LYNX 

                  A Journal for Linking Poets  TABLE OF CONTENTS

XX:3 October, 2005

Kelly Ann Malone

Michael Williams

Denis M. Garrison

Deborah P. Kolodji

Edward Baranosky

Gene Doty 
aka Gino Pelegrini

Laryalee Frazer

Werner Reichhold

Geert Verbeke

Ray Rasmussen

 I have been writing since I was around twelve years old. Some of my poetic influences are Ogden Nash, Edna St. Vincent Millay, Teasdale, Dickinson, Billy Collins and Dorothy Parker to name a few. Some of my published credits include "The Library of Congress 9/11 Documentary Project", North Carolina University's Presses "Free-Verse Magazine, " Poems Niederngasse, Albany University's "Offcourse Literary Journal", Temple University's "Schuylkill Creative and Critical Review", Duke University's "Voices" Journal, San Gabriel Valley Poetry Quarterly, Muse Apprentice Guild Literary Magazine, York University's School of Women's Studies Journal, "The Permanente Journal of the Arts and Medicine", "Ars Medica, A Journal of Medicine, The Arts, and Humanities-Mount Sinai Hospital, Toronto Canada" and The Pittsburgh Quarterly. Kelly Ann Malone

My name is Michael Williams, and I recently began writing what is - as far as I know - a new form. It is composed of two tanka side-by-side, with the idea that the work can be read as a unified whole, or as two individual tanka. I have written four of those since the end of June, and enjoy the process as well as the result. On the Short Form Poetry forum of The Critical Poet, I've been referring to these as SuperTanka (a pun on supertanker). Jane wondered what the result would be if two people wrote a SuperTanka - an oil spill? I answered that if two SuperTanka collided, the result might be a word spill, or a TrebleTanka - and I offered the following as an example: "LIGHTHOUSE GUARDIAN COMPANION" in Solo Poetry.

Enclosed in a submission for Lynx is a collaborative sequence, the first such sequence of cinqku. Cinqku is a cinquain form of haiku, one that is a closer analogue to haiku than is the American Cinquain (Crapseian) and that maximizes the utility of the line break technique. A cinqku is a cinquain-formatted haiku with a strict syllable count (2,3,4,6,2) making 17 syllables on 5 lines. Single cinqku generally are not titled, and have haiku style free diction and syntax, no metrical requirement, and a turn that may be similar to kireji or a cinquain turn. Since I began writing cinqku (my own design) last month, poets on several lists have begun writing them (one has been written in Romanian). Broken Hearts is a linked sequence (L5-L1 links) written during May-June 2005 on an elist, "HaikuUnchained," by DMG - Denis M. Garrison; DPK - Deborah P. Kolodji; GDB - Gary Blankenship; MLE - Michael L. Evans; TJL - Toni J. Layton. Haiku Unchained http://groups.yahoo.com/group/haiku_unchained/. Denis M. Garrison

Just a quick note to ask if Lynx would be interested in reviewing, "May-Dazed", a long collaborative cinquain sequence written by fourteen poets in several languages which s published as a book on Lulu.com? The sequence was written in May 2005 and consists of 212 cinquains which are linked together by the 5th/1st lines, i.e. the 1st line of cinquain 2 is the same as the 5th line of cinquain 1. The idea was to have a connection, however tentative with the previous cinquain, but to depart from the point of the previous cinquain, freely moving off on a tangent.  Deborah P. Kolodji

Jen and I have completed the introductions to the Senku, plus three levels of proofing/editing. All we have left to do is an appendix and it's ready. In the meantime Jen's finished her first novel manuscript, and is well into the second. I'm just completing my first "real" collection of poetry. Changed the title for a third time. This one feels right: "Smuggler's Moon." I have a studio now so I've taken on a few "students", apprentices really, of painting.  Getting set to start another painting series. Looking for a second-hand drafting table for the watercolours. As usual I support all that by fulltime framing. It's my thirty-first year, since I started in 1975. Before that I painted murals (which is what my brother's second daughter, Stephanie, is doing.). Edward Baranosky

The issue of Contemporary Ghazals came today. It's an odd case, it seems to me. I'll look forward to Jane's review in Lynx. I don't know that I want to review it; I may post an announcement about it on The Ghazal Page. I don't think TGP and the mag are in competition, being in very different media and with (apparently) different goals. I've never liked partisanship in poetry, although I know some excellent poets also have very strong opinions and party-spirit. Think of all the manifestos from the early 20th century and what still appears to be arguments between proponents of free verse and advocates of formal verse. From 2005, that seems like an especially silly argument to me, but there's some suggestion of it in Watkins' piece Agha Shahid Ali. It makes it sound like Shahid invented the formalist revival, which is far from the case. Oh well. I don't want to instigate a quarrel with him. Thank you for the magazine. I'm glad to know about it and have an idea of what he's doing with it at this stage. We had two tornadoes spotted this evening coming towards Rolla but they didn't touch down. There's a thunderstorm on its way now. We have uninterruptible power supplies on our computers, fortunately, so we're not bothered by a power outage unless it's extended. The power blipped on and off earlier while I was online. It's noticeable but doesn't cause a problem. I want to express again my gratitude and appreciation for what you and Jane have done with Lynx for years now. You're making a genuine contribution. All the best to you, Gene Doty aka Gino Pelegrini

LETTERS WITH LARYALEE
Date: Mon, 13 Jun 2005 12:04:20 -0700
To: "laryalee@yahoo.com" <laryalee@yahoo.com
From: Werner Reichhold <wreichol@mcn.org
Subject: Re: Haiga

Dear Lary,
thank you for sharing another image of yours. I can see you going ahead with new ideas. Well you know that you are in creating haiga, don't you? But do you know that there is a haiga movement in the USA? It started some six or seven years ago. Jeanne Emrich founded a web site, then four years later she had the idea to publish a kind of a yearly book series, all in color, titled REEDS. No. 3 is just to come out in these days. Jane and I participated in No. 2. Here I let you have Jeanne Emrich’s publishing address: LONE EGRET PRESS, P.O.Box 390545,  Edina, Minnesota 55435, USA. In case you feel you want to get in touch with her, she will certainly respond. Best wishes, Werner.

At 02:26 PM 6/9/05 -0700, Laryalee  wrote:
Thank you, Werner! It will be a thrill to have our collaboration published in Lynx....I feel honored. And I enjoyed hearing about your background... it started me thinking how back in the seventies, the idea of working with folks all around the world via the internet would have seemed such a far-out concept! I'll share one more with you -- I made the image yesterday, and the haiku I had written in remembrance for my husband who died five years ago this June.... It has been a delight to work with you! warmly, Lary

--- Werner Reichhold <wreichol@mcn.org wrote:
Dear Lary, Thank you so much for your letter. Interesting how you put my indented lines together and how they then work. So, your feeling was that the title 'Exposed' works best? Fine with me. I suppose you wanted your 3-liners see as they appeared on the page titled 'Exposed'. Now we seem to be all set, and I offer you and us to publish our collaboration with the October issue of LYNX, 2005. Yes, I looked at your photograph. You are on a new path, Lary. We are indeed sharing experiences from our times in darkrooms. When Jane and I lived and worked in Europe, 1970-86, we installed quite a large darkroom. We both had studios, I worked mostly in metal, Jane with textiles and wood. My studio was painted totally white, so we have been able to photograph our stuff in a way it looks separated from the environment. Equipped with a Linhof  8 by10 inch for the studio work, a 4 by 5 cm. and a single-lens  Rolleiflex, we traveled, brought home what we thought is best to combine with our sculptures and installations. Home, we rushed up to the darkroom, and worked and worked all night long on the three parallel installed enlargers producing what you saw in my catalogues. In the seventies I could not afford to have a color lab, but later, when museums and Galleries paid for my books, our work was published in color. Thank you so much making agreeing with you so easy. Warm regards, Werner

At 07:19 PM 6/6/05 -0700, you wrote:
Hi Werner, back again, after a busy weekend... I love your photography, and it's so inspiring -- I often find it hard to visualize things in black and white, although in the old days I worked in a newspaper darkroom, when black and white was all we had. I would love to be able to play in the darkroom again -- Photoshop isn't quite the same! Three of my favorite photos in Landzeichen is the very last one, the 3rd from last (the cliff and driftwood) and the 5th from last (the tree on the cliff with the cloud). In Bridge of Voices, the swan is awesome! So is the baby and the bat...and of course your poetry is amazing.  I am thrilled to have these books to read at leisure. About our collaboration, I see what you mean about the lines...I find the spacing on the "two profiles"   page very interesting. And yet on the other page, to me the indents seem more effective simply because there only a few. Also, it struck me how they work together:

moon by moon
without sandals

Venetian red
eyes of a wolf
at early dawn

I feel exposed

With titles, I would vote for "Exposed"  -- it seems to add more depth -- a bit more haunting? So those are my somewhat hesitant thoughts... I think you've influenced me -- I usually work with straight-forward photo haiku, but I began experimenting:  I don't think it's very good, but it just evolved! Once again, thank you for sharing your time and expertise with me...and for the books...I appreciate everything very much! warmly, Lary

MY HAIKU MAXIMS ON THE WALL:
Geert Verbeke

On must assiduously study the rules of haiku and then swap them for a few marbles.

The best things come in small packages: yes for haiku, but no for pubic louses.

If a haiku is a temple, do you go inside to burn incense or to count syllables?

Haiku should be read in one breath but some people have rather small lungs.

Writing haiku is learning how to fly in the landscapes of your mind.

A haiku must be a thimble filled to overflow with emotion.

Haiku are related to pebbles, not to armchair scholars.

Haiku must smell of strawberries and not patronize.

5-7-5 syllables? I try to be a haikuist, not an abacus!

A haiku is a miniature jewel case for daydreamers.

A haiku is a four-star means against acidification.

Lay down rules are lethal poison for your haiku.

Haiku without diversity are a petrifying well.

Haiku & whales, two mirrors for mankind.

Haiku and ignorance are not compatible.

Haiku have the colours of butterflies.

A haiku is only a useless knickknack.

A haiku is a nutshell full of dreams.

A haiku is a cherry stone.

The second volume of haibun from the print journal American Haiga and Haibun is now online at the contemporary haibun online [cho] website: In addition, contemporary haibun online is accepting submissions for the third issue. The submission guidelines are here: Ray Rasmussen, Managing Editor Contemporary Haibun Online, Writers featured in the AHH archives are:Yu Chang, refrigerator; Yu Chang, rain; Margaret Chula, At Year's End; Ion Codrescu, Towards the Mountain Temple; john crook, Hospice; Cherie Hunter Day, The Cabinetmaker's Wish; John J. Dunphy, Facing the Wall; John J. Dunphy, A Captured Memorial; Jeanne Emrich, Weaver Bottoms; Judson Evans, Vigil; Liz fenn, All Systems, Go!   Stanford M. Forrester, New Year's Eve; Alice Frampton, Black and White; Alice Frampton, Cheeky; Gerald George, Arizona; Robert Gibson, Moon Rise; Jesse Glass, Unsen's Stone gop, The Monk's Bowl; Carolyn Hall, Protective Coloration; Carolyn Hall, A Crow Not Settled Elizabeth Hazen, Here's Looking at You; Anne M. Homan, Black and White; Ken Hurm, Mother's Day; Jim Kacian, Grace; Jim Kacian, Home; Michael Ketchek, Lunar Eclipse; Jerry Kilbride, Once the Traveler; Larry Kimmel, The Latch; Kenneth C. Leibman, Okonomiyaki Kenneth C. Leibman, The Path of Philosophy; Tom Lynch, White Sands Dunes; Kate MacQueen, The Catbird's Tongue; John Martone, Bién Xú; Brent Partridge, The Dawn Road; Francine Porad, PS full of energy; William Ramsey, Buying a Soul; Carolyne Rohrig, Christmas Decor; Carolyne Rohrig, Springtime; Emily Romano, Enlightened by Light; 
Bruce Ross, Life is a Dream; Bruce Ross, Shad Island; Carla Sari, Venice; Laurie W. Stoelting, California; Diane Tomczak, Best Friends; Zinovy Vayman, Haibun for John Ashbery; Zinovy Vayman, Haibun for Vadim; Linda Jeannette Ward, small time; Gene Williamson, Home Again; Billie Wilson, Indiana Springtime; Zolo, Rant

Who We Are

Deadline for next issue is 
January 1, 2006.

Find out more about Renga, Sijo, Tanka, or Ghazal.

Check out the previous issues of:
LYNX XX-2 June, 2005
LYNX XX-1 February, 2005
LYNX XIX:3 October, 2004
LYNX XIX:2 June, 2004
LYNX XIX:1 February, 2004
LYNX XVIII:3 October, 2003
LYNX XVIII:2 June, 2003
LYNX XVIII:1 February, 2003
LYNX XVII:3 October, 2002
LYNX XVII:2 June, 2002
LYNX XVII:1 February, 2002
LYNX XVI:3 October, 2001
LYNX XVI:2 June, 2001
LYNX XVI:1 February, 2001
LYNX XV:3 October, 2000
LYNX XV:2 June, 2000