Haiku Journal Of The Irish Haiku Society Haiku From .
ShamrockHaiku Journal of the Irish Haiku SocietyHaiku from Ireland and the rest of the world17, 2011Shamrock Haiku Journal Readers' Choice Awards 2010BEST HAIKUThe following piece that appeared in our No. 13 was voted the best haikupublished in Shamrock Haiku Journal in 2010:
dust storma trickle of bloodfrom the horse's nose-- Chad Lee Robinson (USA)The following two haiku that first appeared in our No. 13 and No. 14respectively were close runner-ups:winter rain a stuffed starling staresat the ceiling-- Bouwe Brouwer (the Netherlands)autumn raini'm cleaning the backsideof the mirror-- Dietmar Tauchner (Austria)BEST SENRYUWe have joint winners in this category:
people pass by a dogwaiting for dogAyaz Daryl Nielsen (USA) (first published in No. 16)bathtime readingink spilt years agodiffuses-- Richard Turner (England) (first published in No. 15)And the runner-up was the following piece that initially appeared in our No.14:under the operating tablea cat rubs herselfagainst somebody's finger-- Michael Augustin (Germany)We congratulate the worthy winners, and express our sincere gratitude toeach and every reader who cast a vote.
Focus onGreecedrowsy watermotionless in your eyes –a golden evening-- D. I. Antoniou (transl. by Anatoly Kudryavitsky)the probabilityof having summer’s glowin mid-December-- Dionyssis Kapsalis (transl. by Anatoly Kudryavitsky)little childa handful of snowflakestakes its time to melt-- Sophia Karipidis (transl. by Anatoly Kudryavitsky)shady shrubsthe wind reachingthe rootsinside the mirrors,the eyes of the dead,weeping-- Elias Kefalas (transl. by Anatoly Kudryavitsky)
barren night,what can an evening stardo for you?I still remembera child’s hand, its shadowon white flowersmemories of algae hold me, tell me‘You are still alive’-- Tassos Korfis (transl. by Anatoly Kudryavitsky)blind falcon –his cry blursthe eye of the sunI ask the starsnot to shine so brightlythey disappearpetrified trees –a bronze birdon each branch-- Nikos Ladas (transl. by Anatoly Kudryavitsky)
the masts and the starsriding a seesawall night longfirst nightingalecutting the edgesof silence-- Zissimos Lorentzatos (transl. by Anatoly Kudryavitsky)while you’re tight asleep,the moon gives mea derisive lookonly the mirrorcan stand the sight of youwithout breaking down-- John Patilis (transl. by Anatoly Kudryavitsky)having killed a cicada,the sparrowkeeps on singingremaining silentso I can hear you,the seaside nightingale-- Yorgis Pavlopoulos (transl. by Anatoly Kudryavitsky)
nightfallthe weight ofmy brother’s shadow-- Antonis Pillas (transl. by Anatoly Kudryavitsky)clearing autumn leavesoff the footpath –a black bug plays deadwinter lamplight –scooping a mothout of the honey jarabandoned wheat fieldsa snake slides acrossthe threshing floortown clockstrikes the houra dog sighs in his sleepafternoon clouds –a shadowplay on themountain slope-- Rosie Roumeliotis
no boatsin the harbourfish stand sentinelthorny branch –on its tipa butterflyall the footprintshave vanished in the sand –sounds blend with silencered buckle –on the garment of darkness,a little moona tinge of sunshineon the mountain slopes –wearing a silk shawl-- Zoe Savina (transl. by Anatoly Kudryavitsky)twilight or sunshine,the jasmineremains whiteempty chairsthe statues returnedto another museum
pensive womanthe weight of her breastsreflected in the mirror-- Giorgos Seferis (transl. by Anatoly Kudryavitsky)sea foamand the rainbowthe fish dwells under them-- Monk Simeon (transl. by Anatoly Kudryavitsky)full moon –an aspirin meltingin my glasslittle blade of grass,one day you’ll betaller than mea frightened giant,here I stand by your side,o daisy!-- Christos Toumanidis (transl. by Anatoly Kudryavitsky)
The History of Haiku in Greeceby Christos ToumanidisThe first mentioning of haiku in Greece and in Cyprus can be traced back to1904 when a theoretical article about haiku by Spyridonos De Viaziappeared in the “Iris of Athens” magazine. Some 21 years later, in 1925,another Athenian magazine “Lycabette” published six original haiku by thepoet G. Stavropoulos, which were called “triplets”. Later that year, N.Hagier-Boufidis published five of his “hai-kai” in the magazine called “NewArt”; the texts appeared under the assumed name, Isandros Aris, and wereaccompanied by a short explanatory essay describing this particular kind ofpoetry. Next year, the Cypriot poet Pavlos Krineos-Michaelidis published tenof his “hai-kai triplets” in the magazine titled “The Big GreekEncyclopedia”.The next period in the development of Greek haiku started in 1940. Thatyear, Giorgios Seferis, who later won the Novel Prize for literature, publishedhis poetry collection titled Exercise books, which included sixteen of hishaiku. Seferis was a highly influential poet, and his haiku set the course forthe later generations of Greek haiku writers.However not much happened until 1969, when Zisimos Lorentzatos, aliterary critic, essayist and poet, got his book Alphabet published. This wasthe first full-length collection of haiku poems that ever appeared in Greece.In three years’ time, i.e. in 1972, another haiku collection followed; this oneby D. I. Antoniou; it was titled Hai-Kai and Tanka.The modern period in Greek haiku writing began in 1972. Such poets asTasos Korfis, George Pavlopoulos, Anestis Evangelou, Giannis Patilis, ArgyrisHionis, Zoe Savina, P. Ioannidou-Stavrou, Nikos Ladas, Dionysis Kapsalis,
Elias Kefalas and Panayiotis Kapodistrias produced fine examples of thegenre. As it happened, I was the editor of the first ever Anthology of Greekhaiku published in 1996, and now awaiting its second, enlarged and updatededition.In 2007, the Greek Haiku Society was founded. It is a cultural associationthat was founded to facilitate a further development of the genre in Greeceand get more people involved in haiku writing. The Society organisedseveral haiku exhibitions in Athens and in other Greek cities. It now has asmall publishing house. Its first publication was The Bridge of Rhymes(2010), a bilingual haiku collection by two poets, Millianov Kalupi of Albaniaand myself. The Greek Haiku Society has recently created its own site(http://www.haiku.gr) which is to be further developed in the near future.We are also planning to publish a haiku magazine.Translated by the author and Anatoly KudryavitskyChristos Toumanidis is a founding member of the Greek Haiku Society
"Aqua 53" by Vassiliki Gerokosta (Greece)
winter sunlighta whole bush twiggedwith sparrowsgrey daysprigs of winter jasminebetween the fence planksgap in the cedarcircling the suna dance of midgesreturning in moonlighta white mothamong the aerialsmorning glorieswick of a votive candlecatches the flame-- Diana Webb (England)
bog grasses in the evening –a seagullabsorbs the lightmonastic high cross –on one arm, a robin,on the other, the moonbeach sunrisethe fog returnsa dog's barkspring dewon a spider's web –communion veilshop window –sparkling in the dark,Orion’s reflection-- Aisling White (Ireland)nightfallowl gives not one hootbut two
fire-placeorange flames competein chimney climbreflective windowa cat looks outthrough herselfbeach walkmy footprints stolenby a waveriver weira grey heronperforms mime-- John Oliver Byrne (Ireland)dark Novembereven the gorse bushhas the lights onicy morningon the doormat a snail leavesa gift of silverstranded seaweedalong the high tide linebirds flock to feast
winter noon –under fallen tree twigsa mist uncurls-- Maire Morrisey-Cummins (Ireland)calm baya stone crab’snew clawbetween interviewsa few puffsof the unlit cigarheavier rainred berriesaglow-- Bill Cooper (USA)coastal range –through gaps in stratusa glacierforest track –before a summer stormthe smell of charcoal
hail on slate above rafters rats scuttle-- Rodney Williams (Australia)winter playgroundants trail upthe climbing frameriverside café—a gull drinks fromthe dripping tap-- Nathalie Buckland (Australia)chilly morningthe old mare snortsraising a trotcountry morningthe milked cows meltinto the mist-- Gavin Austin (Australia)
evening snowa scent of rabbitin all the airwrinkled leaveshotel childrensmell of smoke-- Glenn G. Coats (USA)cold moonsnow flowers bloomon the magnolia treejust shy of fullthe day moonabove barren trees-- Cathy Drinkwater Better (USA)cryptomeria bonsai –many-armed Kaliin green sleevesrhododendron bonsai –nothing smallabout the blossoms-- David Ash (USA)
autumn duskcigarette smoke blown out the windowblows back increaky oar locksafter a few strokesonly fog-- Michael Ketcheck (USA)blanket of snowthe frozen shadowof the spireJanuary dusk —a camellia followsthe moon’s circle-- Mark Lonergan (Ireland)hospital wallsin the rowansstarlings snatch berriesiron shedwild grasses pressat the locks-- Nick Sherwood (England)
harvest moonmaking a splashon the kitchen calendar-- Helen Buckingham (England)the blue Pacificslipping through my fingersmoon jellyfish-- Lorin Ford (Australia)latebut not tiredthe stars-- Matt Hetherington (Australia)summer rainsbetween fallen branchesscum gathers-- Earl Livings (Australia)
an old fishin the quiet pond –raindrops-- Ayaz Daryl Nielsen (USA)amid the embershalf readChristmas cards-- Chris Bays (USA)spring breezethe hems of her skirtlifted-- John Zheng (USA)thin winter sun –three pairs of red bootscross the slush-- Irene Brown (Scotland)a rocking chair two fishing boatsnodding to each other-- Sharon Burrell (Ireland)
waders on the shoredancing to the beatof the moon-- Iggy McGovern (Ireland)buttercup yellow the sheen of the sky-- Noel King (Ireland)mid-summer skyeven the jet trailsbloom-- Walter Daniel McGuire (Ireland)dawn slumbercawing of a tone deaf crowshatters silence-- Helen Simcox (Ireland)sunlit grass –heads bowedat the funeral-- Joanna M. Weston (Canada)
faint circlethe remains of oursandcastle-- John McManus (England)spring rain –alongside the road,railroad tracks to nowhere-- Joseph M. Kusmiss (USA)melting snowthe spotted poniesbehind the fence-- Frances Jones (USA)first snow –a manakin moonwalkson the putting green-- Ramesh Anand (Malaysia)
Translated Haikua dewdropbathed in dustsprinkled with frost-- Tatjana Debeljacki (Serbia; transl. from the Serbian by AnatolyKudryavitsky)Some Other Timeby Lucas Stensland (USA)They are building a house across the street from her mother’s. They’vebeen at it all summer. Its walls are easily bypassed plastic sheets, and the
place has become a sort of playground for the neighbourhood kids whenthe workers leave. After watching my worn-down VHS of McCabe & Mrs.Miller, we decide to take a late-night walk and end up standing on the dirtfloor of somebody’s future living room. I hold her in my arms, and wegently kiss, never opening our mouths very wide. Slowly, I put my handunder her t-shirt and lightly caress her waist. That’s as far as I go. Sheasks if I want to go to her mother’s and keep her company while shepacks. We walk back, our shadows touching more than our hands. Iwonder what it will be like next time I see her.mix tapehow I saidgood-bye100 Selected Haiku of Kato Ikuyatranslated and introduced by Prof. Ito IsaoChuseki-Sha, Tokyo, 2011104 pp.; ISBN 978-4-8060-4752-0Available from Chuseki-Sha, Tokyo, JapanKlaus-Dieter Wirth. Zugvoegel / Migratory Birds150 Haiku. German/English/French/Spanish/DutchHamburger Haiku Verlag, Hamburg, 2010200 pp.; ISBN 978-3-937257-27-3Available from http://haiku.de
Stjepan Rozic. Biglisanje / Song of a NightingaleHaiku. Croatian / English. English translations by Djurdja Vukelic-RozicIntroduction by Klaus-Dieter WirthOtok Ivanic, Clostar Ivanic, Croatia, 2010208 pp.; ISBN 953-7205-36-2Available from Otok Ivanic, Vidikovac 8, 10312, Clostar Ivanic, CroatiaCopyright by Shamrock Haiku Journal. All rights reserved. All the Shamrock HaikuJournal contents are copyright by the indicated poets/artists. All the rights revert to the authorsand artists upon publication in Shamrock. Any unauthorised copying of the contents of ShamrockHaiku Journal is strictly forbidden. The Shamrock logo image is copyright by ChristineZeytounian-Belous (Paris, France).Copyright 2011 Shamrock Haiku Journal
ShamrockHaiku Journal of the Irish Haiku SocietyHaiku from Ireland and the rest of the world18, 2011Focus onAlbaniathrough the night forest –moon hangingon a tree-toprain-lashed fieldrapid streamlets make the soilsubsideriver flowa hungry dog caughtthe moon in the waves
dense undergrowtha streamlet has lostits waytowards the mosqueor into the blooming garden?a crossroad-- Kujtim Agalliu (transl. by Anatoly Kudryavitsky)autumn leavesin the windtheir last dance-- Kujtim Agalliu (transl. by the author)cold moon in the ponda raven rests in ariverbank willow-- Dritëro Agolli (transl. by Anatoly Kudryavitsky)
a gadflyon the horse’s taila slap on the face-- Nexhip Bashllari (transl. by Majlinda Bashllari)early in the morninga bird and the sunon the same branch, playing-- Konstandin Dhamo (transl. by Anatoly Kudryavitsky)pondfallen leaves extinguishthe fire in the water-- Nexhip Ejupi (transl. by Anatoly Kudryavitsky)a procession of antsin the morning –the way of the grain-- Muharrem Gazioni (transl. by Anatoly Kudryavitsky)
ant on the leaf –dreamingof flightthree sunny days with youhow strongthe light of your eyes!first day of the year –dog-chew bonesgo to the rubbish bindress liftedthe wind revealsa girl’s birthmarktwo candlesburning their shadowsburning silencefog –the shining oforange pips-- Millianov Kallupi (transl. by Anatoly Kudryavitsky)
watching Mount Fuji,cool and icy –its heart burns inside-- Betim Muço (transl. by Shyqri Nimani)O volcano Aso,lend me your mouth, so Isay two words to the world!counting camellia petalsin the wind –forgetting my age-- Betim Muço (transl. by Anatoly Kudryavitsky)she spreads her wingsin a fierce claw attack,this eagle of the cliffsin Hiroshima,Misasa river reflectsSadako-san’s cranes!-- Shyqri Nimani (transl. by the author)
kingdom of nightfull moon outlinesa couple’s silhouettes-- Shyqri Nimani (transl. by Anatoly Kudryavitsky)a sheet on the roofthis rainy night –somebody sings in Chinese-- Ymer Nurka (transl. by Anatoly Kudryavitsky)apples falling from the branch –the wind editingautumn trees-- Anton Papleka (transl. by Anatoly Kudryavitsky)what a beautiful bird!hunter, blindand speechless-- Ali Podrimja (transl. by the author)a parrot –speaks in Albanianand opens the cage door
an elderly couplethrow an old bed to the skipboth silent-- Petraq Risto (transl. by Anatoly Kudryavitsky)a lonely glow-wormsofteningthe darkness-- Leidi Shquipanja (transl. by Anatoly Kudryavitsky)even the lake flowersblossoming memories of spring-- Xhevahir Spahiu (transl. by Anatoly Kudryavitsky)autumn leafletter remains unopenedsince the first chilly day-- Iliriana Sulkuqi (transl. by Anatoly Kudryavitsky)
the dead of night –in the owl’s eyesthe coming of a dreamin your window,dying,the hunger of a birdlime blossoms –this May’sfragrant dreams-- Elisabeta Tafa (transl. by Anatoly Kudryavitsky)this tree its eye hasgrain-shaped tears-- Moikom Zeqo (transl. by Anatoly Kudryavitsky)
"Orange Japanese Flowers" by Alush Shima (Albania)
The History of Haiku in Albaniaby Shykri NimaniHaiku first came to Albanian readers as translations from Japanese. In late1960s I, then a student at the Academy of Arts, was sitting in the AmericanCultural and Information Centre and reading Life magazine, where I foundsome classical Japanese haiku translated into English by H. G. Henderson.Much impressed, I started translating haiku into Albanian, and some of mytranslations were subsequently published in the Albanian magazine calledZëri i Rinisë (The Voice of Youth). In 1970, I published an illustrated booktitled Japanese Haiku (it was a 49x9 cm bibliophile edition). I then spenttwo years in Japan studying the works of Basho, Buson and Kobayashi Issa,as well as paintings by Utamaro, Hokusai and Hiroshige. Upon return, Itranslated and published an illustrated bilingual book titled Japanese HaikuPoetry (Rilindja, Prishtina, 1984), in Japanese and Albanian. I based theselection of Japanese haiku on Daniel Buchanan’s One hundred FamousHaiku.My translations seemed to inspire Albanian authors, who, in their turn,started writing haiku in Albanian. Between 1997 and 2007 four Albanianpoets published full-size collections of their haiku, namely Betim Muço(1997), Moikom Zeqo (1999), Milianov Kallupi (2000) and Nasho Jorgaqi(2005). A few bilingual books appeared, as well; in Albanian and in anotherlanguage, such as English, Greek, Macedonian, Croatian, Italian.At present, there are more than thirty Albanian authors who specialise in
this genre. Most active among them are such poets as Dritëro Agolli, AliPodrimja, Xhevahir Spahiu, Nasho Jorgaqi, Betim Muço, Flutura Açka,Iliriana Sulkuqi, Kujtim Agalliu, Mihal Disho, Milianov Kallupi, Nexhip Ejupi,Moikom Zeqo, Qazim Shemaj, Konstantin Dhamo, Brikena Cera, AhmetMehmeti and Elizabeta Tafa. There were three haiku anthologies thatappeared in our country: Agshol (2002); Haiku (2004), and AlbanianPoetesses (2006). We must also mention a few publications of foreign haikupoets translated into Albanian.An anthology of Japanese haiku translated into Albanian by the poet AntonPapleka has recently been brought out by Serembe Publishing in Skopje(Macedonia). It is spanning the period between 15 th and 20th centuries.Haiku by Matsuo Basho translated into Albanian by the poet Qazim Shemajhave been published in book-form on the occasion of the Japanese CultureWeek. In the course of it the League of Albanian Writers and Artistsorganised the event modestly called the Great Evening of Haiku Poetry,where this book was launched.In 2001, the Albanian Haiku Club was established in Elbasan, the city incentral Albania. Since 2005 the club periodically publishes the magazinecalled Haiku, edited by the poet Milianov Kallupi.Translated by the author and Anatoly KudryavitskyProf. Shyqri Nimani is a haiku poet, an academic and a graphic designer.
"Yellow Tulips" by Alush Shima (Albania)
Ezra Pound and Haikuby Mark LonerganThe modern haiku in English has evolved in interesting ways. Imagism, thepoetic movement that set in towards the beginning of the twentieth centuryin London, owed much to Ezra Pound (1885-1972) who stressed theimportance of brevity, directness and music in poetry. Pound felt that animage should eschew allegory and even metaphor, and be capable of beinggrasped instantly. The haiku form that allows for the juxtaposition of twodisparate images was ideally suited for the goal and aspirations of theImagist poets. Writing about his short piece called “In a Station of theMetro” Pound admitted that he had written many poems, some of themcoming to 30 or more lines, to capture the poignancy and variety of metrocommuters, but was dissatisfied with them and subsequently destroyedthem all because they lacked the necessary "intensity" of expression – untilhe wrote the following two lines:The apparition of these faces in the crowd;Petals on a wet, black bough.This haiku, or rather a quasi haiku, resembles the poem written in the 16thcentury by a Shinto priest called Moritake that Pound himself translated intoEnglish:A falling blossomReturns to Branch:A butterflyIt can also be compared with one of Basho’s best known pieces:on a withered brancha crow has settled –autumn nightfall
This was Pound’s idea of capturing the complexity of thought and feelingimmediately, without much ado. The poem strives to go beyond imagism byintensifying the poetic expression. In doing so it enters the sphere ofvorticism that, Pound felt, rectified some of the defects of imagism.Successful as a short poem, it fails as a haiku because only the first linedeals with an immediate experience while the second line involves thememory of an image that the poet uses overtly as a metaphor. A haiku is ahaiku because all the images it conveys occur simultaneously in a person'spresent perceptions of the world. To become a haiku, Pound's poem wouldhave to indicate that he saw the faces at the same time as he saw theactual petals, in the flesh, not in memory. Changing the poem around wassuggested by Higginson by utilising the lesser image to suggest the largerimage.Petals on a wet, black bough;The apparition of these faces in the crowd.The following haiku-like poem by Ezra Pound in Ts’ai Chi’h, perhaps, bringsus closer to the spirit of a true haiku but is lacking the brevity:The petals fall in the fountain,The orange-colored rose leaves,Their ochre clings to the stone.The minute observation of nature and the subtle play of colour suit thetemper and sensibility of haiku masters.Ezra Pound’s translations from Moritake Araki's haiku into English greatlyinfluenced American imagist poets. His famous ‘metro station’ piece becamea predecessor of modern-days urban haiku, where topics such as subways,commuters and shopping centres are ever popular. As modern societybecomes predominantly urban based, it is important to have a broaderapproach to haiku and to tap into these rich sources of inspiration. In thisregard Ezra Pound and the Modernist movement were significant in shapingmodern notions on haiku. After all, what many have thought to be uniquelyJapanese appears to have roots in western literary thought, too.
"Aquarium of Mother Theresa" by Shyqri Nimani (Albania)
winter dawna buzzard quartersthe violet mistagain through the afterglow the ticks of a wrenhigh over the morning mist a lone goose returnssame space as yesterday drone flysome of the snow fallingsome of it risingnew year’s day-- John Barlow (England)across the loughhillside shadowsof leafless trees
spectral moonfields of snow fadeinto mistwinter sunreaching the opposite bankmy riverside shadowOctober chillmoonbeams through the buddleiareveal my breathsnow gonea darkness returnsto the garden-- Thomas Powell (Northern Ireland)snow gardenyellow tippeddaffodil shootslate autumnstray cattle canterpast thin hedges
trimming the laurel –this year’s bright shootsfirst to gostorm warning –jack rabbit caught in the gapbetween flash and crackovergrown gardenan old ploughturning brown-- Martin Vaughan (Ireland)mid-morning shadow –last dewdroprolls off leafmidge haze –a dragonfly skip jiveswith its reflectionlow tide at noonin the dry rock poola limpet ticks
beach readingtiny rainbows danceon her eyelashes-- Marion Clarke (Ireland)padding throughthe cemetery grassesher old catsnailsdevour the seedlingsmoon-silver pathfrosty morningthe aroma of stewed applesin her hair-- Dawn Bruce (Australia)the sandslips from my fist autumn duskmirror at first light.staring into eachother's eyes
40th birthday dreamwandering aimlesslyin the dark forest-- Chen-ou Liu (USA)snow-cappedthe back yard Buddhasmiles onspring sun –a tinge of greenin the grey paintwork-- Helen Buckingham (England)leaf-strewn bridgea ripple rakesthe streamtrail of bubbles.a water dragon restson the creek bed-- Cynthia Rowe (Australia)empty shella cicada singsits heart out
the bibleby his deathbeddog-eared-- Quendryth Young (Australia)night rainthe stone lionsslump forwarddistant thunderwhite flashof the cormorant's throat-- Graham Nunn (Australia)autumn sunsetthe lemon tree aglowwith golden orbsa corncrake callsabove the haystacks coming of summer-- Barbara A. Taylor (Australia)
windthe mirrorwithout a facedaily walkthe welcome jigof an emerald beetle-- Bill Cooper (USA)sunseta ground hornbillsings to the skymoon glowsnatches of songin the wind chime-- Robert Lucky (USA)sitting onthe embankmentmidnight swallowsa jolly plump girlI messed around withtugboat-- Lucas Stensland (USA)
sleepless night –the blinkingof radio towersfalling snow.the steady humof appliances-- Ben Moeller-Gaa (USA)dawnsix starlings on the roofpreparing to jumpafter last night’s party, dawn chorus-- Hugh O’Donnell (Ireland)fishtankduring the cleaningan angel’s bodyseashore windthe willow treeleaning west-- John Oliver Byrne (Ireland)
sunrisewashed up woodfrom a distant campfirefuneral –trapped in an antique vaseair bubble-- Bouwe Brouwer (the Netherlands)spring in the parkthe lawnchequered with black birds-- Bernard Gieske (USA)silver snowdust fallsacross the moon–child’s round face at the window-- Christine Vovakes (USA)wranglingover give and take –our toddler’s smile-- Charles Tarlton (USA)
new dogcalling himby the old one's name-- Irene Golas (Canada)March windthe buzzof flaking paint-- Ignatius Fay (Canada)construction site—an autumn leaf landsbetween withins-- Lucien Zell (USA – Czech Republic)autumn windowthe monstera palmmonstera green-- Peter Macrow (Australia)open-air concert the soprano upstagedby kookaburras-- Nathalie Buckland (Australia)
still watercarp driftwith the autumn breeze-- Cindy Keong (Australia)the cracked potoozes roots .scent of thyme-- Leonie Bingham (Australia)bulrusheswater hen's orange billappears then reappears-- Helen Davison (Australia)crow featherthe colour offallen leaves-- Lee-Anne Davie (Australia)
watching closelyover the fallen applesa garden gnome-- Patrick Druart (France)children playin garden shadesprinkler hiss-- Scott Owens (USA)spring moonthe scent of jasminespreading in the night-- Ramesh Anand (Malaysia)ants collectgranules of sugar –daytime moon-- J.D. Mitchell-Lumsden (USA)
first secretsonly the snow camelliaslisten-- B.T. Joy (Scotland)fat man in a green shirtsmilingat a watermelon-- Robert Witmer (Japan)on the campus lawn,fresh anthills surroundedby fresh mushrooms-- Caleb Mutua (Kenya)vineyardwe ask for a glassof water-- Stella Pierides (Greece)evening in the mountainsthe air holds the songof a temple bell-- Seánan Forbes (USA)
Translated Haikuthe rustling of pagesin the librarya distant riveron a snow-white pageI write the word ‘winter’in white inkwhite butterflyon a snow-white wallthe pitch-black shadow-- Herwig Verleyen (Belgium; translated from the Flemish byAnatoly Kudryavitsky)warm raina snail peeps outon both sides of the shell-- Artur Lewandowski (Poland; translated from the Polish byAnatoly Kudryavitsky)
Octoberby Steven Carter (USA)They don’t call it the big sky for nothing. Rowing on Swan Lake late onechilly afternoon I see diamond-white Mt. Aeneas, cut by frozen sunlight,dwarfed by thunderheads piling up over the “Chinese Wall” to the east;southward, mountain ranges leap-frog each other below the setting sununtil the vanishing point, making my eyes ache.A quiver of cobras, a battery of barracuda, a sleuth of bears: why not amystery of mountains? Before and since Lewis and Clark, humans havetravelled these mountains to find or to lose themselves. Is there adifference?ripples fadehow the darkknows the dark
From Another Celtic Shore"Another Country". Haiku Poetry from WalesEd. by Nigel Jenkins, Ken Jones and Lynne ReesGomer PressFirst published 2011176 pp; ISBN 978-1-84851-306-8 (pbk)Available from the Gomer Press,Llandysul, CeredigionSA44 4JL U.K.This collection is the first ever national anthology of Welsh haiku, and therefore is destined tobe a highly important publication. It comprises works by forty poets born in Wales or longterm residents there. Not only their haiku have been included; it also has a scatteredcollection of haibun. Tanka are present, as well, and even a rare form of somonka, i.e. linkedtanka, found its way onto its pages. A sequence of linked tanka was, oddly enough, writtennot by two poets but just by one, Leslie McMurtry. The frequently described dualistic nature ofa poet may well account for this kind of ‘dialogue within’.Most of the poems are in English; some of them, however, are presented bilingually, and apoem by Eirwyn George is in Welsh only. Texts are arranged by topic, rather than by poet,and the topics are “Age and Youth”, “Culture and Society”, “Daily Life”, “Exits and Entrances”,“Love and Loss”, “Memory and Imagination”, “Nature Observed”, “People in the Landscape”,and finally “Shorelines”.The poems are followed by “An Afterword: Haiku Poetry in Wales” that gives a short history ofhaiku movement in Wales, its appearance in the 1960s and its further development thatintensified in the last decade.Looking at the first section, “Age and Youth”, we first see three haiku by three different poets,then a haibun, eight more haiku, again by eight different authors, a haiku sequence byNoragh Jones, another haibun, five more haiku, and finally a third haibun. The same principleapplies to each and every section of the book. Going through it, you have to constantly switchfrom one poetic form to another and from one poet to another. Frankly, I don’t know if itreally makes things easier for the reader. I personally have a liking for well-structured
anthologies but then again tastes differ.As the editors stated in the Introduction, “work has been selected, primarily, for its quality ashaiku writing, and secondarily for its Welsh interest.” Indeed, quality is there. Poems by suchaccomplished practitioners of the genre as Pamela Brown, Arwyn Evans, Caroline Gourlay,Nigel Jenkins, Ken and Noragh Jones, Matt Morden, Lynne Rees, Jane Whittle would ensure ahigh standard of any poetry collection and, carefully selected for this book, make it a worthyread.A few examples:Here’s an excellent ‘intuitive’ piece by Ken Jones:Freezing windthe dancing clothesstiffen into peopleThe following haiku showcases Matt Morden’s keen observation:end of holidaya square of pale grassbeneath the tentThe next poem by Arwyn Evans is refreshingly metaphorical by its nature, which is rathertypical of Celtic haiku, as well as of Japanese, of course:Airthe featheringof falcon’s breathOne of the pieces by Nigel Jenkins made me remember Wallace Stevens who liked to describethe source of poetic inspiration in terms of ‘more than rational’ distortion:hooter booms –and a slice of the citysails into the nightPersonally, I
clearing autumn leaves . wearing a silk shawl-- Zoe Savina (transl. by Anatoly Kudryavitsky) twilight or sunshine, the jasmine remains white empty chairs the statues returned to another museum. pensiv
a. Haiku for Android from the Play Store b. Haiku or Canto for iOS from the App Store 2. (Optional) To upload/view photos in Haiku or anto, you’ll need On ase a. OnBase for Android b. OnBase for iOS 3. Log in to Haiku/Canto a. Haiku for Android b. Haiku for
May 02, 2018 · D. Program Evaluation ͟The organization has provided a description of the framework for how each program will be evaluated. The framework should include all the elements below: ͟The evaluation methods are cost-effective for the organization ͟Quantitative and qualitative data is being collected (at Basics tier, data collection must have begun)
Silat is a combative art of self-defense and survival rooted from Matay archipelago. It was traced at thé early of Langkasuka Kingdom (2nd century CE) till thé reign of Melaka (Malaysia) Sultanate era (13th century). Silat has now evolved to become part of social culture and tradition with thé appearance of a fine physical and spiritual .
On an exceptional basis, Member States may request UNESCO to provide thé candidates with access to thé platform so they can complète thé form by themselves. Thèse requests must be addressed to esd rize unesco. or by 15 A ril 2021 UNESCO will provide thé nomineewith accessto thé platform via their émail address.
̶The leading indicator of employee engagement is based on the quality of the relationship between employee and supervisor Empower your managers! ̶Help them understand the impact on the organization ̶Share important changes, plan options, tasks, and deadlines ̶Provide key messages and talking points ̶Prepare them to answer employee questions
Dr. Sunita Bharatwal** Dr. Pawan Garga*** Abstract Customer satisfaction is derived from thè functionalities and values, a product or Service can provide. The current study aims to segregate thè dimensions of ordine Service quality and gather insights on its impact on web shopping. The trends of purchases have
Chính Văn.- Còn đức Thế tôn thì tuệ giác cực kỳ trong sạch 8: hiện hành bất nhị 9, đạt đến vô tướng 10, đứng vào chỗ đứng của các đức Thế tôn 11, thể hiện tính bình đẳng của các Ngài, đến chỗ không còn chướng ngại 12, giáo pháp không thể khuynh đảo, tâm thức không bị cản trở, cái được
Brazilian quatrain poems and a few haiku. Up to 1919 haiku was not as well known in Brazil, even though a few had been published. The trova was the closest Brazilian poetic form to haiku until then. It consists of four verses with seven metric syllables each and a pair of ending rhymes in the second and fourth verses.
