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)



    • 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)


    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)


          in spring

    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:



    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."
    "[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:-

    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

  • Bikov, Todor

    Todor BikovTodor Bikov

    (12 December 1956 – 24 May 2016)

    Todor Bikov was born on 12 December 1956 in Pazardzhik, Bulgaria. He graduated the Theological SeminarySt John of Rila” andholds a Master of Diplomacy and International relations. Resided and worked in Plovdiv since 1983. Bikov was a widely published poet, publicist, political scientist, and art critic. He was a lecturer at Plovdiv University “Paisii Hilendarski”. He worked in the 42nd National Assembly of the Republic of Bulgaria (2013-2014) as a senior expert in the Committee on Religions and Parliamentary Ethics; also worked as a freelance journalist and associate in the "Literature, Art, Culture" section of Radio Plovdiv, head of the "Society" and "Culture" department in the Plovdiv News (Пловдивски новини) newspaper and editor of the Glas(Глас) regional newspaper.

    Bikov was founder and editor-in-chief of the Art Club (Арт клуб) newspaper (1994-2004). In 2003 along with Ivanka Yankova he co-founded the Haiku Club-Plovdiv (HCP) and later in 2005 he compiled and edited the bilingual anthology Прагове/Thresholds published by HCP and the Club of Cultural Figures in Plovdiv. In 2005 he participated in the 3rd World Haiku Association (WHA) Conference in Bulgaria and organised the delegates’ visit to Plovdiv and meetings with the HCP members. He was also an active member of the Union of Bulgarian Writers and five terms chairman of the Club of Cultural Figures in Plovdiv.

    Bikov’s poems, articles, reviews, studies, etc. have been published in national anthologies (the most significant being his inclusion with five poems in the Anthology "Bulgarian Poetry of the XXI Century", published in 2015), in the Bulgarian and international press, in scientific collections and publications, broadcasted on Bulgarian National Television, Bulgarian National Radio, Radio Plovdiv and many other electronic media. He has published six collections of poems (1990-2016) incl. Стихосложения: цикъл хайку (Stihoslozheniya: Haiku Cycle, Sofia, 2012). His last poetry book was published shortly after his untimely death on 24 May 2016.

    Selected haiku:

    a storm is raving, then subsiding –
    a shadow
    cast by yet another shadow

    a high and slender poplar –
    a heron standing tall
    is building a nest

    cheerful warbling fills
    the lover’s nests
    it’s springtime

    (Прагове/Thresholds, bilingual anthology, Plovdiv, 2005)


    tidal wave
    the land recedes
    in front of the fish

    thunder in broad daylight
    ball lightning
    chokes the throat

    in the winter I read
    and wrote a lot –asnowman...
    no, a bookman

    dragonfly over the river -
    a sunny walk
    on the ridge of the day

    (Стихосложения: цикъл хайку(Stihoslozheniya: Haiku Cycle), Sofia, 2012)


    a shadow hides
    under the bird’s wing
    July day

    a floppy wheat ear
    the smell of bread
    floats around

    frozen sunset
    over the river
    at home – embers

    (Отвъд думите/Beyond Words, haiku anthology, Farago, Sofia, 2018)


  • 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

    (Frogpond XXIII: 1)

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

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

    the weed

    (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:

        nicks a thigh-pad –
        the umpire’s finger


    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])


  • 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




    Read a selection of her haiku

  • Creighton, Kat

    Kat Creighton

  • Deodhar, Angelee

    Angelee DeodharAngelee Deodhar

    (20 July 1947 – 28 June 2018)

    In two and a half decades of learning about haiku I have understood one thing,

    that all writing is a lonely calling – to write a passable haiku one must be alone much – observe and respond from a felt depth.”

    (from an interview with Angelee in the blogzine GLO-TALK, Monday, 30 June 2014)

    A letter to Angelee

    My dear friend,

    When you departed from this world last summer it was felt all over the world. From our correspondence I knew the kind of person you were – warm, kind, intelligent, giving, however I had no idea what an enormous impact you have had on so many people, both seasoned writers and beginners on their haiku journeys.

    Hippocrates wrote that ‘wherever the art of medicine is loved, there is also a love of humanity’. And you managed to take what’s sacred for your profession as a physician and transferred it into your life as a poet. You have always believed in the therapeutic effects of haikai poetry which you encountered through personal experience however the true therapy for anyone who was your friend or even just an acquaintance was simply in communicating with you – meeting you in person, sharing our common love of haiku, haiga or haibun, exchanging letters or e-mails. You had the rare talent to promote haiku and its related forms going beyond the boundaries we human beings tend to put around us. I remember vividly our conversation when I approached you to take part in a women’s anthology and when asked where you were born your answer was simple and yet so powerful – in undivided India. You wanted people to live and work together peacefully beyond the cultural differences and worked so hard to achieve that among the various haiku groups and societies. Your work as an editor and translator from Hindi has put India firmly on the haiku map and judging by the tributes online you have managed to influence the work of hundreds of poets from this amazing country.

    You have accomplished so much and just a quick search online could reveal so many of your achievements done quietly just like a true angel. But then you do carry it in your name as well so no surprise there.

    All of us, your friends and dare I say admirers, we do miss you. And yet we feel your presence around us as your legacy lives on.

    With love and deep respect,


    Photo by Tej Bans Singh Jauhar

    Some publications:

    • If Someone Asks…Masaoka Shiki’s Life and Haiku, 2005;
    • Classic Haiku: A Master’s Selection, edited by Miura Yuzuru, 2006;
    • Ogura Hyakunin Isshu: 100 Poems by 100 Poets, 2007;
    • Children’s Haiku from around the world-A Haiku Primer 2007;
    • Indian Haiku, 2008;
    • The Distant Mountain:The Life and Haiku of Kobayashi Issa, a bilingual edition by by David G. Lanoue (English translations&comments) and Angelee Deodhar (Hindi translations) 2009;
    • Journeys: An Anthology of International Haibun, by Angelee Deodhar (Editor), 2014
    • Journeys 2015: An Anthology of International Haibun, Angelee Deodhar (Editor), 2015
    • Journeys 2017: An Anthology of International Haibun, Angelee Deodhar (Editor), 2017

    Selected work:

    azure butterflies
    flitting about
    flakes of sky

    (New Hope International, 1997 (UK)


    an I.V. line
    anchors me to the monitor
    thoughts still wander

    (Modern Haiku, XXIX:1, 1998 (USA)


    in the silence
    of the zendo
    my stomach growls

    (Frogpond XXI:2, 1998 (USA)


    between us
    vapours from the teacups
    autumn chill

    (Modern Haiku, Volume XXXI: Number 3, Fall 2000)


    haiga workshop
    in the downstroke of the brush
    the sound of rain

    (Presence Award, Highly Commended, also published in Haiku Canada Newsletter, Vol XV, June 2002 Number 3)


    midnight walk
    the dog nudges me down
    our moonlit path

    (The Asahi Shimbun, 25-26 Oct 2003)


    rumors of war
    up into a darkening sky
    - a child's newsprint kite

    (Third Prize, The Robert Spiess Memorial Haiku Award for 2003; New Year's bells: Mainichi Daily News, Jan. 3, 2004 (No.655)


    late afternoon
    up to its belly in hyacinths
    a pregnant buffalo

    (The Heron’s Nest, Volume VII, 2005)


    after the rain
    cherry blossom breath
    from every puddle

    (Akita International Haiku Network, 2013)


    out of the fog
    a crow's cracked caw
    drips into silence

    winter bare tree
    ice crystals sculpt
    an abandoned nest

    Tai Chi-
    a blue heron takes up
    the master's stance

    (Poetry Pacific, e.zine, 5 November 2015)


    gibbous moon
    my ear on the curve
    of her belly

    (The Heron’s Nest, Volume XVII, Number 2: June 2015)


    last night’s rain
    the bird bath full
    of sparrows

    (Africa Haiku Network Rainfall Haiku Series, Haiga/Photoku No. #28, 28/06/18)


    windswept -
    into an upside down umbrella
    frangipani blossoms

    в преобърнатия чадър
    цветчета от плумерия

    (the bilingual anthology Peonies/Божури, ed. by Iliyana Stoyanova, Sofia 2019)


    ‘Haiku Silence’ - essay by Angelee Deodhar



  • 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)


    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



    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

    (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
    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).


    • 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)


  • 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 and on, 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

  • Oreč-Gavran, Zdenko

    Zdenko OrečZdenko Oreč-Gavran

    (1930 ̶ 2021)

    Zdenko Oreč-Gavran was born on 20 April 1930 in the town of Zvečevo, Croatia. He founded the Ludbreg Haiku Meetings (Ludbreški haiku susreti) in the town of Ludbreg, northeast of Zagreb. This gathering of haiku poets has been held every year since 1997 and is open to the public. The first Haiku zbornik - Ludbreg was published in 1998 and included materials from the 1997 gathering. Until 2003 miscellanies were published privately by Oreč-Gavran. The Miscellany was a major publication where poets were invited to contribute haiku to the annual publication, and the selected work was published in the Haiku Miscellany.

    Oreč-Gavran was also co-editor of the annual Haiku Calendar/Rokovnik and edited and published annual miscellanies of children's haiku. He was a member of the judging commissions for haiku and senryu. In 2006 he was awarded the annual Ludbreg column of haiku poets, transitional chalice for haiku poets. Besides haiku he was publishing prose, poetry and riddles in a number of journals and newspapers. He issued two collections of aphorisms and a book of puns from children's textbooks. He wrote haiku and senryu in Croatian and the Kajkavian Dialect. Zdenko Oreč died in Ludbreg in 2021.

    Awards and Other Honours:

    • Zbornik Haiku Konkurs 'AN4-2001'/Anthology Haiku competition 'AN4-2001';
    • Encouragement Award, Ito-En, International Haiku Contest (1997);
    • Second Prize, International Kusamakura Haiku Competition (1998);
    • Second Prize, International Kusamakura Haiku Competition (1999);
    • Marijan Čekolj i Marinko Španović: Otvoren put /Free Road: Antologija hrvatske haiku poezije [Croatian Haiku anthology] (Hrvatsko haiku društvo: Samobor, 1999);
    • 100 Croatian Haiku [An anthology for the Haiku Cards Game] (DHHP, Zagreb 2000);
    • Very good haiku, A-Bomb Memorial Day Haiku Meeting (2001);
    • Third Prize, International Kusamakura Haiku Competition (2003);
    • Second Prize, Kloštar Ivanić Haiku Contest, Croatian language category (2004);
    • Annual Ludbreg column of haiku poets award, Croatia, 2006;
    • Second Prize, International Kusamakura Haiku Competition, Japan 2008;
    • Commendation, Pumpkin Festival Haiku Contest (Ivanić-Grad, Croatia, 2015).

    Haiku/Haiga Books Published:

    • Rijeke šume (Rustling Rivers), Ludbreg, 1996;
    • Školjka u pijesku (A Shell in the Sand), Ludbreg, 1998;
    • Plodovi nesanice: 1991 (Fruits of Insomnia: 1991). Ludbreg, Croatia: published privately, 1999;
    • Neprolazni susreti (Unpassable Encounters), Ludbreg, 1999;
    • Olovka i kist (Pencil and Paintbrush), haigas painted by Rudi Stopar (Slovenia); haiku by Zdravko Kurnik, Zvonko Petrovic, Julija Ivic, Dusko Matas, Boris Nazansky, Zdenko Oreč, and Rudi Stopar; in Croatian, Slovenian, English and Japanese, Zagreb, 2010.

    Selected works:

    ona mu okrene leđa
    na mjesečini
    obrisi brda u porastu

    she turns her back
    in the moonlight
    the mountain contour expands

    (Encouragement Award, Ito-En, International Haiku Contest, Tokyo, Japan, 1997)

    ljetni pljusak
    pod stablo padaju cvjetovi
    na suho

    summer downpour
    under the tree-crown the blossoms
    falling into dry

    (Second Prize, International Kusamakura Haiku Competition, Japan, 2008)

    dostavno vozilo
    radi u snijegu ̶
    miris kruha

    a delivery van
    working in the snow ̶
    the smell of bread

    (Second Prize, the International Kusamakura Haiku Competition, Japan, 1999)

    ispiru sjećanja
    na prljavi rat

    with TV serials
    they are rinsing our memories
    of the dirty war

    (Awarded (very good haiku) at the 35th A-Bomb Memorial Day Haiku Meeting, Kyoto, Japan, 2001)

    sjemenke suncokreta
    u svoju sjenu

    sunflower seeds
    falling into
    their own shadows

    (Otvoren put/Free Road, An Anthology of Croatian Haiku Poetry, Croatian Haiku Society, Samobor, 1999. (Edited by Marijan Čekolj and Marinko Španović)

    zvonki udarac
    grane o krov auta
    ispraznio kafić

    resonant sound ̶
    a bough on the car roof
    emptied the pub

    (Haiku No. 21/22, The Assocication of Croatian Haiku Poets, Zagreb, 2004 (Edited by. D. V. Rožić)

    priđoh prozoru
    da pobrojim ptice
    one odlijeću

    I come to the window
    to count the birds
    they fly away

    (Ludbreški haiku zbornik/Ludbreg Haiku Miscellany, Croatia, 2015)

    ona miluje
    svoj mobitel a dečki
    čekaju rundu

    she is cuddling
    her mobile phone ̶ the boys
    ordered another round

    (Third Prize, „Afrodita“ erotic haiku/senryu contest, Ludbreg, Croatia, 2015 (Founded by Mirko Varga)

    crna trepavica
    na praznom papiru ̶
    otvorena zagrada

    a black eyelash
    on a blank paper ̶
    an open bracket

    (IRIS No. 15, 2021, Ivanić-Grad, Croatia), Haiku translated by D. V. Rožić


    IRIS International, Year 7th, No.7, 2021, Ivanić-Grad, Croatia

    This profile was created in collaboration with Djurdja Vukelić-Rožić and Stjepan Rožić, who took the photograph. We appreciate their invaluable help in preparing Zdenko Oreč’s biography.

  • 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:


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



    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.



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



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



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



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



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



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

    (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! 


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

  • Quine, Stuart

    Stuart QuineStuart Quine

    (3 November 1962 – 24 March 2020)

    Stuart Quine was born in Helsby, near Runcorn, UK, in 1962 and after working in various fields, including time in a paint factory and studying for a teaching degree, he became an Intensive Care nurse, a vocation he practised until ill-health, in the form of myotonic dystrophy, forced early retirement. Stuart loved travelling and despite visits to Morocco, Japan and Australia, one of his few regrets was that he didn’t travel more. He spent his final years in Sheffield and died on March 24, 2020, from complications arising from the Covid-19 virus.

    Steeped in a deep respect for the Japanese haiku and senryu tradition, Stuart Quine was known in the English-language haiku world for his one-line ‘monoku’ style. Within the one line of his haiku, however, he respected and reflected the rhythmic 'three-part' structure of Japanese haiku, as well as such essentially Japanese qualities as ‘karumi’, 'wabi/sabi’, the device – for the rhythm – of the ‘kire' and, sometimes, even a ‘kigo.'

    Stuart’s work was published regularly in the journals, including Presence, of which he was, for a time, co-editor, and also appeared in anthologies. He was also a fine writer of haibun.

    In spite of having been writing and publishing haiku since 1998 it was not until 2018 that Stuart’s first collection, Sour Pickle was published, by Alba Publishing. This was followed in 2019 by his second, and final, collection, Wild Rhubarb, which was awarded Third Place in the Haiku Society of America’s Merit Book Awards (Leroy & Mildred Kanterman Memorial Award) 2020.

    A couple of the selected haiku below appear in these two collections but in a slightly different form, as edited by Stuart. He did a lot of 'fine-tuning' before publication:

    like the honed edge of a blade keen is the cold

    (Sour Pickle (2018), as ‘crescent moon like a honed blade keen in the cold’)

    winter moon a glint of wolf in the mongrel’s eyes

    (Wild Rhubarb (2019), as ‘winter storm a gleam of wolf in the mongrel’s eyes)

    A practitioner of Soto Zen Buddhism for over 30 years, Stuart regarded his haiku writing as a dao. He was an active member of the Redthread Haiku Sangha and inspired, and encouraged the publication of, Unravelling – the Redthread Haiku Sangha anthology 1997-2019, (Alba Publishing, 2020).

    Just a few days before he died, Stuart had emailed the sangha with a customary spring greeting – he always liked to mark the equinoxes – and ended his email with what turned out to be perhaps his final (and unusually for him, three-line) haiku:

    Spring equinox –
    a brimming bucket
    mirror for a star

    Awards and Other Honours:

    Wild Rhubarb, Third Place in the Haiku Society of America’s Merit Book Awards (Leroy & Mildred Kanterman Memorial Award) 2020

    Stuart served as a member of The Haiku Foundation’s 2016 Touchstone Distinguished Books Award Committee.


    Sour Pickle - one-line haiku, Alba Publishing, May 2018, UK;

    Wild Rhubarb - one-line haiku, Alba Publishing, March 2019, UK;

    Unravelling - the Redthread Haiku Sangha anthology 1997-2019, Alba Publishing, February 2020. (contributor)

    Selected haiku:


    From Sour Pickle (2018):

    hidden and unseen the burgeoning life in buds and bellies

    through driving rain the ambulances’ dopplering sirens

    snagged in machair a gull feather unzipped by the wind

    distant thunder the old mouser raises an ear

    “Not yet, not yet” says the bubbling beck

    winter solstice darkness gathers in the unrung bells

    under mistletoe on her lips a tang of tamarind


    From Wild Rhubarb(2019):

    round midnight moonlight playing on the piano hammers

    a short night shrunk to a dog bark and the clanking of the trams

    through the haze the headlights of a hearse

    lassitude and languor these days without rain


    new year’s day only the rain comes to my gate

    (Presence #14)


    along the strandline seaspray and sunshimmer in knotted kelp

    (Wind over Water (4th Pacific Rim Haiku Conference anthology)


    almost weightless this empty skull that held the robin’s song

    (Presence #57)


    We are very grateful to Stuart’s publisher and friend Kim Richardson who wrote this tribute to an amazing poet and master of the monoku!

  • 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 was started in 1995 and  AHAforum is the place poets meet online since 2006.