XX:1 February, 2005
A Journal for Linking Poets
John Tiong ChungHoo
Victoria Celeste Fannin
Contest announcements by the ukiahaiku Festival in Ukiah, California
The Palomar Branch of the National League of American Pen Women.
. . . Here is a submission of a solo linked verse. It sort of came out like a rengay, so I encouraged that structure, but it is also rather narrative in nature. I'm not sure, because of its form and narrative progression, that this is something you can use in Lynx, but I submit it - just in case! I might add, Werner, that though the below is not made of tanka, there is something that very much attracts me to the potential of the 'narrative' tanka sequence. And think how this could be expanded into a number of narrative sequences, to because a series of sequences, or sequences of sequences, each telling a small story. If the narratives were related enough, it could become a minimalist novel. This taunts my mind and I wonder if it might be something I could do someday. I've admired what Carol Purington did with her The Trees Bleed Sweetness, and just think if such a book could be expanded, each new part being a sequence unto itself, but related to what came before. I think that the length of her narrative is about right, to make the sequences too long would weaken the impact. But sequences of sequences, now there is a possibility. Well, I mention all this as a part of our on-going dialog about sequences and deconstruction, and so on. To be truthful, I'm having a hard time taking in Derrida, but I'm not giving up. I hope by autumn I'll have longer evenings to read and ponder. Rosenthal, however, that is an exciting book to me. I think I told you I'd read it about fifteen years ago, and thought it very much a direction for me to go with, but somehow it hasn't happened as yet. This was before I encountered haiku, then tanka. And at first I wrote tanka that were each a sort of individual performance, and still do much of the time, but more and more think of the potential of sequences. I'm also thinking of Sanford Goldstein's idea of "strings." A book of narrative sequences, with occasional "strings" where the author, or persona, of the whole event, stops to ponder a theme or a subject (a sort of tanka stream of consciousness !?!), well these are things to muse on for the moment. I suppose this has happen deliberately or inadvertently, say, in Akiko's Tangled Hair, and probably in other collections of tanka. Still there are always new ways of approaching such ideas. And even if this came to look like just a book of individual tanka to the reader, it would be a structure that could be helpful to the writer, myself. Of course, all this is just thinking out loud, but it is an exciting thought which I can now carry with me throughout the day. Who knows where it will all end. Patience, that's the key word for me in this case. Best, Larry Kimmel
. . .I am glad you liked my haiku sequence on "Hibiscus" and will use it.
In "Mother," it may be possible to rewrite the 4 and 5 line as: "in my deep/silently" which may appear more English. The repetition as in my first draft was to reinforce the spiritual sense. This kind of sequencing haiku and tanka, as you suggested to me a couple of years ago, has been a wonderful experience. I now read and re-read my poems and see if I could re-do them in some sequence. With best wishes, R. K. Singh
. . . I enjoyed looking over the results of the competition [Tanka Splendor Awards] and seeing what most people seem to like. Of the sequences i actually like the "writing life" [by Marianne Bluger] one as it had that intimate feel of being in the presence of the working/moving mind of the writer - it's written as if in the past but doesn't feel as if it is - maybe that keeps a bit of mystery somehow. The chalk marks one ["Pavement Art" by Tony Beyer]as well had this sense of being on the edge of loss and joy without falling either side - the other poems all seemed to fall on one side or the other. Is that a odd way to look at it? most people seem to prefer to know where they are in what they read perhaps. i hunted for your "keeper of two doors" but couldn't find it anywhere in the lynx pages - i had already printed out the symbiotic poetry piece actually and that was where i read about the idea of new symbiotic forms that made me think that my "seed sets" is one. All the best, anna rugis
PS. a kauri is a very tall straight tree a bit like a redwood native to NZ - they were almost all cut down in earlier colonial times
. . . Gracious gratitude and I'm a very lucky person to have such kindness and care given to my submissions. I'm humbled and honored with the time and sensitivity you gave to all these tanka and must admit I had not "seen" natural sequencing to offer and viewed the whole group as individual sort of stand alone tanka... but you wonderfully pulled together connections and created meaningful sequences that work very nicely for me and hopefully will reach some readers who enjoy tanka telling of our lives! I really appreciate what you did Werner and enjoy the image of how you worked on them... then cut them up from print outs is very similar to how I have worked on my chapbooks ... I would write each tanka/poem on an index card and then puzzle them in various orders until it felt just right... The only thing I was not able to do which I think would be marvelous in making it all come into focus is the ocean side walk! Oh, to be there and take that walk! You and Jane are truly blessed to live where such walks are possible. If I were not living here, which I obviously love beyond reasons, the Pacific North West coastal zone would be a easy next most desirable place to call home! I am very happy and pleased with these sequences and after looking them over now a few times I do not see anything that in my mind would improve on what you've created... but I'll print them off and look more closely ...It is a significant form of salvation, perspective, solace, tuning, catharsis, sharing, expressing and finding the voice to carry on this writing tanka and I should let you and Jane know that I'm always thankful to you both for opening tanka to me ( and countless others!) I cannot imagine my life without tanka (and brief poems) and although I have never, yet, developed a consistent writing habit I do find the sporadic times when tanka come about to be very satisfying times. Here is one I wrote last night.... we were having a cozy evening as a family together in the living room just talking and then Casey went upstairs to play guitar. Emma seemed actually pleased to have a chance to be in the spotlight and asked us lots of questions... about the holidays, about getting a dog and then...
in the living room
Werner, how to answer that!!??? but yes, of course, but how surreal and far far off and what we all have is this precious always now... this heart of love for this dear life, this embrace of our sacred time here and I send my love and hope that for you and Jane, that there be bountiful blessings, miracles, random acts* and what you both love in abundance. As ever, Tom Clausen
p.s. * these were some fond rememberings from Jane’s rubber stamp arts!
. . .i love the sea and in fact have written countless number of poems on them. I will post them on tanka group these few weeks and I think you can choose the ones you like to feature. My bio would be: John Tiong ChungHoo (Malaysia) is an award winning haiku writer. Recently he won two haiku contests in Japan, one in Kamakura known as the Kamakura one verse haikai renga, and the other a big scale contest organised by the city hall of Hekinan in 2004. also an honourable mention for the annual Kusamakura International Haiku Contest for 2004. He also was the runner up for England Snapshot Press Calender Haiku Competition for 2005 and he won an honourable mention for the First Takashi Hoshino Haiku Contest organised by the World Haiku Club along with two honourable mentions and a merit haiku for its annual new year haiku contests (2004). For poetry, he won the merit poem on voicesnet.com international poetry contest (2003) and third prize in another on-international poetry contest (2002). He also won a prize for the "finish my thought" contest in September 2004 organised by the online Vav Poetry. His works have been published in Japan, the United States, United Kingdom, Belgium, India, Singapore, Hong Kong, Australia, New Zealand, and Croatia among others. John takes world freedom to mean he too can dream about becoming a poet laureate one day. He also specialises in other Japanese-styled poetry such as tanka and senryu. John is a Malaysian living in Kuala Lumpur. John Tiong ChungHoo
. . . and I pray someone will hear the fear and the concern it with the stupid humor. Put this link wherever you find it belongs. I know your spirit will guide you in that. Since we had so many links it will answer and lead others to and from...I trust you. Actually you may add these following comments in the letters and comments: The Earthquake and Tsunami in south Asia really hit as hard as 9/11 did (though 9/11 took all of our jobs away with it and many of us make much much less money than before... But the universe gives us other money to spend, like conscience and giving and focusing on all that is simple and truly important), So, I have little to give but prayers and knowing for all the souls who have left in multitudes. Not just since 9/11, but those who leave, and just now we are so very acutely aware of the masses who are all leaving together, to guide and love and teach us. For those we pray and know, for those of us who must stay by choice, we must keep giving what the universe built in our beings to give, and not just the junk we think we don't need! We have so many delicious links of sand and sea and see.....add this one to one your heart finds in harmony......Whether this makes it in as a link 1 day past the deadline (and I get up at 3 am to have some morning before work at 6 am..) or not, I worked until 10 pm last night on my email to no avail. But I seem to attract folks at work who watch and listen to me think and put in the effort to give good stuff. (My cube mate is from Nepal, 26 years younger, and VERY interesting discussions we have!) (As well as my other cub-mate who sends condolence letters to people in the news who lose loved ones to Drunk Drivers, and another beautiful large black woman who teaches her three early-teen, daughters about writing Haiku and giving and doing the right things and the power and presence in us of personal choices).....quite a group around me...so blessed! So folks, my dear friends....I am sending this like through yahoo because my email still is not working on the new ISP..grr...grrrrrr .... Purrr. You, Jane and Werner, and all of our Renga partners, have inspired and taught, and driven me for 20 years. Oh... Gee darn.... that may make me write a book some day.... So I have resorted to a free internet mail service to talk to you and send things beautiful, and hopefully something that adds to the greatest good for all...Love you bunches... vios con Dias. Victoria Celeste Fannin
. . . as additional signature on Robert Flannery’s e-mail, there is this quote: "Our enemies are innovative and resourceful, and so are we. They never stop thinking about new ways to harm our country and our people, and neither do we." – George Walker Bush, August 5, 2004.
. . . This is to invite you all to visit my newly created blog entitled "Songs of the Bamboo" which will serve as my tanka e-journal. Visit it at Thanks! roh mih
. . . Snapshot Press Tanka Competition for 2005. I just want to share them with you. Please click this address.
HAIKU SUBMISSION GUIDELINES
To enter, pick up a Haiku Submission Form at
1) General Topics, Children K-3 Grade
9) Contemporary Haiku, Adult:
ukiaHaiku Festival is a juried event.
Winners in each category will be published
Haiku is a traditional unrhymed Japanese verse form generally set in
three lines of five, seven, and five syllables. It typically refers to a season,
and uses concrete images of things we can see, smell, taste, touch, or feel,
particularly nature imagery. Haiku avoids abstract and figurative language The
best Haiku reveal the essence of something so clearly that the reader
experiences a particular momentary scene or insight.
Contemporary Haiku, in order to more closely appropriate the
amount of information in a Japanese Haiku, do not use the traditional syllable
count, and are therefore as brief as the poem needs to be to have a fragment
(one line) and a phrase (two lines that complete a thought). The shape of the
form is expressed with short, long, short lines if possible. To keep the poem
simple and direct, sentence caps, punctuation, and titles are not used.
Winners in each category will be published
2005 INTERNATIONAL HAIKU CONTEST
Sponsored by The Palomar Branch of the National League of American Pen Women. All proceeds generated from this contest provide a scholarship for a deserving student entering college. Adjudication: Yvonne M. Hardenbrook Contest is open to the public.
Prizes: $100. $50. $25. Honorable Mentions. Winners will be notified by mail and their poems published in a chapbook. All rights revert to authors after publication.
Deadline: March 1, 2005.
Haiku must be unpublished and not under consideration elsewhere. Any style of haiku is acceptable; syllable count can be less than 17. Submit two copies of each haiku, typed or printed in English, on a 3" x 5" (75mm x 125mm) card or similar sized paper. On ONE copy, print name, address, phone number and e-mail. One haiku per card, but any number of haiku may be entered. Entry fee: Two haiku for $5.00. Checks or money orders (US funds only) payable to NLAPW. For list of winners, send a business-sized SASE or a SAE with an IRC.
Mail to: NLAPW Contest, 12063 Lomica Drive, San Diego, CA 92128, USA.
The Annual British Haiku Society Haibun Anthology 2007 Entries are
invited for this prestigious international event, the
of which is to help raise the quality and range of the haibun genre,
combines poetic prose and haiku.
Entry fee: Ł5 (cheque made out to 'British Haiku Society') or US$8
(in dollar bills), plus Ł2/$4 for every additional haibun.
Conditions of entry: Open to all (except BHS Committee members and
any others involved with the administration of the Anthology).
written in English, and between 100 and 2000 words long, including
Work must be unpublished and not under consideration for publication
elsewhere. Each haibun should be given a title. Entries will not be
returned, so please retain copies of each submission. Copyright
the author after publication in the Anthology. In the unlikely event
insufficient quantity and/or quality of submissions, those that are
received will be carried forward to the following year for
Submission details: Three copies of each haibun, with each copy
starting on a 'separate A4 sheet. One copy should show your name,
address, telephone number and e-mail address (if applicable). The
other copies should carry no identification. If you require
of your entry, please either request an e-mail acknowledgement or
SAE or, for those overseas, an IRC stamped by the originating office.
Address for entries: BHS Haibun anthology, 95 Winns Avenue, London,
E17 5HD, UK.
Closing-date: In hand by 1 August 2007.
Assessment and appraisal of entries: The process of assessment and
appraisal will be undertaken by Colin Blundell (ex-editor of Blithe
and haiku writer) and Helen Robinson (haiku, tanka and haibun writer).
They will select at least ten quality haibun for publication in the
Anthology, and will provide an explanation of, and commentary on,
their selections. It is anticipated that the Anthology, whose title
will be drawn from the selected haibun, will be published by
Christmas 2007. The authors of all the selected haibun will receive
a free copy of the Anthology.
Back issues of Lynx:
Next Lynx is scheduled for June, 2005.