Living Legacy

  • Amann, Eric W.

    Eric AmannEric W. Amann

    (16 January 1934 – July 2016)

    One of the most influential figures in the formative years of the haiku movement in Canada was Toronto medical doctor and poet Eric Amann. He was born in Munich in 1934. In 1952 Eric and his family emigrated to Chester, Pennsylvania. In 1953, Eric was drafted for the Korean War and escaped to Winnipeg where he stayed with family friends from Munich. He earned his medical degree in 1961.

    As many other poets in the 1960s Amann's interest in haiku was sparked by the six volumes written by R.H. Blyth. After reading and writing haiku for several years, Eric Amann edited and published the first Canadian haiku magazine Haiku from 1967-1970. Under Amann’s editorship Haiku rapidly became one of the most influential North American periodicals, publishing experimental as well as classical work. After a hiatus of seven years, during which he engaged in other kinds of writing, in 1977 Amann returned to haiku with a new magazine Cicada (from 1977-1982) which immediately achieved a similar status. The same year Eric Amann, Betty Drevniok and George Swede founded the Haiku Society of Canada, which later in 1985 was renamed to Haiku Canada. Eric served as its first president during 1977-79. In 1979 Eric Amann also published one issue of konkret [a journey into the concrete and visual].

    In the preface to the 1986 edition of The Haiku Anthology, Cor van den Heuvel wrote that “Haiku and Cicada [were] perhaps English language haiku's most influential magazines [and that they] are still unsurpassed for excellence in both content and design, though both have ceased publication.”

    Eric W. Amann sadly passed away in July 2016 and left a huge void in the international haiku community.

    While writing about the significant achievement of one of the pioneers of English-language haiku, Richard Stevenson states: “For Eric Amann, the ideal is to capture the ‘ah experience’ or ‘a mood of serene calm and beauty.’ The form may vary from the traditional three-line, 5-7-5 syllable count to the one-line portrait; it may even be stretched to include the "mutational possibilities" of senryu, vertical, visual, and sound haiku.” – (Richard Stevenson in Canadian Literature, Spring 1985)

    Publications:

     

    • Plastic Flowers [a collection of poems] (1964);
    • The Wordless Poem , Toronto: Haiku Society of Canada, 1969;
    • No More Questions, No More Answers, [a collection of one-liners], 1980;
    • Cicada Voices: Selected Haiku of Eric Amann, 1966-1979. George Swede, Editor. High/Coo Press, 1983;
    • The Space Between, George Swede, with Eric Amann, LeRoy Gorman, (Glen Burnie, MD, USA: Wind Chimes, 1986);
    • Eric Amann’s work appears in all three editions (1974, 1986, and 1999) of Cor van den Heuvel's The Haiku Anthology.

    Selected haiku:

    Winter burial:
    a stone angel points his hand
    at the empty sky

    (1978 Eminent Mention Award, Modern Haiku)

     

    Withered winter tree;
    its barren boughs reflected
    in the sick man’s eye

    (1979 Eminent Mention Award, Modern Haiku)

    *

    Anaesthesia:
    the last deep breath
    takes the whole world away!

    (Cicada Voices: Selected Haiku of Eric Amann 1966-1979, (High Coo Press, 1979)

    *

    A morning of snow:
    listening to the muffled sound
    of the blind man’s cane

    (Modern Haiku 10:1, 59)

    last day of autumn:
    and still the sunset lingers
    in a one-way street.

    (Modern Haiku 1:1, 6)

    New Year’s morning:
    a sober newsman
    repeats the casualties.

    (Modern Haiku 2:1, 18)

    Softly falling
    on the names of the dead:
    spring rain …

    (Modern Haiku 1:2, 5)

    The long walk back:
    — A tiger lily
    Points the way …

    (Modern Haiku 6:3, 9 (a)

    The old Ford truck —
    still clinging to it:
    last summer’s leaves …

    (Modern Haiku 1:2, 17)

    *

    deep inside your mouth      no more questions no more answers

    (Cicada Voices: Selected Haiku of Eric Amann, 1966-1979; High/Coo Pr (Jun. 1983); p.50)

    deep penetration       the bedside candle quivers lightly in the moonlit room

    (Ibidem, p.51)

    wild raspberry taste       on the tip of your tongue

    (Ibidem, p. 52)

    *

    Billboards
       wet
          in spring
             rain…

    Snow falling
       on the empty parking-lot:
          Christmas Eve…

    A night train passes:
    pictures of the dead are trembling
    on the mantelpiece

    (The Haiku Anthology, editor Cor van den Heuvel, 3rd edition, Norton, 1999; pp.2-4)

    *

    The starlit sea

    * * * * * * * * * * * * * * * *
    * * * * * * * * * * * * * * * *
    * * * * * * * * * * * * * * * *
    * * * * * * * * * * * * * * * *
    ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
    ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
    ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

    (Cicada Voices: Selected Haiku of Eric Amann, 1966-1979; High/Coo Pr, 1983; p. 37)

    More haiku at:

    http://terebess.hu/english/haiku/amann.html

    Sources:

    1. http://performance.millikin.edu/haiku/writerprofiles/EricAmann.html
    2. http://www.haikucanada.org/home/about.php?style=1&page=1001
    3. http://www.brickbooks.ca/a-history-of-haiku-in-canada-in-two-parts-by-terry-ann-carter/
    4. http://www.thehaikufoundation.org/poet-details/?IDclient=1804
    5. http://www.litkicks.com/OnWesternHaiku
    6. http://www.modernhaiku.org/MH-Archive/authorsA-D.html#a

    Essays and articles on the works of Eric Amann:

  • Anderson, Hortensia

    Hortensia AndersonHortensia Anderson


    June 24, 19??  -  May 21, 2012

     

    Hortensia Anderson is the author of numerous chapbooks as well as a volume of poetry, Trust (fly-by night press, 1995).  She maintained an interest in renga and other forms of collaborative poetry with other poets around the world and explored paintings by Frido Kahlo and Georgia O'Keeffe via ekphrastic poems.

    In her words:
    "My creative interest lies in the opportunities for collaborative poetry projects on the internet.  I have been able to work with poets from Europe, Australia, Asia, and from coast to coast in the US.  I currently reside in nyc and on the world wide web."
    and
    "[Frida Kahlo's] 
    art speaks to me both as a poet and as one living with the most faithful of companions - Pain.  As Kahlo demonstrates so vividly, Pain keeps us on the razor's edge between desperation and inspiration."

    Some of her writings may be read on her following blogs:- 
    http://hortensiaanderson.blogspot.com
    http://hortensiaanderson-ekphrasis-1.blogspot.com
    http://hortensiaanderson-ekphrasis-2.blogspot.com

    Her work has been published in Frogpond, The Heron's Nest, Ribbons, Simply Haiku, The Mainichi Daily News, Asahi Haikuist Network, tinywords, Lynx, Haijinx, Hermitage, Woodnotes, South by Southeast, Modern English Tanka Quarterly, Contemporary Haibun, Haibun Today,Prune Juice, Ambrosia, Concise Delight, Modern Tanka and Haibun Prose, and moonset.

    Awards and Other Honors:Include Best of 2002: Haiku in English, The Mainichi Daily News; 5th Annual Suruga Baika Winner; Honorable Mention, Mainichi Contest (2003); Tanka Splendor Awards (2003, 2004); and Third Prize, Kusamakura (2004). Her work has been selected to appear in various anthologies, including edge of light: The Red Moon Anthology of English-Language Haiku 2003 (Red Moon Press, 2004), dust of summers: The Red Moon Anthology of English-Language Haiku 2007 (Red Moon Press, 2008); Rose Haiku for Flower Lovers and Gardeners (Price-Patterson, Ltd., 2005); The Five-Hole Flute (MET Press, 2006); The Tanka Prose Anthology (MET Press, 2008); Ash Moon Anthology: Poems on Aging (Lulu Press, 2008); and Take Five: Best Contemporary Tanka (MET Press, 2009).

    Books Published:Trust ( fly-by-night press, 1994) [ISBN 0-9639585-1-8]; Georgia on My Mind (Imp Press, 1992); Awareness of Rose (Imp Press, 1993); Beg, Borrow or Steal (Betty Elyse Press, 1994); Living in Frida's Body (Imp Press, 1995); The Plenitude of Emptiness: Collected Haibun (Darlington Richards, 2010).

     

    Read a selection of her haiku.

     

  • Anderson, Hortensia

    Hortensia Anderson

  • Childs, Cyril

    Cyril ChildsCyril Childs

    (1941 – 2012)

    I venture to claim that haiku is currently alive and thriving in the Shaky Isles[New Zealand]. To my eyes the future looks rosy - and I’m confident it will be rosy - just as long as the passion for the form and the voluntary efforts evident today are maintained or surpassed in the future.”

    (“Haiku 45 South” by Cyril Childs, delivered at the fourth Haiku Pacific Rim Conference (Terrigal, Australia) in September 2009 and published in Wind over Water, the Conference Proceedings)

    Cyril Childs was a cricketer, scientist, leading haiku poet and editor of national haiku anthologies in New Zealand. He was born in Invercargill in 1941. He became intrigued with haiku while living in Matsuyama, Japan for several months during 1989-90. He was a past-president of the NZ Poetry Society, edited both of the NZ Haiku Anthologies published by the NZPS (1993,1998) and co-edited Listening to the Rain (Small White Teapot Group, Christchurch, 2002) – an anthology of haiku and haibun by Christchurch writers.

    His own book, Beyond the Paper Lanterns: A Journey with Cancer, dedicated to his first wife, was published in 2000. That same year a copy was carried to the summit of Mt Fuji in Japan by American haiku poet Jerry Kilbride in a climb organised by the US Breast Cancer Fund. In a piece published in 2006 Cyril wrote: "Jerry read from the book to the climbers the night before their ascent and he carried it to the summit. After the climb Jerry had everyone write a message in the book and returned it to me. It will remain a precious thing to me and my family."

    Cyril judged three NZPS haiku competitions and was co-judge, with Jerry Kilbride, of the HSA's Henderson Award in 2000. Cyril also wrote in other poetic forms like free verse. His poetry appeared widely in international magazines and anthologies such as contemporary haibun online, Modern Haiku, Frogpond and Wind over Water: an anthology of haiku and tanka and in New Zealand journals, including Poetry NZ, JAAM, Kokako, CommonTatta and Bravado. His book reviews appeared in JAAM, New Zealand Books and on the NZ Poetry Society website. Childs also had a keen interest in sports such as rugby and cricket and in 2010 appeared in the cricket poetry anthology A Tingling Catch: A Century of New Zealand Cricket Poems 1864-2009.

    After a career as a scientist, Cyril retired to Port Chalmers in a home overlooking Otago Harbour and also enjoyed spending time at his beloved bach (crib) in Riverton. A biography of his uncle's wartime exploits absorbed most of his writing energy in later years. The book was under contract for publication at the time of his death.  Childs died on 27 January 2012, only a few months after himself being diagnosed with cancer. He is survived by his son Norris, his daughter Lia and his second wife Christine.

    Some publications:

    • New Zealand Haiku Anthology, edited by Cyril Childs (New Zealand Poetry Society, Wellington, 1993);
    • The Second New Zealand Haiku Anthology, edited by Cyril Childs (New Zealand Poetry Society, Wellington, 1998);
    • Beyond the Paper Lanterns: A Journey with Cancer, by Cyril Childs (Paper Lantern Press, Lower Hutt), 2000 - prose, free verse and haiku;
    • Listening to the Rain, edited by Cyril Childs and Joanna Preston (Small White Teapot Group, Christchurch, 2002). Highly Commended by the Haiku Society of America Merit Book Awards, 2003;
    • A Tingling Catch: A Century of New Zealand Cricket Poems 1864-2009, edited by Mark Pirie (HeadworX Publishers, Wellington, 2010) included haiku by Cyril Childs, Andre Surridge and Tony Beyer;
    • Wind Over Water: an anthology of haiku and tanka by delegates of the Fourth Haiku Pacific Rim Conference, edited by Dawn Bruce and Greg Piko, 2009.

    Selected haiku:

    no name
    for its colour
    tea-table rose

    (Modern Haiku XXV: 1)


    full white moon
    touching . . . not touching
    the top of the hill

    (Frogpond XVI: 2, 1993)


    daylight saving ends —
    an early recall
    to the cancer clinic

    (Beyond the Paper Lanterns, (Paper Lantern Press) 2000)


    amidst mountains
    she pauses to admire
    violets

    (Frogpond XXIII: 1)


    tea break
    a sparrow at point fossicks
    among the seed-heads

    (Poetry NZ 25, 2002; A Tingling Catch, 2010)


    me
    pulling
    the weed
    pulling
    me

    (Kokako 2, 2005)


    better than ever
    in my neighbour's garden
    my old roses

    (Kokako 3 (modified) 2005)

     

    winter morning
    the lame goose lagging a little
    behind its gaggle

    (Presence 27, 2005)


    wind over water
    so easily the cormorant
    one to the other

    (Kokako 10, 2009)


    for tonight enough
    the stars...
    the black sky

    (Kokako 13, 2010)


    backyard cricket
    Dad and I pick up
    the kitchen window

    (Kokako 14, 2011; A Tingling Catch (Mark Pirie ed.) 2010)

     

    bouncing ball
    beating the giggling boy
    down the zig-zag

    (Kokako 14 (modified)

    Cricket song III:

    out-swinger
        nicks a thigh-pad –
        the umpire’s finger

    wobbles

    french cut for 4 –
        the new batsman hastens
        to adjust his pads

    close of play –
        shadows of trees
        seep over the pitch

    (From A Tingling Catch: A Century of New Zealand Cricket Poems 1864-2009, edited by Mark Pirie [Wellington: HeadworX, 2010])

    Sources:

  • Creighton, Kat

    Kat Creighton

     

    (1955 – 15 January 2014)

    In January 2014 the haiku community was shocked and saddened to hear that fellow writer Kat Creighton has passed away.

    Kat Creighton was born into a large Irish Catholic family in 1955. Throughout high school she was writing for the school newspaper. Later she earned a BA in English from Kean University specializing in Creative Writing where she had her first poem published in their literary journal “Grubstreet Writer”.

    Although she loved writing, nothing seemed quite right until in her adulthood she rediscovered haiku while reading a novel relating to Japanese culture. The has studied the short forms ever since. In the 1990s through the internet, she came along the World Haiku Club and authors like Basho, Issa, and Masajo Suzuki. She admired Masajo Suzuki's sensitive haiku and relied on them as sources of education and constant inspiration. To Kat the connection between nature and human nature was spiritual as well as physical. And being a photographer as well as a poet, Kat combined words and images to create the Japanese poetic form known as haiga. As her home was on the New Jersey coast, she often focused her work on the maritime landscape that she knew and loved. She featured it in online journals and in her blog called “My Ninth Life” during the past several years.

    Kat Creighton’s haiku have been published in several electronic journals, including World Haiku Review, Short Stuff, Moments, Visual Haiku, Pegasus Dreaming and temps libres. Creighton’s haiku and haiga have appeared in A Hundred Gourds, Haiga Online, Sketchbook, and Simply Haiku.

    Kat’s advice for haiku writers:  “What speaks to you personally - that will make for your best writing.”

     

    nearing sixty…
    and still the desire
    to fly

     

    http://www.pinterest.com/umisprite/pins/

    http://simplyhaikujournal.com/past-issues/summer-2012/simply-haiga/kat-creighton.html

    http://ahundredgourds.com/ahg11/haiga20.html

     

     

    Read a selection of her haiku

     
  • Creighton, Kat

    Kat Creighton

  • Fraser, Laryalee (Lary)

    Laryalee (Lary) Fraser

    Laryalee was the pen name Lee Fraser chose when she entered the world of poetry. However, most of us in the writing circles knew her best as Lary.

    She was born on Vancouver Island in Canada’s westernmost province, British Columbia.  However, she spent most of her life living in small BC interior towns.  Her employment as a reporter, editor, and photographer for various newspapers helped her to hone skills which she would put to good use as a haiku poet and haiga artist for the last ten years of her life.   

    In 2000, Lary turned to writing – something she’d enjoyed since childhood. She wrote a lot of rhyming poetry, before turning to other forms and styles, many of which appear on various internet sites. In 2002, she started composing haiku. It was here she found her niche. Although Lary also wrote haibun and tanka, she is probably best known through her haiku and haiga.

    Lary was a member of several on-line work shopping forums including WHC Multimedia, Haiku Hut, and AHA. She was a well-respected and much-loved moderator on the AHA Haiku and Haiga Forums, where her generosity and self-effacing nature were felt by all. Many remember her as a mentor and friend, and owe her a great deal of gratitude for her time, compassion, and constant encouragement and support.

    Lary’s haiku, tanka, and haiga have appeared in Ambrosia, Asahi Haikuist Network, Atlas Poetica, Chrysanthemum, Clouds Peak, f/k/a, Frogpond, Haiga Online, Haiku Harvest, Hermitage 3, Magnapoets, Mainichi Daily News, Notes from the Gean, Roadrunner, Shamrock, Shiki Internet Kukai, Short Stuff, Simply Haiku, Sketchbook, The Heron’s Nest, Tinywords, Wisteria, World Haiku Review and, posthumously, in A Hundred Gourds and Cattails.

    A selection of her work is available on three of her own websites:

    a leaf rustles 

    Lary's poetry and art 

    Rustles: Lary's blog 
     

    She was also very proud of the anthology she compiled with haiku by some of her friends

    a procession of ripples  

    Awards and Other Honors:

    Vancouver Cherry Blossom Festival Contest 1st place, 2010
    Vancouver Cherry Blossom Festival Contest (HM or Sakura Awards), 2006 – 2009
    Mainichi Daily News 2nd place in Annual Selection, 2005
    Shiki Internet Kukai 1st place, August 2005 (free), November 2005 (free theme), April 2006 (free theme), July 2006 (kigo and free)
    Shiki Internet Kukai 2nd place, July 2005 (kigo), December 2005 (kigo)
    Shiki Internet Kukai 3rd place, February 2005 (free), April 2005 (kigo) February 2006
    The Katikati’s Haiku Pathway in New Zealand 2007

     

    Read a selection of her haiku

     
  • Fraser, Laryalee (Lary)

    Laryalee (Lary) Fraser

    August 22, 1940 – October 16, 2013

  • Kanterman, Leroy

    Leroy Kanterman

    Leroy Kanterman(1923-2015)

    Leroy Kanterman, the cofounder and President of the Haiku Society of America, was born on 2 October 1923 and for many years lived in Forest Hills, Queens, N.Y. During the World War II he served in the U.S. Army.

    The Haiku Society of America, created in the winter of 1968–69, was the first formally structured organization devoted solely to Western haiku, and it remained the only one for a number of years. On the evening of 23 October 1968, twenty-three men and women met at Asia House in New York City. Harold E. Henderson, with help from Leroy Kanterman and encouragement from the Japan Society of New York, was responsible for the meeting. Kanterman was chosen to head the group that was known at first simply as the Haiku Society. Regular monthly meetings were scheduled, and these were usually held in rooms of the Asia Society or at the offices of the Japan Society. Simple bylaws were drawn up and adopted at the April 1969 meeting and with this the group became the Haiku Society of America. Leroy Kanterman served as its President in 1968–69, and 1972. Over the years the society has grown to embrace over 800 members from all parts of the United States and the world. Meetings, readings, workshops, awards programs, and various publications have provided members with stimulation and opportunities to learn about haiku and related art forms and to share their work with a wide variety of people who have an interest in haiku. The Haiku Society of America has played and continues to play a vital role in the English-language haiku movement.

    The Society's journal, Frogpond, has been published since 1978 and appearing three times per year, it contains haiku and related forms of poetry, articles, reviews, contest results, announcements of the Society, and haiku-related news.

    Leroy Kanterman was also the Editor of one of the earliest English-language haiku magazines Haiku West. The magazine was edited and published by Leroy Kanterman in New York City, and appeared twice a year from June 1967 until January 1975. More traditionally oriented, the magazine published many quality haiku and senryu. After the formation of the Haiku Society of America in the winter of 1968–69, Haiku West served as its voice.

    The establishment of the American Haiku Archive at the California State Library in Sacramento provided for the first time a focal point and central repository for the American haiku movement. The inauguration of the archive was celebrated in ceremonies on 12 July 1996. It was dedicated to the collection, preservation, and promotion of all haiku and related poetry as a vital component of literature in the English language. A prominent American haiku poet has been selected each year as honorary curator. In recognition of Kanterman’s many decades of haiku writing and his cofounding of the Haiku Society of America, he was appointed as the 2002-2003 honorary curator of the American Haiku Archives.

    In 2005 in memory of his late wife, Mildred, Leroy Kanterman made a generous donation to the Haiku Society of America and the HSA Merit Book Award for best first book of haiku was awarded. Sadly Leroy Kanterman died in early October 2015 and in his honour the HSA Executive Committee has decided to rename this award for the first place book, "The Leroy and Mildred Kanterman Memorial Award." [HSA Newsletter, Nov. 5, 2015]

    Books & Magazines by Leroy Kanterman:

    • Magazine Editor. Haiku west. Forest Hill, N.Y. : L. Kanterman, 1967-75.
    • The ram's horn: a collection of haiku-senryu. Kanterman, 1967.

    Selected works:

    That lazy windmill
    Snoozing in the summer sun
    Beckoning the breeze.

    (Haiku Highlights 2:8, August 1966, 9)


    Breaking the whiteness
    Playful sparrows darting thru
    This morning snowfall.

    (Haiku Highlights 2:11, November 1966, 5)

    Beyond the breakers,
       mist rides on morning wind
          and fishermen stare…

    (American Haiku 5:1, 1967, #70; Ram’s Horn, L.Kanterman, 1967, 21)

    Proclaiming autumn –
       lake-side birches and maples
          spreading their banners.

    (Ram’s Horn, L.Kanterman, 1967, 9)

    On the water front –
       pile upon pile of slag heap
          and the smell of fish.

    (American Haiku 5:2, 1967, #48)

    The field now bare
       and on the Scarecrow’s arm
          a crow has perched.

    (Haiku West 2:2, January 1969, cover)


    Across the old stump,
       a spate of scattered leaves
          overlaps its shape.

    (Ram’s Horn, L.Kanterman, 24; Modern Haiku 1:1, winter 1969)


    Softly on a leaf
       expanding and contracting
          silent butterfly

    (Haiku Highlights 1966; Met on the Road, Higginson, 1993, 9)


    Visiting the graves
    seeing the place
    reserved for me

    (Frogpond 21:1, 1998, 44)


    just turned 90
         the nights
              seem darker

    (Frogpond; Fall 2013, Vol. 36 Issue 3, p.5)


    Sunset . . .
    the scarecrow stretches
    across the field

    (Frogpond 13:3, August 1990, 25; How to Haiku: A Writer's Guide to Haiku and Related Forms by Bruce Ross, Tuttle Publishing (2014), p.16)


    winter evening
       only my thoughts
          give warmth

    (Frogpond; Spring/Summer 2014, Vol. 37 Issue 2, p.5)

    Sources:

    http://www.americanhaikuarchives.org/curators/LeroyKanterman.html
    http://www.hsa-haiku.org/about-hsa.htm
    http://www.thehaikufoundation.org/2010/10/16/essence-4/
    http://www.modernhaiku.org/essays/AmHaikuMovement1.html

    Our warm thanks go to Charles Trumbull who for several years he has been compiling the Haiku Database, and allowed us to use it for our haiku researches!

  • Kanterman, Leroy

    Leroy Kanterman

    RIP

    1923-2015

    Tribute Page

     

  • Lucas, Martin

    Martin LucasMartin Lucas

    (1962 – 2014)

    Martin Lucas, a remarkable haiku poet, essayist, founder and editor of Presence, was found dead in April 2014. His unexpected death shocked the haiku community and resulted in some very touching tributes by fellow haiku poets and friends.

    Martin was born in 1962 in Middlesbrough, England.  He lived and worked in Preston.  He had a B.A. in English Literature from the University of Kent at Canterbury, and an M.A. in Religious Studies from Lancaster University, which included a dissertation on Zen Buddhism.  In 2001 he was awarded a PhD in Creative Writing by the University of Wales, Cardiff, for his thesis, Haiku in Britain: Theory, Practice, Context. Martin was president of the British Haiku Society (from 2003 to 2006) and author and co-editor of several books and anthologies. Martin was also a keen bird-watcher and he kept extensive records of his bird sightings and regularly assisted local groups and the British Trust for Ornithology in their efforts to monitor bird population patterns.  Some of Martin’s bird haiku were included in two nature-oriented anthologies.

    Martin’s “first ‘live’ encounter with haiku took place in the autumn of 1986 at the beginning of a Creative Writing course at the City Lit., Holborn, London, tutored by Mark Williams” (Blithe Spirit, Volume 6 Number 4, December 1996) but his first publications appeared on the pages of Blithe Spirit in the early 1990s. In his tribute to the late Martin Lucas his friend and fellow poet Matthew Paul writes that by 1994 Martin had not only “developed his own style to the point where he was writing classic haiku and his first tanka”, but with each new publication he “continued to hone his style further” and was widely recognised and later featured in numerous anthologies. Martin’s first collection of haiku, bluegrey, was published in 1994; followed by five more until his untimely death in 2014.

    Martin joined the British Haiku Society in 1992, and four years later in 1996 with assistance from David Steele, founded Presence – a haiku magazine, specialising in publishing high quality haiku, senryu, tanka, renku and related poetry. “Martin had started preparing for its fiftieth issue at the time of his death. The 49 issues ofPresence that Martin oversaw contain a wealth of contributions from English-language haiku poets across the world; a true global village of like-minded souls who were guided by Martin’s unwavering pursuit of excellence and his encouragement of new talent, intellectual standards and debate of the highest order.” (Matthew Paul, A Hundred Gourds 3:4 September 2014)

    Books and Anthology publications:

    • bluegrey (Hub Editions, 1994);
    • Darkness and Light (1996, Hub Editions);
    • ..Click.. (Hub Editions, 1998);
    • Violin (Bare Bones Press, 1998);
    • Moonrock (Ram Publications, 2002);
    • Earthjazz (Ram Publications, 2003);
    • Stepping Stones: a way into haiku (British Haiku Society, 2007).

    and the anthologies:

    • The Iron Book of British Haiku, ed. by David Cobb and Martin Lucas (Iron Press, 1998);
    • The New Haiku, ed. by John Barlow and Martin Lucas (Snapshot Press, 2002);
    • the tanka anthology, ed. by Michael McClintock, Pamela Miller Ness and Jim Kacian (Red Moon Press , Dec. 2003);
    • Wing Beats anthology, ed. John Barlow and Matthew Paul ( Snapshot Press, 2008);
    • Where the River Goes, ed. Allan Burns (Snapshot Press, 2013).

    Selected work:

    song of a greenfinch;
    a ray of sun on cold steps
    and a few snowdrops…

    (Blithe Spirit, Volume 3 Number 3, July 1993)

    *

    evening hush…
    a tabby cat
    slips through the railings

    (Blithe Spirit, Volume 4 Number 1, February 1994)

    *

    a dab of red
    in the leafy garden:
    the gnome's hat

    (Bluegrey, 1994)

    *

    after the goodbye kiss
        the sweetness
           of a russet apple

    (Museum of Haiku Literature Award, Blithe Spirit, Volume 5 Number 2, May 1995)

    *

    train to catch I listen to your violin

    (Violin, 1998)

    *

    with each breath
    the pan piper's
    eyebrows

    (Moonrock, 2002)

    *

          a light rain …
    sweeping the moor
       the peewit’s cry

     

    seed of the reedmace –
    the skylark rising
    into a wide sky

    (Wing Beats, Snapshot Press, 2008)

    *

    a moment before sunrise –
         ice singing
                beneath the swans’ feet

    (Winner of the Katikati Haiku Contest, 2010)

    *

    on Ascension Day
    looking to the sky
    swifts
    spin on the wind
    rain falls

    (the tanka anthology, ed. by Michael McClintock, Pamela Miller Ness and Jim Kacian, Red Moon Press , Dec. 2003)

    *

    whatever it is,
    the swallows’ word
    for sparrowhawk —
    I hear them crying it
    over the fields

    (Skylark, Summer 2014)

    *

    too much light
    in the darkness
    and not enough silence
    in the quietness
    of a winter night

    (Skylark, Winter 2014)

    Some articles:

  • Major, Robert

    Robert MajorRobert Major

    (9 August 1920 – 18 May 2008)

    Robert Major was born on 9 August 1920 in Cranston, Rhode Island. Robert spent his childhood in Wickford, Rhode Island, later moving to Columbus, Ohio and graduating from North High School in 1937. He served in Europe during WWII as member of the 9th Air Corps, 404th Fighter Group. After the war, he studied at Georgetown University in Washington, DC and earned a degree in Foreign Service. He worked for the government in Washington, DC and in Montreal for several years. He was a professional editor for McGraw Hill in New York before moving to Washington State and the University of Washington Office of Publications. While there, he earned a degree in Fine Arts. He was an advocate for peace, and was instrumental in the founding of the Peace Park in Seattle. He was a lifelong Quaker and a lover of flowers (especially dahlias and dianthus) and his work often illustrates his commitment to the one and his passion for the other.

    Robert was a longtime member of the Haiku Northwest group, and most recently attended meetings of the Port Townsend haiku group. In 1997 he published a chapbook of haiku Shadows on the Shoji. He said in this book that he had started writing haiku in 1990. He also served for two years as the regional coordinator for the Northwest region of the Haiku Society of America. His haiku were published in numerous journals in the United States, Canada, Australia, and Japan. He leaves a haiku legacy that exhibited a distinctive style, usually in a 5-7-5 pattern, or close to it, and with memorable, well-wrought images. He was published widely in all the major journals throughout his long and productive career and won several national and international haiku awards.

    Robert Edwin Major died 18 May 2008 at the Hospice Care Center in Bremerton, Washington. He lived a life of simplicity, generosity, and kindness and will be greatly missed by his sisters, their families and many friends. Robert is survived by two sisters, Helen “Betty” Major and Mary Jane Leche and her husband The Rev. Edward D.

    Awards and Other Honours:

    His book Coasting through Puddles: Haiku of Childhood won the Virgil Hutton Haiku Memorial Award 2001 – 2002. Robert has also won several national and international haiku awards. He served for two years as the Regional Coordinator for the Northwest Region of the Haiku Society of America.

    Books Published:

    • Sunlight through rain: a Northwest haiku year, by Robert Major, Francine Porad, 58 Pages, 1996;
    • Shadows on the Shoji (Quahog Press, 1997);
    • Coasting through Puddles: Haiku of Childhood (Saki Press, 2001);
    • refuge  - haiku by Robert Major  (ed., Jim Kacian, Red Moon Press postscripts series volume 7, 2008).

    Anthologies:

    • Haiku in English : the first hundred years, ed. by Jim Kacian; Philip Rowland; Allan Burns, W.W. Norton & Company, (2013);
    • No Longer Strangers: Haiku Northwest Twenty-Fifth Anniversary Anthology, ed. by Tanya McDonald, Marilyn Sandall, Michelle Schaefer, Angela Terry, Connie Hutchison, Haiku Northwest / Vandina Press, (4 April 2014).

    Selected haiku:

    Among the great stones
    set to defend the castle . . .
    young ferns find

    (Second Prize, Kusamakura Haiku Contest, 1999)

    *

    silent Friends meeting . . .
    the sound of chairs being moved
    to enlarge the circle

    (The Heron’s Nest IV:8, 2002; Haiku in English : the first hundred years, 2013)

    *

    Wakened by birdsong;
    drifting from one world of dreams
    into another

    (First Place (shared), British Haiku Society, James J. Hackett Haiku Contest, 1999)

    *

    Reading fairytale
    for the third time... grandpa caught
    skipping paragraphs


    Easter egg hunt;
    guiding the steps of the toddler
    who hasn't found any


    Playing hide-and-seek
    on a long summer's evening...
    called home one by one

    (Coasting through Puddles: Haiku of Childhood,2001)

    *            

    In the far corner
    at the bottom of the grave . . .
    pair of digger’s footprints

    (Frogpond XXIV:2 , 2001)

    *

    wish made . . .
    concentric ripples
    spread away

    (The Heron’s Nest, Volume IV, Number 1: January, 2002)

    *

    Sometimes I think . . .
    you would answer the phone
    if I were to call

    (The Heron’s Nest VIII:4 (For Francine Porad, 2006); refuge (ed., Kacian, Red Moon Press postscripts series volume 7, 2008).

    *

    the flute’s first notes . . .
    three lavender petals fall
    from the arrangement


    reaching a wide stream . . .
    the trail continues
    on the other side

    (Haiku Northwest 2008)

    Sources:

  • Marisova, Svetlana

    Svetlana Marisova

    March 17, 1990 - September 7, 2011

    Svetlana Marisova was born the only child of a family who knew social and religious persecution in post-Soviet Russia.  The family moved to New Zealand in 2004.  In her later teens she responded to a perceived call to the cloistered life of contemplative prayer. A diagnosis of terminal brain cancer in late 2009 curtailed the way she was able to live out this vocation. 

    Over the remaining two years of her life she wrapped her past and present in even greater cloistered mystery while she tried to come to terms with her future.  Fascinated by language as much as she was by the interior silence of contemplation, she gravitated to the combination of both that she could find in writing haiku.  In a similar paradoxical manner she hid herself from the world while she reached out  to it through the anonymity of human interaction via the social networking complexities of the internet.  In cyber-companionship with Ted van Zutphen she worked out her identity as girl/woman, nun/social butterfly, contemplative/wordsmith as together they wrote and studied haiku via digital communications.

    Her work has appeared in Contemporary Haibun OnlineContemporary Haibun vol.12Haiga OnlinehaijinxNotes from the GeanSimply HaikuFrogpondMainichi Daily News, Haiku Society of America haiku wall in Bend, Oregon, and Gong (Association Francophone de Haiku). Articles about her work have appeared in Simply HaikuGong, and Haiku Reality. Some of her poems have been included posthumously in the anthologies, The Temple Bell Stops: Contemporary Poems of Grief, Loss, and Change [edited by Robert Epstein] (Modern English Tanka Press, 2012); We Are All Japan [edited by Robert D. Wilson and Sasa Vazic] (2012); and Take Five: Best Contemporary Tanka, Volume 4 (2012).

    Some of her writings are available on her blog at http://marisova.com and on http://theartofhaiku.com, that she created as a repository for haiku in collaboration with Ted van Zutphen.  Both sites continue to be maintained by her friends.

    Awards and Other Honors: First Place, Shiki Kukai 9th Annual Poets’ Choice Awards (2011); Honorable Mention, Vancouver Cherry Blossom Festival Haiku Invitational (2011).

    Books Published: Be Still and Know by Svetlana Marisova and Ted van Zutphen (Karakia Press, 2012); Language and Silence by Svetlana Marisova (Karakia Press, 2014).

     

    A selection of her haiku.

  • Murtha, H. Gene

    H. Gene Murtha

    Born 1955 in Philadelphia, Pennsylvania, USA
    Lived in New Jersey, USA
    19 October 1955 – 9 October 2015

  • Peixoto, Afrânio

    Afranio PeixotoAfrânio Peixoto

    (1876 – 1947)

    Afrânio Peixoto was born on 17 December 1876 in Lençois, Bahia. He was a physician, professor of

    Legal Medicine, writer, poet, founder of the Brazilian Academy of Philology and member of Academia Brasileira de Letras. He started writing in 1900 and published more than 30 works, among them, drama, romance, biographies, and more - Rosa Mística (1900), Trovas brasileiras (1919), História da Literatura brasileira (1930), Miçangas (1931) etc.

    It was Peixoto who made haiku known to readers when he published in 1919 his book Popular Brazilian Trovas (Trovas Populares Brasileiras). This book contains a collection of 1000 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 at least a pair of ending rhymes in the second and fourth verses. As Peixoto states in the Preface of his book, trova “is our most basic art form,” since it contains “a fugitive state of the soul, a long hug of the heart, desire, complaints, satisfaction, malice, judgment . . . reported to others with sincerity and simplicity.” It is also in the preface that the term haikai is mentioned. According to the author, the Japanese also have their elemental form of art: the haikai. For him, haiku is a lyric epigram, i.e., a small poetic form, poignant or critical.

    Between 1904 and 1906, Peixoto was in several European countries in order to acquire new knowledge. By this time Paul-Louis Couchoud (1879 – 1959), a young medical student and writer, and two friends were publishing Along the Path of Waters (Au fil de l’eau) (1905), containing 72 Japanese poems. In 1904, Couchoud went to Japan to spend a year studyingJapanese language and culture, and a year later, he published his poems. Peixoto mentions Couchoud in a footnote in the preface of his book of trovas, referencing Couchoud’s book Asian Sages and Poets (Sages et Poets d’Asie), which republished the author’s haiku. The mention of haiku in Peixoto’s book is brief, and offers four examples of haiku for comparison with trova, from where the haiku below was extracted:

    Esta corola de lírio
    Quer continuamente
    Me voltar as costas

     

    This lily’s corolla
    wants continuously
    to turn its back to me

    In 1931, Peixoto again published haiku in his book Beads (Missangas). This book contains an essay on haiku, “The Japanese haiku or Lyric Epigram” (“O Haikai Japonês ou Epígrama Lírico”) followed by 52 haiku, almost all of them with a rigid metric of 5-7-5 syllables and a title in capital letters:

    SÓ OS OUSADOS SÃO FELIZES

    Sem pedir, o vento
    Derruba as flores do chão . . .
    Eu nunca ousei.

     

    ONLY THE BRAVE ARE HAPPY

    Without asking, the wind
    Sheds the flowers on the ground . . .
    I never dared.

    On 5 October 1934 Afrânio Peixoto was awarded the Grand Cross of the Military Order of St. James of the Sword of Portugal. He was also Rector of the University of the Federal District in 1935 and after 40 years of outstanding service, he retired. Afrânio Peixoto died in Rio de Janeiro on 12 January 1947 at the age of 70 years.

    Books published:

    • Rosa mística - drama (1900)
    • Lufada sinistra - novela (1900)
    • A esfinge - romance (1911)
    • Maria Bonita - romance (1914)
    • Minha terra e minha gente - história (1915)
    • Poeira da estrada - crítica (1918)
    • Trovas brasileiras
    • Parábolas
    • José Bonifácio, o velho e o moço - biografia (1920)
    • Fruta do mato - romance (1920)
    • Castro Alves, o poeta e o poema
    • Bugrinha - romance (1922)
    • Ensinar e ensinar
    • Dicionário dos Lusíadas - filologia (1924)
    • Dinamene
    • Arte poética - ensaio (1925)
    • As razões do coração - romance (1925)
    • Camões e o Brasil - crítica (1926)
    • Uma mulher como as outras - romance (1928)
    • Sinhazinha (1929)
    • Miçangas
    • Viagem Sentimental
    • História da literatura brasileira
    • Castro Alves - ensaio bibliográfico (1931)
    • Panorama da literatura brasileira
    • Pepitas - ensaio (1942)
    • Amor sagrado e amor profano
    • Despedida
    • Obras completas
    • Indes
    • É
    • Breviário da Bahia
    • Livro de horas

    Selected work:

    Na poça da lama,
    Como no divino céu
    Também passa a lua

     

    In mud puddle
    as the divine sky,
    Also passes the moon.

    *

    A BELEZA ETERNA

    O sabiá canta,
    Sempre uma mesma canção:
    O belo não cansa.

     

    EVERLASTING BEAUTY

    The mockingbird sings,
    Always the same song:
    The beautiful does not tire.

    *

    COMPARAÇÃO

    Um aeroplano
    Em busca de combustível . . .
    Oh! é um mosquito.

     

    COMPARISON

    An airplane
    In search of fuel . . .
    Oh! it’s a mosquito.

    *

    CRÍTICA À CRIAÇÃO

    O boi come a grama
    E nós o boi. Deus não teve
    Imaginação.

     

    CRITIQUE OF CREATION

    The ox eats the grass
    And we eat the ox. God had no
    Imagination.

    (Trovas Populares Brasileiras, Rio de Janeiro [etc.] F. Alves, 1919)

    This profile was created in collaboration with the Brazilian poet Rosa Clement. We are very grateful for her help and support! 

    Sources:

    Zen in Brazil: The Quest for Cosmopolitan Modernity” by Christina Rocha, University of Hawaii Press, 2006.

  • Reichhold, Jane

    Jane ReichholdJane Reichhold

    Born 1937 in Lima, Ohio, U.S.A.
    Died in 2016

    I’ve been writing haiku since the 1960s and have published over 40 books of haiku, renga, and tanka. I have translated 7 books from the Japanese with the best seller being Basho The Complete Haiku. Writing and Enjoying Haiku, also published by Kodansha, along with A Dictionary of Haiku, by AHA Books, are still often on Amazon’s best-seller list. The latest tanka book, was translated with Machiko Kobayashi from Akiko Yosano’s most famous book, Midaregami – Tangled HairAHApoetry.com was started in 1995 and  AHAforum is the place poets meet online since 2006.

  • Španović, Marinko

    Marinko SpanovicMarinko Španović

    (1955-2011)

    Marinko Španović was born in Samobor, Croatia in 1955. He has been writing within the literary group ‘Katarza’ in Samobor since 1975. His haiku have been published in many haiku journals and magazines, such as South-West, Daily Yomiuri, Mainichi Daily News, Feasta, Woodpecker, and others. Marinko edited over 30 haiku collections and anthologies, and wrote a number of book reviews. He was a selector and a translator to and from English, presented in many anthologies. Marinko has published six books: two books of poetry and four bilingual haiku collections. He was also an editor at Sparrow (Vrabac) – the magazine of the Croatian Haiku Association. Marinko was not only one of the most presented Croatian haiku poets but he also won numerous awards and honours both national and international.

    Marinko Španović died unexpectedly in Samobor on 8 July 2011.

    Awards and Other Honours:

    • Third Place, 300th Anniversary of Basho's 'Oku No Hosomichi' and Days of Japanese Culture and 'NHK' Japanese TV (1988);
    • Mainichi Haiku Contest (1998);
    • Toranomon Haiku Newsletter by Sakuzo Takada (1999), 101 Haiku (edited by Sakuzo Takada and Fusao Maki); Favourite Haiku, Tom Noyes, Azami Yutaka Ikokku Santo (1998);
    • Commendation by Polish Haiku Society for haiku cyclus Slavonske šume/Forests of Slavonia and for long time collaboration (2000);
    • Choice of haiku, The Herb Barrett Award (Hamilton, Canada, 2000);
    • Mainichi Daily News Haiku Column (June 2001);
    • Commendation, Haiku Calendar/Rokovnik, Ludbreg, Internationl Haiku contest in English (2001);
    • Honourable Mention, HIA 4th haiku contest (2002);
    • Award, Ito-En, International Haiku Contest (2003);
    • First Prize, Haiku Day, Dubravko Ivančan (Krapina, 2003);
    • Third Prize, Kloštar Ivanić Haiku Contest, Croatian language category (2003);
    • Commendation, The 39th A-Bomb Memorial Day (2005), Third Prize, International Kusamakura Haiku Competition (Kumamoto, Japan, 2005);
    • 22nd Prize, Kloštar Ivanić Haiku Contest, Croatian language category (2005);
    • Honourable Mention, Mainichi Haiku Contest (2005);
    • First Prize, Haiku Day, Dubravko Ivančan (Krapina, 2006);
    • Genkissu! Spirits Up! World Wide Hekinan Haiku Contest Award in Japan (2007);
    • Second Prize - Kloštar Ivanić Haiku Contest, Croatian language category (2010).

    Books and some other publications:

    • Planinski vjetar / Mountain Wind, Edition Matsuo Basho, Haiku poetry, Razvigor, Požega (Ex-Yugoslavia, 1988);
    • Duga / The Rainbow, Haiku poetry, Edition Matsuo Basho, Dom kulture Odžaci (Ex-Yugoslavia, 1989);
    • Poljubac svjetlosti / Kiss of Light (Hrvatsko haiku društvo: Samobor, 1995);
    • Brbljanje o neizrecivom / Gassing about the Unspeakable (Hrvatsko haiku društvo: Samobor, 1998);
    • Otvoren put/Free Road, Anthology, editors: Marijan Cekolj, Marinko Spanovic, Samobor 1999);
    • haiku selected for inclusion in William J. Higginson's Haiku World, An International Poetry Almanac (Kodansha International, 1996);  
    • 10 haiku selected for inclusion in A. Duhaime's Canadian Anthology, Haiku Without Borders (1998); haiku selected for inclusion in Knots: The Anthology of Southeastern European Haiku Poetry [edited by Dimitar Anakiev and Jim Kacian] (Prijatelj, Slovenia, 1999; distributed by Red Moon Press).

                                                           

    Selected work:

    dječji crtež
    iste su boje tenk
    vojnik i sunce

     

    a child's drawing:
    the same color for tank,
    for soldier, and sun

    (Haiku in Wartime (Croatian Haiku Association, 1992); also in Frogpond 22:2 (1999)

    *

    nastupa zima;
    očevim češljem gladim
    svoju kosu

     

    winter setting in;
    with my dad's comb
    I stroke my hair

    (Third Prize, International Kusamakura Haiku Competition (2005)

    *

    proljetna kiša
    poskakuje poklopac
    zakipjelog graha

     

    spring rain—
    the lid is hopping
    over boiling beans

    (Third Place, 300th Anniversary of Basho's 'Oku No Hosomichi' and Days of Japanese Culture and 'NHK' Japanese TV (1988)

    *

    pružajući ruku
    kojom prosi, skriva drugu
    koje nema

     

    extending a hand
    the beggar hides the other
    he hasn't got

    (William J. Higginson: Haiku World, An International Poetry Almanac (Kodansha International, 1996)

    *

    ledeni siječanj
    kosti drveća škrguću                                
    u zubima sunca

     

    iced January
    trees’ bones gnashing
    in the sun’s teeth

    ( 7. haiku dan/7th Haiku Day - Dubravko Ivančan, Krapina 2006 - 1. nagrada/1st Prize)

    *

    božićno jutro:
    tri ljeta od očeve smrti
    miriše škija

     

    Christmas morning;
    three years from my dad’s death
    the smell of his tobacco...

    (Haiku Calendar/Rokovnik, Ludbreg 2001, Internationl Haiku contest in English – Commendation)

    *

    munja terasom
    a potom grmljavina
    napuni prazne čaše

     

    lightning on the terrace

    afterwards the thunder fills
    ... our empty glasses...

    (Mainichi Daily News Haiku Column, June 2001)

    *

    slijepčev štap
    osluškuje vodu
    u lokvici

     

    a blind man’s stick
    listening to water
    in the puddle

    (Ito-En, International Haiku Contest, Tokyo, Japan, 2003 - 5th Place Award)

    *

    Isa Isa oh,
    kako je teško
    voljeti muhe

     

    Issa Issa
    it’s so hard to love
    the flies

    (101 Haiku edited by Sakuzo Takada and Fusao Maki, Toranomon Haiku, Newsletter by Sakuzo Takada, 1999)

    *

    zimsko jutro
    sestra je osmijehom
    proširila nebo

     

    - Winter morning
    my sister widens the sky
    with her laughter

    (Woodpecker, magazine for sharing haiku, Leeuwarden, Netherlands, No. 2/2002)

    Sources:

  • Speiss, Robert Clayton

    Robert Clayton SpeissRobert Clayton Spiess

    (16 October 1921 – 13 March 2002)

    “A true haiku is an experience experiencing itself.”

    (Speculations by Robert Spiess)

    Robert Spiess, editor of American Haiku and Modern Haiku was born on 16 October 1921 in Milwaukee, Wisconsin.  After graduation from high school, he enrolled at the University of Wisconsin, in Milwaukee, in 1939 but his plans were interrupted by World War II. He was drafted into the Army Air Force and trained as a cryptographer. Perhaps it was his war experience that helped determine the peaceful path he would follow thereafter. He earned his B.S. degree from the University of Wisconsin, majoring in Botany and English, and then received an M.S., with a major in Vocational Guidance.

    Robert became interested in haiku in the late 1930s, through early translations of Japanese haiku.

    In the late ’40s and early ’50s he acquired R.H. Blyth’s four volumes of Haiku, and from then on he became hooked on this poetic genre. Robert Spiess published his first haiku in 1949 in American Poetry Magazine, and he became a participating writer. In 1963, he purchased the premiere issue of American Haiku and two of his poems were published in the second issue. A few years later, he accepted the position of poetry editor for that journal.

    Robert Spiess’ first collection of haiku, The Heron's Legs, was published in 1966 by American Haiku in Platteville, Wisconsin and over the years he published ten more books. He was also the author of several articles and essays on haiku and his poems have been featured in numerous publications and anthologies. The premier issue of Modern Haiku was published in 1969, and ten of Robert's haiku appeared in the second issue. Within a few years, he was appointed associate editor of that journal. In 1977, he published the first of his "Speculations on Haiku" in Modern Haiku, and in 1978, he became that journal's editor and publisher until his death in 2002.

    Robert's countless contributions were integral to the evolution and success of English-language haiku and he was an instrumental mentor in the haiku careers of many contemporary haiku poets.

    Books Published:  

     

    • The Heron’s Legs (American Haiku, Platteville, Wisconsin, 1966);
    • The Turtle’s Ears (Wells Printing Co., Madison, Wisconsin, 1971);
    • Five Caribbean Haibun (Wells Printing Co., Madison, Wisconsin, 1972);
    • The Shape of Water (Modern Haiku Press, Madison, Wisconsin, 1982);
    • The Bold Silverfish and Tall River Junction (Modern Haiku Press, Madison, Wisconsin, 1986);
    • New and Selected Speculations on Haiku (Modern Haiku Press, Madison, Wisconsin, 1988);
    • The Cottage of Wild Plum (Modern Haiku Press, Madison, Wisconsin, 1991);
    • A Year’s Speculation on Haiku (Modern Haiku Press, Madison, Wisconsin, 1995);
    • noddy (Modern Haiku Press, Madison, Wisconsin, 1997);
    • noddy & the halfwit [with Lee Gurga] (Modern Haiku Press, Madison, Wisconsin, 1999);
    • some sticks and pebbles (Modern Haiku Press, Madison, Wisconsin, 2001).

    Some awards and other honours: 

    • In 1988, Robert Spiess was awarded the Haiku Society of America's Special Recognition Award "for a profound, insightful book about haiku".
    • In 2000, in Matsuyama, Japan, Robert was presented with the first Shiki International Haiku Award for his achievement in disseminating and deepening the understanding of haiku in English-speaking countries.
    • From 2000-2001, Robert was Honorary Curator of the American Haiku Archives.

    Selected work: 

    among these willows:
         and breathing the light that falls
              from leaf to green leaf

    (The Heron's Legs, American Haiku, Platteville, Wisconsin, 1966)

    *

    A drive out of town —
    and best of all the billboard
    that a wind blew down

    (Modern Haiku Vol.5:1, 13, 1974)

    *

    Evening in the park
    — and the snow lodging also
    in the statue’s eyes

    (Modern Haiku Vol.6:1, 11, 1975)

    *

    A couch à la Freud, —
    curing souls of sex and things
    by which they’re annoyed

    (Modern Haiku Vol. 6:3, 21, 1975)

    *

    “Canoeing the Bend” [sequence]
    (Modern Haiku Vol.8:3, 12, 1977):

    canoeing the bend —
    a fox in the evening dusk
    mouses in a field


    canoeing the bend —
    a man throwing stones at coots
    turns away


    canoeing the bend —
    motionless, a short-eared owl
    watches from an oak


    canoeing the bend —
    on a sunny ledge of rock
    a rattler stirs


    canoeing the bend
    another bend ahead
    thank you


    canoeing the bend
    in a spit of April snow —
    warblers flying by

    *

    a     square
    of      water
    re f l e c t s
    the    moon

    (The Shape of Water, Modern Haiku Press, Madison, Wisconsin, 1982)

    *

    ice cubes
        aging
            in each one's glass

    (The Bold Silverfish and Tall River Junction, Modern Haiku Press, Madison, Wisconsin, 1986)

    *

    the field's evening fog—
       quietly the hound comes
          to fetch me home

    (The Cottage of Wild Plum, Modern Haiku Press, Madison, 1991); Frogpond 14:4 (1991)

    *

    wild roses . . .
    tarrying beside one
         touched by time

    (From a Kind Neighbor, Haiku Society of America Members’ Anthology 1997)

    *

    walking for my heart...
        so many little karmas
            beneath a step

    (some sticks and pebbles, Modern Haiku Press, Madison, Wisconsin, 2001)

    Some essays:

    • “Multiple-sense Imagery in Haiku”, Modern Haiku Vol.2:1, 15–16, 1970
    • “Notes on Writing Haibun”, Modern Haiku Vol.3:1, 11, 1972 
    • “The Problem of Originality in Haiku”, Modern Haiku Vol.4:2, 30–34, 1973
    • “The Problem of Beauty in Haiku”, Modern Haiku Vol.6:3, 30–32, 1975
    • “The Problem of the Ordinary in Haiku”, Modern Haiku Vol.7:2, 16–17, 1976
      “A Comparison of Characteristics of English Language Haiku and Senryu”, Modern Haiku Vol.7:3, 30–31, 1976
    • “The Problem of Explanation and Interpretation in American Haiku”, Modern Haiku Vol.7:3, 15–17, 1976
    • “A Few Notes on the Now-Moment”, Modern Haiku Vol.8:2, 38, 1977
    • “The Problem of Reading Haiku”, Modern Haiku Vol.8:1, 30–34, 1977
      “Toward a Theory of Fundamental Balance in Haiku”, Modern Haiku Vol.8:1, 39–40, 1977

                     

    Sources:

    http://www.modernhaiku.org/issue33-3/spiessautobiography.html
    http://www.thehaikufoundation.org/poet-details/?IDclient=114
    http://www.haikupoet.com/definitions/speculations.html
    http://www.modernhaiku.org/MH-Archive/authorsO-S.html#s
    http://www.modernhaiku.org/essays/BrooksSpiessHaiku.html
    Wikipedia (Russian)
    An Interview with Robert Spiess by Michael Dylan Welch at (Modern Haiku Vol.33:3, Autumn 2002)

     

  • Stamenković, Mile

    Mile Stamenković

    (1952-2000)

    Mile Stamenković was born in 1952 in Ogulin, Croatia. He was a medical doctor, gynaecologist and had a Master’s Degree in Medical Sciences.  He died in Rijeka in 2000. Mile was also a prominent writer and haiku poet and his poems and haiku have been published in magazines and anthologies in Croatia and abroad. He was a member of The Croatian Haiku Association and The Haiku Society of America.

    Mile Stamenković started writing poetry more intensely from 1974 onward and won his first prize in 1977 in the ‘Goranovo proljeće 77’ poetry competition. From then on his poems appeared in many national and international magazines. His haiku were featured in some of the most prestigious haiku journals, anthologies and haiku-calendars (Blithe Spirit, Azami, Woodpecker, Modern Haiku, Haiku Headlines, Hobo, Paper Wasp, The Daily Yomiuri, KŌ, Frogpond, Timepieces). His haiku was also included in Haiku World, an International Poetry Almanac by W. J. Higginson, 1996.

    Mile published and illustrated two books of poetry in 1976 and 1993, and a collection of haiku, Breaths of July's Linden Forests, waka and renga in 1995. In 1998 he co-edited with Jadran Zalokar a trilingual anthology of haiku poetry (in Croatian, Italian and English) - Hvatanje sjenke vjetra/ Catturare l'ombra del vento/ Grassping the Shadow of the Wind. In the same year in Rijeka, Mile Stamenković hosted the first meeting of haiku poets from that region. 

    Books published:

    • Poezija i ilustracije, (Poetry and illustrations), 1976;
    • Poezija i ilustracije, (Poetry and illustrations), 1993;
    • Dahovi srpanjskih lipika / Breaths of July's Linden Forests, waka and renga, 1995;
    • Hvatanje sjenke vjetra / Catturare l’ombra del vento / Grasping the Shadow of the Wind, regionalna antologija haikua / Regional Haiku Collection, Rijeka 1999.

    Selected haiku:

     

    Uništen prostor -                                             Destroyed area -
    vjetar se zaustavio                                          the wind has stopped
    pod divljim kestenom.                                   under the horse-chestnut.

    (An Award, 33rd A-Bomb Memorial Day Haiku Meeting Competition, Kyoto, 1999)

    *

    Vjetar u šašu.                                                    Wind in the reed.
    Divlje guske gledaju                                        The wild geese look                       
    u vodu...                                                             into the water...

    (Vrabac/Sparrow No. 7-10, 1994-1995)

    *

    Next to the flutter
    of the wings, the buildings
    had flown through.

    (In the Prime Selection for the best Croatian haiku of the year - Second Annual Haiku Competition 1994 of the Croatian Haiku Association) 

    *

    to be waist deep
    in water:  neither man
    nor – fish.

    (Haiku World, An International Poetry Almanac William J. Higginson; Kodansha International Tokyo-New York-London, 1996, p. 125)

    *

    A demolished town.
    The wind howls not knowing
    where it would go.

    (Calendar-book the Timepieces: Haiku Week-At-A-Glance 1997)

    *

    an owl hooting…
    the moon slowly siling
    down the windy night

    (Hvatanje sjenke vjetra/Catturare l'ombra del vento/Grasping the Shadow of the Wind, Regional Haiku Anthology. StaM, Rijeka 1999)

    *

    In the deserted town
    hungry war victims
    feed the pigeons.

    (Knots: The Anthology of Southeastern Europe Haiku Poetry.ed. by Dimitar Anakiev, Jim Kacian, Tolmin, Slovenia: Prijatelj Haiku Press, 1999)

    *

    A distant offing.
    Shimmering under the Sun
    some fish and shells.

    Daleka pučina.
    Na suncu se ljeskaju
    ribe i školjke.

    (Karolina Riječka 2004 - 2005)

    *

    The morning guest
    shaking down the snow
    of his worn out coat.

    Jutarnji gost
    otresa snijeg sa svog
    istrošenog kaputa.

    (Nepokošeno nebo/An Unmown Sky (Antologija hrvatskoga haiku-pjesništva 1996-2007/Anthology of Croatian Haiku Poetry 1996-2007), ed. by Đurđa Vukelić-Rožić, Ivanić Grad, 2011)


    Sources:

    This profile was created in collaboration with the Croatian poet and editor Đurđa Vukelić-Rožić. We are very grateful for her support and dedication! 

  • Takajo Mitsuhashi

    Mitsuhashi TakajoMitsuhashi Takajo

    (24 January 1899 – 7 April 1972)

    One of the great Japanese haiku women poets Mitsuhashi Takajo was born on 24 January 1899 near Narita, Chiba.  She was a haiku poet of the Shōwa period. She was an admirer and disciple of Akiko Yosano. She got married in 1922 and started writing haiku under the influence of her husband, but then later turned to experimental haiku along with other women poets. By 1936 she became part of a group that founded the short-lived Kon (dark blue) publication and in 1940 had the collection Himawari or Sunflowers published. In 1953 she became involved in Bara (薔薇, dt. "Rose") - a progressive magazine of avant-garde poets who allowed experimental haiku. She has been referred to as a religious ascetic or one who led a life of asceticism and spiritual concentration. She is said to have written works of self-alienation of the vanishing of the empiric Ego in the Void, which according to Kenneth Rexroth “resembles Kierkegaard’s rather than the Buddhist concept.” A statue of her is at Shinshoji Temple. Back in 1964, Blyth, in his History of Haiku, identified her as "the chief woman writer of haiku in Japan."

    Her last collection, in 1970, dealt somewhat with death as she had been ill for years.

    She is also placed as one of the "4 Ts" of Japanese female haiku poets, the other three being Tatsuko Hoshino, Nakamura Teijo, and Hashimoto Takako.

    She died on 7 April 1972.

    Haiku collections:

     

    • Himawari (向日葵, dt. "Sunflower") in 1940;
    • Uo no hire (Fins of a Fish)
    • Hakkotsu (白骨, dt. "The Bleached bones") in 1952;
    • Shida-jigoku (歯朶地獄, dt. "The Fern Hell") in 1961;
    • Buna (ぶな, dt. "Beech"), 1970.

    Selected work:

    climb this tree
    and you'll be a she-devil
    red leaves in the sunset glow


    up on a hydro pole
    the electrician turns
    into a cicada

    (Far Beyond the Field: Haiku by Japanese Women, by Makoto Ueda, Columbia University Press, 2003, pp.109-110)

    *

    winds of autumn -
    water less transparent
    than the fins of a fish

    (Haiku Mind, Patricia Donegan, Shambhala Publications. 2008, p.195)

    *

    O bird’s singing!
    The dead walk
    on the plain of the sea.


    The hair ornament of the sun
    has sunk
    into the legendary sea.

    (Women Poets of Japan by Ikuko Atsumi; Kenneth Rexroth, New Directions, 1977, p. 80)

    *

    春水のそこひは見えず櫛沈め  三橋鷹女

    shunsui no sokoi wa miezu kushi shizume

    not able to see
    spring water’s bottom…
    I sink my comb

    (from “Haiku Dai-Saijiki” (“Comprehensive Haiku Saijiki”), Kadokawa Shoten, Tokyo, 2006)

    *

    口中一顆の雹を啄み火の鳥や

    Kōchu ikka no hyō wo tsuibami hi no tori ya

    A hailstone held
    in its beak,
    the firebird soars

     (From Mitsuhashi Takajo Zenkushū (Collected Haiku of Mitsuhashi Takajo, 1976)

    *

    老いながら椿となつて踊りけり

    oinagara tsubaki to natte odorikeri

    as I get older
    I will become a camellia
    and dance and dance

    秋の蝶です いつぽんの留針です

    aki no choo desu ippon no tomebari desu

    I am an autumn butterfly
    I am just one pin

    (Tr. Gabi Greve)

    Sources: