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TABLE OF CONTENTS

XXI:3 October, 2006

LYNX  
A Journal for Linking Poets   
 
   
  GUEST BOOK REVIEWS
My Tanka Diary, by Yuko Kawano, translated by Amelia Fielden. Ginninderra Press: 2006, 213 pages, ISBN:1740227 361 3, US $20 (US bills preferred, cost includes postage). Can be ordered from A. Fielden, 20A Elouera Avenue, Buff Point, NSW 2262, Australia.
by Sanford Goldstein,
Shibata-shi, Japan

A Book Review
A Hindi Translation of Masaoka Shiki’s – If Someone Asks . . .by Dr. Angelee Deodhar. Written 
by
Kala Ramesh, Pune, India. If Someone Asks ... Masaoka Shiki’s Life and Haiku, published December 2005; English translation by The Shiki-Kinen Museum English Volunteers, Hindi translation by Dr. Angelee Deodhar, 156 pages. This book is not for sale but copies can be requested from: Dr. Angelee Deodhar, House No. 1224, Sector - 42 B Chandigarh -160 036 India

Haiku: Anthologie du poème court japonais. Selection and translation by Corinne Atlan and Zéno Bianu. Editions Gallimard: 2002. Colour cover, 242 pages, ISBN:2-07-041306-3,  
available for under $13 from www.amazon.ca by Norman Darlington, Bunclody, Ireland

 

Book Announcements

 SWEEPS OF RAIN - a haibun book about dementia (in het Nederlands: Vegen van Regen) Year: 2006 by GEERT VERBEKE (°31-05-1948). ISBN - 81-8253-06-87, Pages:  128, Format: Paperback A5. Language: English. Publisher mail: Dr. Santosh Kumar    Website: Cyberwit India  PRICE: 18 us$  on bank account.

Mud On The Wall, Selected Haiku, Senryu & Tanka Poems of Jörgen Johansson , Sweden - River Man Publishing Co. ISBN 91-976430-0-9. 79 Poems, all in English! 2003-2006, picked by Heron´s Nest, Frogpond, Acorn, Mainchi News, Simply Haiku. Ltd edition of 100 numbered copies, price, $6 + $4 Airmail, payment thru cash in a well concealed airmail letter OR Paypal.  

CHO is a quarterly journal edited by Ken Jones, Jim Kacian and Bruce Ross. Featured in this issue: Selections for Contemporary Haibun [The Yearly Print Journal].

Haiku For Peace – In Memory of Sadako Sasaki by Mevsimsiz Publishing House in Turkey is planning to publish “1000 Haiku for Peace” anthology in memory of Sadako Sasaki in August  6, 2007 in English and Turkish. We are looking for 100 haiku and senryu poets in order to help us to make this project real. All over the world who believes the peace; all over the world, who would like to stop the war in Palestine , Lebanon , Africa .Each haiku and senryu poets shall have 10 haiku or senryu in the anthology. 

TANKA FIELDS A Chapbook of Tanka by Robert D. Wilson, With a Forward by Michael McClintock, White Egret Press (c)2006. Featuring 75 tanka written by the award winning poet and owner/managing editor of Simply Haiku, Robert D. Wilson. $6.00 U.S. & Canada : $2.00 P&H International: $4.00 P&H. Checks and/or money orders are to be made out to: Robert D. Wilson, 20734 Hemlock Street , Groveland, CA  95321 USA  

July's FireWeed is complete and ready for your inspection: Poetry, interview, Houdini , Scotland , experimental, War, Peace and Everything in between supplemental, and feature - Jon Hayes. Terrie Relf, editor, invites you to come on over and enjoy. And also go to the blog. The blog owner's (Michelle Buchanan) goal is to post a memorial poem to each of the military killed during the Iraq war - 2615 as of the end of June. Please add yours.
Gary Blankenship Gary's book, A River Transformed.

HAIKU HARVEST — Journal of Haiku in English, Spring & Summer 2006, Volume 6 Number 1 Print & Digital Editions.  Denis M. Garrison, Editor.

The German web site Haiku heute (Haiku Today) appears monthly. It contains a juried collection of 15 to twenty haiku chosen from about 150 to 200 haiku submitted monthly, plus commentary, haibun, renku, interviews and essays.

 

BOOKS WANTING REVIEWERS

If you are interested in reviewing any of these books, please let me know by e-mail.

All I Can Do by Aya Yuhki

Reeds: Contemporary Haiga 2006, editor Jeanne Emrich

Wazowski Himself and other poems by Ed Baranosky

Slow Spring Water: The Life Poetry of Melissa Dixon

On This Same Star, selections from the tanka collection Will by Mariko Kitakubo translated by Amelia Fielden

But then You Danced: tanka by Jeanne Lupton

Amber: dementia-haiku by Geert Verbeke

Blonde Red Mustang. . . a gathering of small poems by Art Stein

The Haiku Apprentice: Memoirs of Writing Poetry in Japan by Abigail Friedman

The Solitude of Cities by Ruth Holzer

Things Just Come Through by Ed Baker

17 Minutes by Mathew Hupert

 

   

 GUEST BOOK REVIEWS
All the reviews have been written by Lynx readers.

My Tanka Diary, by Yuko Kawano, translated by Amelia Fielden. Ginninderra Press: 2006, 213 pages, ISBN:1740227 361 3, US $20 (US bills preferred, cost includes postage). Can be ordered from A. Fielden, 20A Elouera Avenue, Buff Point, NSW 2262, Australia.

Takuboku Ishikawa's famous words of tanka as diary of the emotional life of the poet perfectly apply to Yuko Kawano's My Tanka Diary (2002). Two other translations of Kawano’s books into English, As Things Are (translated by Fielden and Kozue Uzawa, l00 poems selected from Kawano's ten collections and chosen by Japanese poet Manaka Tomohisa) and Vital Forces (translated by Fielden and Aya Yuhki) also focus on Kawano's life as a woman, a wife, a mother, a celebrated poet, and other aspects of her varied life.

In My Tanka Diary, Kawano’s plan was simple. She would write one tanka a day, or sometimes two or three, for an entire year. Her diary began on November 10, l999 and ended November 9, 2000. Before each tanka she wrote prose headings sometimes related to the tanka, sometimes not, sometimes abridged by Fielden in her translations. How the prose passage relates to the poem is not always apparent, so when I began reading Fielden's translations, I did not want to interrupt the flow of the poems by stopping to read the prose. Yet as I read the diary tanka of the first month or so, I became curious about the prose and, surprisingly, found I wanted to know, if possible, the actual situation that might have motivated the creation of the poem. In this way I gained insights into Kawano's busy life as an unusual person.

We learn from three commentaries in My Tanka Diary, one by Kawano, one by Kathy Kituai, and one by Amelia Fielden, about the various facets of Kawano as a person and as a poet. One important fact that stood out was her award in 1972, when she was twenty-three years old, of the prestigious Kadokawa prize, given to her for a series of poems in her first collection. I had read a few years ago Vital Forces (l997). Finished when she was, I believe, forty-six, it covers a four-year period from the end of l990 to January l995. I was struck by the concern she had for her two children, an older boy and a younger girl. Two poems from Vital Forces:

our son
sits facing away,
metallic eyes
glinting –
he loathes his father [p. 73]

the kid,
head down absorbed
in maths' formulae,
turns her haunted face
towards me [p. 81]

In My Tanka Diary, Kawano's children remain one of the vital forces in her life in addition to her husband, her mother, and her extensive duties as one of the most famous tanka poets in Japan. Two poems on her children along with the prose entry in My Tanka Diary:

July l2th cloudy; somehow I feel her love affair is not going well

in a love affair
one doesn't need restraint,
I told my daughter,
at the same time rolling
a fallen green persimmon [p. 144]

May 26th heavy rain; Nagata [Kawano's husband] went up to Tokyo; Jun [Kawano's son] took a dying stray cat to the vet's

come to borrow
a spade for burying
the dead cat,
as always my son
is reticent [p. l20]

Fielden, in her introduction, mentions how closely she worked with Kawano on the translations. The translator, who limited the 643 poems in the diary to 396, tells us she "tried to retain the original phrase order, and the order of images" [p. 15], this despite the differences in Japanese and English grammar. The following poems from My Tanka Diary show how closely Fielden was working with Kawano on another collection:

February 23rd cloudy; Amelia Fielden from Canberra University came to my home to work on the translation of Time Passes

lifting her eyes
which had been fixed
on the third tanka,
she says '"ever"
is better, more poetic' [p. 70]

June 2nd fine; from Jun, two days late, a birthday cake; in the afternoon Amelia came to visit for our final session on the translation of Time Passes

one by one
my words are transformed
into English
with the gentle flexing
of her penciled letters [p. 124]

What is especially noteworthy in this tanka collection is how Kawano makes the commonplace poetic. We find Kawano peeling pears, walking home after getting off a bus, thinking about household repairs, climbing the stairs to the second story in her house, noticing the wrong order of shoes on her grandchild's feet, putting cherry blossoms into a vase, doing neck exercises, brushing her teeth, waiting for her husband to fall asleep, and on and on. But included in the rhythm of these commonplace events are quite painful moments: Signs of age on her husband's face (I peer close/at his fevered face/seeing that/he has aged now/sooner than I) [p. l76]; on dying: (I hate the thought/of lying still and dead/for a long, long time/being prayed over and called//'true believer', 'priestess', ‘great sister’) [p. l50]; death of a friend (so she has really/ended in ashes,/that person/who used to sit beside me/complaining of the cold) [p. 130].

Readers can enter into all these moments in Kawano's life. But as I read on, I had forebodings. Kawano could not have known when she began this year experiment of writing one poem or two or three a day what the end of the year would bring. Yet as a reader I was kept in suspense. The pressures on the poet of selecting tanka for TV contests and journals in addition to her own lectures and interviews and teaching had to take their toll. Sometimes Kawano is exhausted by these duties:

stab, stab,
as if I'm doing
needlework
I'm choosing poems –
there are no good ones [p. 112]

with books increasing
four or five at a time,
in this household
it feels like we're lodging
on the upper floor [p. 104]

same classroom, so
the tanka are very alike –
detail by detail
critiquing them
I make my way through [p. l56]

writing seven tanka,
three pages of an essay,
sending them off –
no fun this night
in a hotel [p. 116]

having weathered
two typhoons finally
it reached me,
the bundle of submissions
with a Hakata postmark [p. 170]

It was on September 20th that Kawano made a discovery:

the great lumps
in my left armpit –
what might they be?
there are two or three
the size of eggs [p. l80]

Her poignant tanka of October l tells us what we had earlier learned:

it's an absurd
sad thing that
my nicely shaped
left breast
is to be cut off [p. l88]

The memorable tanka of the last month of the diary have remained with me long after I finished reading. Whether poems appear at the start, middle, or end of the diary, Fielden's versions are always poetic.

The saga of Yuko Kawano will continue. In 2004, Amelia Fielden was designated the poet's official translator.

Sanford Goldstein
Atellib House
Shibata-shi, Japan

 

A Book Review
A Hindi Translation of Masaoka Shiki’s – If Someone Asks . . .by Dr. Angelee Deodhar. Written by Kala Ramesh, Pune, India.
If Someone Asks ... Masaoka Shiki’s Life and Haiku, published December 2005; English translation by The Shiki-Kinen Museum English Volunteers, Hindi translation by Dr. Angelee Deodhar, 156 pages. This book is not for sale but copies can be requested from: Dr. Angelee Deodhar, House No. 1224, Sector - 42 B Chandigarh -160 036 India

 

if someone asks
say I’m still alive
autumn wind

yadi koi poochhe
kaho mayn abhi jeevit hoon
patjhad ki hava

One morning, I received a mail from Angelee saying that she has sent me her book, a translation of Shiki’s poems into Hindi. I waited and waited for its arrival. I was more than rewarded . . . I read it many times over, both the English and the Hindi versions.

If Someone Asks . . .Masaoka Shiki’s Life and Haiku, originally published by Matsuyama Municipal Shiki-kinen Museum has now been translated into Hindi – India’s national language – by the renowned haiku poet Dr. Angelee Deodhar.

Ms. Angelee in her translator’s note says: "Masaoka Shiki, though well known to the western world through numerous excellent translations, is little known in India. The paucity of haiku related material to readers of Hindi made me take up the task of presenting this book. It was an arduous task and some might question this translation. However, since one must start somewhere, I felt it would be worthwhile to introduce in Hindi this selection of Shiki’s work, originally done into English by the sixteen translators of the Shiki-Kinen Museum, Matsuyama. It has taken three years to do this work"

Translation cannot be everyone’s cup of tea. It needs a certain sensitivity, a certain way of seeing things, through the eyes of the poet and the translator, the experience and what is experienced. To be able to stick to the spirit of the original and still get into the skin of the translated language. In other words, not just to translate but to trans-create, which can be done only when the translator internalizes what needs to be translated. The amount of time, effort, inclination, and pure love that this kind of work demands is clear when one comes across a good translated work.

Then comes the art of translating haiku, which is so simple that it becomes complicated. All great art is simple. It looks simple.

From page one, Ms. Angelee’s translation sticks to the original, a faithfully and honest rendering of the Master. Hindi when spoken as it should be spoken sounds simply beautiful – the language of the great poets like Saint Kabir and Saint Meera is both lyrical and forceful.I’ve put a few of Ms. Angelee’s Hindi translation into Romaji for your reading pleasure; just read aloud and feel the texture of the words – the experience is rewarding!

again and again
I ask the depth
of the falling snow

barambar
maynay poochha gehrai kitni hai
girtibrrph ki

 

me leaving
you staying
two autumns

mera jana
tumhara rehna
do patjhad

 

snow –
white cat on the roof ridge
just its voice

brrph –
safed billi chhuth kay chhajay par
keval uski avaz

 

tugging at
the quilt’s shortness
the cat meows

kheechtay huay
razai ka chhotapan
billi ki avaz

 

spring ebb tide
I am happy
everything is alive

vasanti bhatay mein
mayn prasann hoon
sab kuchh sajeev

 

my chair is moved –
in the shade of young leaves
I see the sky

meri kursi hilai gai –
nanhi pattiyon ki chhanv mein say
mayn akaash dekhta hoon

At first glance, I must own I was slightly disappointed with the cover. But after giving a thorough reading and seeing the world through Shiki’s eyes, his self-portrait said so much more and seemed so meaningful. The editing is faultless and all the credit should go to Dr. Angelee. 

Any translation, if well done, is like the two faces of a coin. Even after it has settled down well in its new language it makes the reader ‘hunger’ for the original. If this happens to the reader after reading this book, it is the most beautiful thing ever to happen!

Kala Ramesh
Pune, India

 

 

Haiku: Anthologie du poème court japonais. Selection and translation by Corinne Atlan and Zéno Bianu. Editions Gallimard: 2002. Colour cover, 242 pages, ISBN:2-07-041306-3,  available for under $13 from www.amazon.ca

  This is a very comprehensive anthology of over 500 haiku from more than 130 poets, spanning the period from the beginnings of haikai in the sixteenth century, up to the late twentieth century. The book is divided into a section for each season, with notional subsections such as "Célébration du paysage", and "Le grand herbier", the effect of which is to group haiku with the same or similar kigo together. The poems are presented without regard to chronology, and this reader found it initially disorienting to read on a single page, for example, three haiku on lucioles (fireflies) by Chiyo (C18), Kaneko Tota and Maeda Fura (both C20). But though this may be an unusual method of presentation, it is ultimately rewarding to easily compare use of a single kigo through the centuries, knowing of course that the later poets were usually aware of the earlier poems. In some cases, this can help the reader by highlighting the possibility of deliberate cross-referencing. Consider the following on page 95:

Frappé
le poisson de bois
crache les moustiques de midi

(Struck/ the wooden fish/ spits out the midday mosquitoes)

Natsume Soseki (C19-20)

 

Dans le vieux puits
un poisson gobe un moustique —
l'eau fait un bruit noir

(In the old well/ a fish gulps down a mosquito —/ the water makes a black sound)

Yosa Buson (C18)

 

In Soseki's haiku, the image is of a kind of temple gong in the form of a hollowed-out fish, and we can easily imagine that he is playing on Buson's image, turning it inside out, as it were. And on page 188:

Dans ce jardin
un siècle
de feuilles mortes !

(In this garden/ a century/ of dead leaves!)

Matsuo Basho (C17)

 

Les feuilles tombent
sur les feuilles —
la pluie tombe sur la pluie

(The leaves fall/ on the leaves—/ the rain falls on the rain)

Kato Gyodai (C18).

 

  As with any translation, there are inevitably cases where one feels a different choice of word or phrase might have been more felicitous, but the quality of translation is in fact very high. In addition to the wide variety of haiku presented, including many by lesser-known (in the west, at any rate) poets, there are several pages of notes which assist with some of the more opaque imagery, as well as a number of very useful appendices. These include a Petite histoire de haiku, which traces the origin of the form through tanka and renga, through its development up to the present day, with all of the changes thus imposed; an extensive bibliography of sources in French (as well as Japanese and English) for those interested in further study; an index of authors, presented both chronologically and alphabetically, and with female poets asterisked - always interesting to note the proportions, as well as the at times substantially different presence offered by the female haikuist.

  This anthology has much to recommend it. In terms of value for money it surpasses almost anything available in English. It is an informative and enjoyable addition to the bookshelf of both the experienced haijin and the interested generalist. Even if you have only school French you will be able to enjoy new translations of old favourites, as well as poems entirely new to us, without incessant recourse to the dictionary:

Ce matin l'automne —
dans le miroir
le visage de mon père

Murakami Kijo

 

La solitude
le froid du printemps
rien d'autre

Uemura Sengyo

I recommend that this book is one to have.

Norman Darlington
Bunclody, Ireland

 

 

Book Announcements 

.

SWEEPS OF RAIN a haibun book about dementia (in het Nederlands: Vegen van Regen) Year: 2006 by GEERT VERBEKE (°31-05-1948). ISBN - 81-8253-06-87, Pages:  128, Format: Paperback A5. Language: English. Publisher mail: Dr. Santosh Kumar    Website: Cyberwit India  PRICE: 18 us$  on bank account BE-80-6353-2374-0177 (IBAN: BNA GBE-BB). Geert Verbeke, Leo Baekelandlaan 14, B-8500 Kortrijk, Flanders - Belgium - Europe

SWEEPS OF RAIN: A light shiver happens to you, when you open this remarkable diary. Oh, please, no… poetry about the illness dementia? Yet, the first page already will grip you. No clinical picture, but an example of the art of living slides along. Day after touching, humorous, sometimes very heavy day. A surprising, intense ‘dialogue’ between Sarah de Boeck and her son and ‘coating care provider’ John, supported by his wife Mia. Sarah suffers from Pick’s disease. First it affects your personality, then your memory and at last your total health.  The author notes down this process of gradual changing and losing almost playful and light. In a rich, sometimes rough, associative language. But in the haiku sadness sounds through:

touching her toys –
all in the past
embracing included

 John conquers his daily pain by tactic and creative reactions. It cannot be denied that mother and son are cast from the same mould. Their exuberant fantasy always wants the free rein. That ’s why John let his mother go on living in her own house and art gallery as long as possible. Close to her piano, in her own atmosphere of artist and potter. There she can feel safe, surrounded by the treasures of her travels, especially from ancient cultures. John takes a difficult daily walk with her. Included the risk that she tears loose and runs into a shop or building, as once the slaughterhouse. She was a great narrator but gradually her stories relapse to a childish jabbering. Dates, details and events become snippets in a sort of language – in – between. John stimulates her memory by practice in front of a mirror. He perceives that touching and caressing relax her most of all. The day comes that Sarah can’t longer stay alone. She is moved to the nursing home. Difficult for John. There he sees ‘a procession from the world of Jeroen Bosch. Fear for life, fear for death.’ Sarah falls in apathy, but gradually she feels better, surrounded by solid structure and kind care. Finally John is able to weep, ‘though the universe is generous, in spite of all the waste away.’ His coping with grief is shown by pages long roaming in his mother’s house, taking all the beautiful items in his hand. He remembers her trips and events in a poetical avalanche, her favourite music on the background.The last hours need no words…

After her death John decorates Sarah’s photo with a crockery scarab - the morning figure of Re - as a grave gift. Because ‘death is a mild final chord’.

"My conclusion: Sweeps of Rain consists of as many fits of sun. The 85 haibun, not longer than one page, are constructive, in variety of contemplation and anecdotes. A book to approach in averse and appreciate after reading." –  Silva Ley.

 

Mud On The Wall, Selected Haiku, Senryu & Tanka Poems of Jörgen Johansson , Sweden - River Man Publishing Co. ISBN 91-976430-0-9. 79 Poems, all in English! 2003-2006, picked by Heron´s Nest, Frogpond, Acorn, Mainchi News, Simply Haiku.Ltd edition of 100 numbered copies, price, $6 + $4 Airmail, payment thru cash in a well concealed airmail letter OR Paypal.  

"I find that reading Jörgen Johansson's haiku, senryu, and tanka is a lot like getting used to a naked woman running through my backyard with a smile on her face . . . I never know from which direction she will come, or at what time of day or night, but I find myself wide-awake and patiently waiting..."--Michael McClintock.

 



 CHO is a quarterly journal edited by Ken Jones, Jim Kacian and Bruce Ross. Featured in this issue: Selections for Contemporary Haibun [The Yearly Print Journal] with works by:
Hortensia Anderson, “Claire”
Lynn Edge, “On My Mind”
Graham High, “Holding Tanks”
Gary LeBel, “The Frenchman's Line”
Francis Masat, “Hapless Currents”
Dru Philippou, “Return to the Table”
Ray Rasmussen, “Moving Day”
Mark Smith, ‘Bones of the Rainbow”
Mark Smith, “Fishing the Falls”
Bill Wyatt, “A Fistful of Frost”

Selections for Contemporary Haibun Online
Francis Alexander, “Fantastic”
Hortensia Anderson, “Nature”
Deb Baker, “Parallel Sunsets”
Collin Barber, “Left Hand Man”
Collin Barber, “Untitled”
Gary Eaton, “Hardhat”
Lynn Edge, “The Master”
Valerie D. Eleby, “The Ritual Rites”
Clyde Glandon, “Assisted Living”
Mike Hill, “The Back Way”
Robin Lloyd Jones, Tir Nan Og, “Land of the Ever Young”
Rona Laycock, “The Cowshed”
Francis Masat, “Lilacs”
Lenard D. Moore, “Cleaning the Attic”
Dustin Neal, “Muy Bueno”
Graham Nunn, “01:00”
Adelaide Shaw, “Renewal”
Bill Wyatt, “Untitled”

Haibun by the Editors
Ken Jones: “Going Nowhere”
Jim Kacian: “Deathwatch”
Bruce Ross: “Dunes”

 

 

1000 HAIKU FOR PEACE in MEMORY of SADAKO SASAKI

 

“this is our cry
this is our prayer
Peace in the world”

 

“On the morning of. August 6, 1945, the first atomic bomb of the world ever to be dropped, exploded it the heart of Hiroshima . In less time than it takes to blink your eyes, countless innocent lives were lost. So enormous was this unprecedented tragedy that the destruction caused by natural disasters or conventional weapons paled beside it.”

 

“Sadako Sasaki was a Japanese girl who lived near Misasa Bridge in Hiroshima . She was only two years old when the atomic bomb was dropped on Hiroshima on August 6, 1945. At the moment of explosion she was at her home, about 1 mile from ground zero. As she grew up, Sadako was a strong, courageous and athletic girl. In 1954, at age eleven, while practicing for a big race, she became dizzy and fell to the ground. Sadako was diagnosed with leukemia, the "atom bomb disease.

 

Sadako's best friend told her of an old Japanese legend which said that anyone who folds a thousand origami paper cranes would be granted a wish. Sadako hoped that the gods would grant her a wish to get well so that she could run again. However, it was not just for herself that she wished healing. It is said that what made the girl truly special in her effort was her additional wish to end all such suffering, to bring peace and healing to the victims of the world. She spent fourteen months in the hospital, and she folded over 1,300 paper cranes before dying at the age of twelve. She folded the cranes out of her medicine bottle wrappers and any other paper she could find in hopes of getting better.

 

After her death, her friends and schoolmates published a collection of letters to raise funds to build a memorial to her and all of the children who died from the atomic bomb in Hiroshima . It was also a popular cause for children and others in Japan . In 1958, a statue of Sadako holding a golden crane was unveiled in the Hiroshima Peace Memorial.”

 Haiku For Peace – In Memory of Sadako Sasaki

Mevsimsiz Publishing House in Turkey (www.mevsimsiz.com.tr) is planning to publish “1000 Haiku for Peace” anthology in memory of Sadako Sasaki in August  6, 2007 in English and Turkish. We are looking for 100 haiku and senryu poets in order to help us to make this project real. All over the world who believes the peace; all over the world, who would like to stop the war in Palestine , Lebanon , Africa .Each haiku and senryu poets shall have 10 haiku or senryu in the anthology. A brief biography has to be for each kuyu and credits (awards, commendments, first publishing...) may be mentioned. They could send us 10 or more haiku for selection. Both unpublished and previously published Haiku are okay. Free copy of the book is going to be sent to the each haiku poet participated in the anthology. It means not only haiku about peace, but also haiku for peace. Every kind of haiku or a senryu could be, but if haiku refer to peace or make people think about peace may be good. In fact we believe, pure haiku even that is not about the peace, is the peace. Maybe we could say, haiku is a natural appearance of the peace.Since now, 20 haiku poets have sent their Haiku for the Project. I really thank to them again...Don’t hesitate for any question and please send your haiku to anilengin@gmail.com ANIL ENGIN, Mevsimsiz Publishing House Editor / Istanbul / Turkey, 0090 555 480 81 27 – 00902125489256 (after GMT (+) 19:00)  

 

TANKA FIELDS A Chapbook of Tanka by Robert D. Wilson, With a Forward by Michael McClintock, White Egret Press (c)2006. Featuring 75 tanka written by the award winning poet and owner/managing editor of Simply Haiku, Robert D. Wilson. $6.00 U.S. & Canada : $2.00 P&H International: $4.00 P&H. Checks and/or money orders are to be made out to: Robert D. Wilson, 20734 Hemlock Street , Groveland , California 95321 USA

Says McClintock:
" No one writes tanka like Robert Wilson. These are poems that nudge but do not push, that have the delicacy of sumi-e brushwork. The insights and percipience of reverie, daydream, and vision have, in English-language tanka, no more persistent or skillful servant. Wilson 's vocabulary is that of shadow, moonlight, water-image, and restless loneliness – punctuated by some small detail that surprises,
intrigues, or arrests. "

Adds Kirsty Karkow:
"His original images of the world and its inhabitants will not fail to stir deep-seated emotions and leave the read breathless."


July's FireWeed is complete and ready for your inspection: Poetry, interview, Houdini , Scotland , experimental, War, Peace and Everything in between supplemental, and feature - Jon Hayes. Terrie Relf, editor, invites you to come on over and enjoy. And also go to the blog. The blog owner's (Michelle Buchanan) goal is to post a memorial poem to each of the military killed during the Iraq war - 2615 as of the end of June. Please add yours.
Gary Blankenship Gary's book, A River Transformed.

 



HAIKU HARVEST — Journal of Haiku in English, Spring & Summer 2006, Volume 6 Number 1 Print & Digital Editions.  Denis M. Garrison, Editor.

In this issue of HAIKU HARVEST, 73 poets from 17 countries are included. In addition to all the many haiku, there are more than 65 tanka and a few representatives of other forms. Haiku Harvest is dedicated to publishing and promoting haiku and tanka, both in the western tradition of classical haiku and tanka and in all related forms. We give generous space to poets so they can demonstrate the range of their haiku and tanka and we promote innovation by providing a showcase for poetry in new forms that are serious attempts to assimilate the haiku and tanka genres within the English poetic tradition. Haiku Harvest has published since Spring 2000; this is the final issue. See its successor, 3x5 Poetry Review.

Besides the online digital edition, a print edition of Haiku Harvest Spring & Summer 2006 is also published. It is a paperback book, 6"x9", 232 pages, perfect bound, 60# interior paper, black and white interior ink, 100# exterior paper, full-color exterior. ISSN: 1558-9862. Available for purchase online. Sincerely, Denis M. Garrison, Editor, Haiku Harvest,

 

The German web site Haiku heute (Haiku Today) appears monthly. It contains a juried collection of 15 to twenty haiku chosen from about 150 to 200 haiku submitted monthly, plus commentary, haibun, renku, interviews and essays. The publisher of "Haiku heute", Volker Friebel, publishes also each year a "Haiku-Jahrbuch" (Haiku Yearbook), containing haiku, renku, haiku sequences, articles and international interviews and essays. You can submit haiku and related material in English with Germen translations (no fees claimed) for the monthly competitions and for the "Jahrbuch." 

BOOKS WANTING REVIEWERS
If you are interested in reviewing any of these books, please let me know by e-mail.

All I Can Do by Aya Yuhki

Reeds: Contemporary Haiga 2006, editor Jeanne Emrich

Wazowski Himself and other poems by Ed Baranosky

Slow Spring Water: The Life Poetry of Melissa Dixon

On This Same Star, selections from the tanka collection Will by Mariko Kitakubo translated by Amelia Fielden

But then You Danced: tanka by Jeanne Lupton

Amber: dementia-haiku by Geert Verbeke

Blonde Red Mustang. . . a gathering of small poems by Art Stein

The Haiku Apprentice: Memoirs of Writing Poetry in Japan by Abigail Friedman

The Solitude of Cities by Ruth Holzer

Things Just Come Through by Ed Baker

17 Minutes by Mathew Hupert

   
   
 

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