honking
John Soules
Wingham, Ontario, Canada

Honorable Mention
pre-season tryouts
a dandelion puff
joins the huddle
Scott Mason
Chappaqua, NY

2 Honorable Mention 3
vertical peak
an eagle circles
my vertigo
Earnest J. Berry
Picton, New Zealand


The winner of the third Turtle Light Press biennial haiku chapbook contest is Graham High's The Window That Closes, a threnody for his mother that movingly follows her illness and death over the course of a year.  

high hospital bed
my mother and I must cross
the rift of waiting

We would like to thank all of the entrants for their participation in this year's contest and look forward to posting some of the best of their individual haiku in our e-anthology.

To read the entire winner's announcement and more about Graham High, please click here.

Turtle Light Press plans to release The Window That Closes in the spring/summer of 2013.
Honorable Mention
Among the top contenders this year, the judges decided to award an Honorable Mention to Duro Jaiye’s There Was a Time, which explores the African American experience of slavery and its aftermath in a short series of powerful poems.

whites only –
knowing the season
before she crossed it
bitter night –
smelling the heat
of a burning cross

The complexity of its emotionally-laden, imagined haiku and its clear narrative trajectory resulted in the judges recognizing this fine collection with an Honorable Mention.
Turtle Light Press received 36 entries to its third haiku chapbook competition, twelve more than in the 2010 contest. Poets from all over the world, including Canada, Denmark, England, Ethiopia, Japan, Ireland, Germany, New Zealand and the U.S. sent in submissions. It was a particularly difficult contest to judge because of the high level of the manuscripts and stellar haiku.
Although the press will only publish one full-length collection, the judges discovered many extraordinary haiku poems in each submission. As a way to honor this work, Turtle Light Press has decided to publish a “Best of the Competition” e-anthology. It is hoped that all of those selected will want to participate in what promises to be a remarkable collection.
Thank you again for entering the contest and entrusting your work to us!
Rick Black, owner and founder of Turtle Light Press. He has won haiku awards in the U.S., England and Canada and has published numerous haiku in journals such as Frogpond, Blithe Spirit, Still, RawNervz, and Modern Haiku. His own haiku collection, Peace and War: A Collection of Haiku From Israel, is in its third printing.
Kwame Dawes, an English professor at the University of Nebraska-Lincoln and the editor-in-chief of Prairie Schooner.


Grand Prize: POEM OF THE YEAR (13 nominations, totaling 89 points)

a deceased friend
taps me on the shoulder -
plum blossoms falling 
            - Chen-ou Liu (June Issue)

First Runner-up: (12 nominations, totaling 84 points) 

migrating geese -
the things we thought we needed
darken the garage 
           - Chad Lee Robinson (March issue) 

Second Runner-up: (10 nominations, totaling 83 points) 

how to dress her
for eternity -
blossom rain
           - Carolyn Hall (March issue) 

Third Runner-up: (11 nominations, totaling 67 points) 

shanty town -
the jagged edges
of moonlight
           - Sanjukta Asopa (September issue)


The Results of Genjuan Haibun Contest 2012 by sosui
Genjuan Haibun Contest
Decorated Works 2012

Grand Prix
Jackdaws by D J Peel (Takenoko), U.K.

An (Cottage) Prizes
The Blue Jacaranda by Kala Ramesh, India
Crime and Punishment by Cara Holman, U.S.A.
Yeh Go I by James Norton, Ireland

Honourable Mentions
Kite in August by Carol Pearce, U.S.A.
Gandolph and Merlin by Pearl Elizabeth Dell May, U.K.
The Unstrung Guitar by Patricia Prime, New Zealand
Timeline by Roberta Beary, U.S.A.
Mind Unfound by Sonam Chhoki, Bhutan

We received a total of 96 entries from 14 different countries. We are very pleased with this result. We should like to thank all the contributors for their warm support. The general level of the works was high enough, but it was difficult for the judges to single out a piece for the Grand Prix. Also, it was equally difficult for the judges to limit the number of Honourable Mentions to five since so many works followed close on their heels. Our hearty congratulations to the authors of the decorated works.



The new editor of Ribbons is David Rice. I have copied the submission information from the TSA website...and it is confusing because the web page before this one still lists Dave as editor. Hope this helps. Best Regards (And i love your website...) Celia

Please send your premium unpublished and original tanka (10 at a time only) with the subject heading "RIBBONS SUBMISSIONS" to Dave Rice, Journal Editor via email at, or by post to:
Dave Rice, TSA Editor
1470 Keoncrest Drive
Berkeley, CA 94702
The TSA's submission deadlines are in hand no later than:
April 15           Spring/Summer Issue
August 15        Fall Issue
December 1     Winter Issue
Please note that only those whose tanka are selected for publication will be notified by the 5th day of the month following the submission deadline--and no other notification will be sent out, so your works are automatically freed up after this date to submit elsewhere.  For example, if you submit to the spring/summer issue by the deadline of April 15, you will receive notification of any acceptances by May 5. If not, your submissions as of May 5 are released and free to be submitted elsewhere.

The new issue of Shamrock (No 21) is now available online at It has a big selection
of English-language and translated haiku, as well as a haibun and a book review. We hope you'll enjoy it.
A print edition of the twenty issues of Shamrock, the Journal of the Irish Haiku Society, as they appeared on the Shamrock website
(SHAMROCK HAIKU JOURNAL: 2007–2011), can be ordered via our site. It comprises works by 248 authors representing 38 countries (translated haiku not included), and covers the full range of haiku in English, from classic to experimental styles, as well as haibun and selected essays on haiku.


Moonbathing Issue 6 is now accepting
submissions. I have additional copies
of Moonbathing issue 5
If you wish to purchase a copy(ies)
please e-mail me.
Moonbathing will publish two issues a year: Fall/Winter and Spring/SummeR. 
Moonbathing will feature only women poets. Send a maximum of 10 tanka per submission period. Submission deadlines: 
Spring/Summer: In-hand Deadline:  May 15th spring/summer themes or non-seasonal only
Fall/Winter: In-hand deadline:  Dec. 15th
fall/winter theme or non-seasonal only
No previously published tanka or simultaneous submissions; no tanka that has been posted on-line on a personal website/blog.
Send your tanka IN THE BODY OF AN E-MAIL to: Pamela A. Babusci:  moongate44(at)gmail(dot)com PLEASE NO ATTACHMENTS. E-mail submissions ONLY.
I hope that all tanka poets who have their work accepted will support Moonbathing by purchasing a copy or a subscription. If Moonbathing is to survive it will need your support and I will be most grateful for it.
Moonbathing does not assume liability for copyright infringement or failure to acknowledge previously published tanka.
 Subscriptions: $12 for one year (two issues) U.S. and Canada; $6 for single issue. International: $16
(two issues) $8 single issue U.S. dollars; send US cash or international M.O.—payable to Pamela A. Babusci to: Moonbathing Editor 150 Milford Street Apt. 13 Rochester, NY  14615-1810  USA    PLEASE NOTE: I will be moving into a new apt. by the end of May, so, please check with me for my new address before mailing me-thanks!
The Editor of Moonbathing is looking forward to receiving your best tanka. If you have any questions, feel free to e-mail Pamela A. Babusci moongate44(at)gmail(dot)com
Respectfully submitted, Pamela A. Babusci, Editor of Moonbathing

The March issue of The Heron's Nest (our first in Volume XIV) is now available for your reading pleasure at
With the release of this issue comes the opportunity for you to see which poems were your favorites from last year. The results can be viewed here and will be published in the annual paper edition due out in April.

A Hundred Gourds 1:2 is now online
Issue 1:2 of A Hundred Gourds: a quarterly journal of haiku, haibun, haiga tanka and renku poetry is now online.
In this issue Ray Rasmussen introduces a feature on ‘The Graphic Haibun of Linda Papanicolaou’. You’ll find AHG’s first renku section, as well as haiku, tanka, haiga and haibun, an essay on the ‘New Junicho’ renku, an interview with Peter Yovu and reviews of three haiku books.
In response to suggestions from our readers and for your ease in locating haiku, tanka and renku poems by author’s name, AHG has now established an index of poets for these sections. This index has also been applied retrospectively to the AHG 1:1 haiku section.
A Hundred Gourds welcomes your submissions to the June Edition, Issue 1:3.
The deadline for all submissions to AHG 1:3 is March 15th.
Lorin Ford, haiku editor, for the Editorial Team A Hundred Gourds


Hello Sketchbook Friends, Readers and Artists:
The new Sketchbook is now on-line: Vol. 7, No. 1: Issue 40:
The Sketchbook cover for issue 40 is by illustrator Tatina Kosach from Andrea Cecon’s Haibun book, Ten Little Haibuns.
Eighty five Authors / Artists from twenty countries have contributed to this Sketchbook: Australia, Bangladesh, Belgium, Bosnia and Herzegovina, Bulgaria, Canada, Croatia, Germany, India, Ireland, Italy, Malaysia, Nepal, Poland, Portugal, Romania, Trinidad and Tobago, Vienna, United Kingdom (England, Scotland), United States, Yemen.
 These twelve poets make their first Sketchbook appearance in Issue 40: Marion Clarke, IE; Máire Morrissey Cummins, IE; Mavis Gulliver, Scotland; Stefanija Ludvig, CR; Vladimir Ludvig, CR; Duško Matas, CR; Asim Kumar Paul, IN; Cynthia Rowe, AU; Sherry Steiner, US; Jan Theuninck, BE; Christine L. Villa, US; Jari Thymian US.
Consider participating in the Second Contest to "Showcase Haiku Haijin”, SHH.
Read the Found Poem Feature initiated by Editor Karina Klesko and moderated by Neal Whitman.
Use these links to participate in on-going Sketchbook Features and Activities:
April 26, 2012—Sketchbook March / April 30, 2012 "pond life" Haiku Thread

April 20, 2012—Sketchbook SHH (Showcase Haiku Haijin) Contest 2

April 19, 2012—Sketchbook March / April 30, 2012 "swing" Kukai
April 24, 2012—Poem This Picture (PTP) Contest: Sketchbook March / April 2012

April 20, 2012: Let Us Pray—Spreading Peace and Love throughout the world:

April 20, 2012: Little Black Book—

Thank you for reading Sketchbook.

JRR2 is live! 278 pages of Poetry, Essays, Translations and Commentaries - that's almost 100 pages more than our last issue - Issue 2 of Journal of Renga & Renku is on sale now. Just $19.95 for the first month before we revert to the cover price of $25.
This issue includes:
— Essays from Chris Drake, H. Mack Horton, John Carley, Jeremy Robinson, Charles Tomlinson, Dylan McGee, Jeffrey Angles and Molly Vallor.
— A solo shisan by Nobuyuki Yuasa marks the anniversary of the devastating tsunami and earthquake that struck Japan one year ago.
— 47 poems including 30 shisan, and the results and judge's commentary of the 2011 JRR renku contest adjudged by Eiko Yachimoto, in which four poems placed, four received Honourable Mentions, and ten more were critiqued/appreciated in part.
— And much, much more...
Purchase JRR2 here:
Preview the Table of Contents and Editorial here:
We're ready to begin accepting offers of content for the third issue of our Journal of Renga & Renku, which is now listed with the Bibliography of Asian Studies and the MLA International Bibliography. The journal will be:

1. published early 2013

2. available in hardcopy only

3. available for secure online purchase using Paypal

We're looking for a variety of content along the lines of:

1. academic/polemic articles on any aspects of the genre

2. translations of old renga and renku

3. news of renku groups and happenings

4. book articles/reviews

5. letters responding to the contents of previous issues, or on any relevant topic

6. and of course, a showcase of current examples of the genre:

a) in English

b) in any other language, accompanied by an English translation

c) previously published or not (just let us have details of prior publication so we can acknowledge properly)

d) simultaneous offers are fine too, again provided you advise us immediately of acceptance, for purposes of acknowledgement

e) in any of the standard forms: kasen, triparshva, nijûin, jûnichô, shisan, rokku, hyakuin, imachi, yotsumono, etc.

f) in any explorations of the above forms in terms of experimentation with one-line, zip, 5/7/5 or other fixed counts, and even rhyme

g) solo and group work

h) with (preferably) or without notes/reflections on the poem/process from sabaki or renju or both

i) Please include the following text in all poetry submissions: "I hereby confirm that I have obtained consent from all of the participating poets to offer this poem for publication by JRR"

7. We are also holding a contest, the winning poem to appear in JRR3; click here for details:

8. We're open to discussing content ideas we've not covered above, so please write

9. All communications will be acknowledged within two weeks

10. Closing date for sending content: October 1, 2012

11. We are regretfully unable to pay contributors for content at this stage

To gain an idea of the sort of content that interests the editors, leaf through the previews of our previous issues (or, better still, buy them) at

Please send all contributions and other communications to (RengaRenku AT gmail DOT com)

We look forward to hearing from you.

Norman Darlington
Moira Richards
Journal of Renga & Renku


EKPHRASTIC TANKA: Call for Submissions
Edited by Patricia Prime. EKPHRASTIC TANKA: An Atlas Poetica Special Feature
Tanka poets are invited to submit to a new Atlas Poetica Special Feature on ekphrastic tanka.Ekphrasis is a conversation between two pieces of art. The writer interprets a work of visual art and creates a narrative in tanka form that represents his or her reaction to that painting, photograph, sculpture or other artistic creation.
 The due date for submissions will be 1st September, 2012.
Comprised of 3 – 5 tanka per poet, contributions should be emailed to editor Patricia Prime at using a title line that begins with “ATPO submission_ekphrastic tanka”. Your name and email address should be included, together with an URL (where possible) where your designated artwork may be viewed by readers.
The poems offered are to be included in the body of the email, without attachments. Poems submitted cannot have been published previously, nor can they be currently under consideration elsewhere.
25 successful contributors will each have a single poem included when Ekphrastic Tanka appears as an Atlas Poetica Special Feature in the fall. Complete ATPO guidelines and previous Special Features may be viewed at
M. Kei
Editor, Atlas Poetica
A Journal of Poetry of Place in Contemporary Tanka


Contemporary Haibun Online 8:1 April 2012 - Celebrating its 8th Year


Haibun Today 6:1 March 2012 - A New Look and New Editorial Staff


Notes from the Gean  3:4 March 2011 - Read it Like a Book! 

new issue of The Ghazal Page. is at:

The Ghazal Page

Liebe Haiku-Freunde,
dear haiku-friends,
die Monatsbeiträge Mai 2012 sind online  haiku-art
… the haiku and haiga of the month May are online:
haiga   -  Andrea D'Alessandro
haiku  -  Gerd Börner
Einen wunderbunten Wonnemonat ...
Nice spring days ...



The 7th International Tanka Festival 2012
Shonan Village Centre, November 28th- 29th, 2012

The 7th International Tanka Festival
   ITF SHONAN VILLAGE CENTER will be held by NIHON KAJIN CLUB, the Japan Tanka Poets’ Society. The schedule is as follows:
November 28th Registration at SHONAN VILLAGE CENTER
29th The 7th International Tanka Festival in SHONAN VILLAGE CENTER
          (JR Zushi )
Awarding ceremony, Keynote speech, Tanka workshop,
Minispeech, Tanka Poetry reading etc.






Dear Jane and Professor Yuasa:

   I wanted to thank Professor Yuasa for allowing us to read "Mercilessly Crushed" at our memorial anniversary of the Japan Earthquake and Tsunami, and Jane for making this request on our behalf.  I am sending you photos of our presentation of the poem.  It just happened that my friend, Manami Tanaka, flew in from Japan the day before with her friend, Professor Mitsuo Suzuki of the Tokyo Mirai Daigaku.  Professor Suzuki read the poem in Japanese, and I read it in English, while my son, Brian Mitsuhiro Wong, played koto behind us.  It was a very moving and fitting tribute.

   The occassion was the "Kimono Day", which is held every other month in San Francisco Japantown.  Some of us perform Japanese music and odori, also butoh to spread the culture of Japan.  We are not paid for this, but all have a deep appreciation for the arts, which we want to share with others.  We just receive tips, and all the performers who appeared that day donated these tips to the relief efforts in Japan.  Since it is "Kimono Day", we all must wear kimono, something which is still difficult for me, and I need practice on.  I try to wear kimono as best I can, dressing myself, and my son dresses himself in hakama/kimono.

   Thank you both, again, for allowing us to read Professor Yuasa's beautiful solo shisan.  I just was "friended" by the Asian American Poetry page on my Facebook page, and was wondering if I could share your solo shisan with them?  Or maybe reference a website or a place where they can find out more about your works and solo shisan?  If you have a Facebook page, you might look them up.  They have over 700 connections, and seem to be fairly new.

All the best,
Shirley Kazuyo Muramoto
Koto, Daishihan, Chikushi Kai
Oakland, California USA



An innovative afternoon of Japanese cultural arts performances occurred recently at the Pacific Asia Museum in Pasadena CA. The program was produced by Linda Galloway, an internationally established and respected tanka poet, and included a Japanese art installation, poetry, dance and music with collaborative and solo performances by the artists. Take Five: Best Contemporary Tanka was featured.

As the last window shade rumbled down plunging the auditorium into darkness, a commissioned art installation appeared centered in the flood lights on stage. It consisted of four gilded Japanese panel screens with a single "butoh" pine tree. The tree resembled the form of a woman kneeling and rooted in the earth with arms upreached, as if yearning for the clouds.

Internationally acclaimed movement artist Don McCleod, who studied mime under Marcel Marceau in France and butoh while living in Japan, performed a world premiere butoh piece. Butoh is an avant guarde dance form which arose out of the existential despair of Post-War Japan. Butoh is earthbound, distorted even grotesque. It can be fragmented and non-linear, one movement apparently unrelated to a previous one or the next one. 

In his piece, "A Little Bit broken", Don entered the stage, his body contorted, with a shredded umbrella, worn clothes, and a red teddy bear hanging on a thick rope from his waist. Don grasped at fleeting images, crawled on the earth, as he moved from one impulse to another. Fragments of incomplete movement were found in one moment. He danced the dance of being, the dance of the imperfect body, the dance of disenfranchisement....the dance for everyman in all of us.

Karl Young, a research physicist by day at the medical school of University of California in San Francisco, played shakuhachi, the Japanese bamboo flute. Shackuhachi carries us into the territory of no-thingness and fleeting moments of tenderness, loss, longing and resignation to the ephemeral emanate. Tsuru Sugomori ("Nesting Cranes"), depicts the life cycle of a crane, and included a variety of virtuoso fingering techniques to imitate the wing flutters, cries and fledglings' departure from the nest.

Linda Galloway read her tanka as well as tanka from Take Five: Best Contemporary Tanka as she played Japanese percussion instruments. She was accompanied by traditional Japanese flute music and jazz improv played by Karl Young. Her sensitive performance portrayed a range of emotions and experiences from the purple gravity of lilacs to the death of a child, from number 2 pencils to lingering dreams, from questioning the world to one's place in the world.



Because so few westerners have seen butoh or know of it, Don and I put our heads together for a written description of butoh available after the show and which I read before his performance.  I used Yosano Akiko famous description of tanka to explain short and sweet to a lay audience what tanka is.

The program was in the museum auditorium, and we had a large audience!  Usually poetry readings are held in the tiny Japanese Gallery that can seat 13-16 people on tiny stools.  We thought that the three us us could draw 50 friends and family plus local poets, but few showed up, so we had a good public draw!  The museum in its 40 years has never had an arts fusion event like this or of this size.


There was a nice article in the SF examiner on Karl's part of the performance.  And I got exciting reviews from museum staff and audience comments given to museum staff after the event.

So Thank you! Linda Gallaway


Tenth Annual ukiaHaiku Festival was held on Sunday April 29 where the winners out of 1,175 entries in eleven contests were announced and celebrated.













Konno Mari

Aya Yuhki

Michael Dylan Welch

Ryan Jessup

jeanne jorgensen

Terri Hunter

Amelia Fielden to Dennis Holmes

Nobuyuki Yuasa

Emiko Miyashita and Michael Dylan Welch


for tanka in English


Genjuan Haibun Contest 2013




2010 senior haiku winners

Jane Reichhold International Prize for Traditional Haiku



Genjuan Haibun Contest
Decorated Works 2012




A Hundred Gourds


Journal of Renga & Renku

Atlas Poetica

Contemporary Haibun Online

Haibun Today

Notes from the Gean

The Ghazal Page.




The 7th International Tanka Festival 2012
Shonan Village Centre, November 28th- 29th, 2012


MARCH 2011




Back issues of Lynx:

XV:2 June, 2000
XV:3 October, 2000
XVI:1 Feb. 2001
XVI:2 June, 2001
XVI:3 October, 2001  
XVII:1 February, 2002
XVII:2 June, 2002
XVII:3 October, 2002
XVIII:1 February, 2003
XVIII:2 June, 2003
XVIII:3, October, 2003
XIX:1 February, 2004
XIX:2 June, 2004

XIX:3 October, 2004

XX:1,February, 2005

XX:2 June, 2005
XX:3 October, 2005
XXI:1February, 2006 
XXI:2, June, 2006

XXI:3,October, 2006

XXII:1 January, 2007
XXII:2 June, 2007
XXII:3 October, 2007

XXIII:1February, 2008
XXIII:2 June, 2008

XXIII:3, October, 2008
XXIV:1, February, 2009

XXIV:2, June, 2009
XXIV:3, October, 2009
XXV:1 January, 2010
XXV:2 June, 2010
XXV:3 October, 2010
XXVI:1 February, 2011
XXVI:2, June, 2011
XXVI:3 October, 20111

XXVII:1 February, 2012

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Next Lynx is scheduled for October 2012.

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