Since its inception on Jan.1, 2013, NeverEnding Story has been well-received in the poetry communities it serves, and its haiku and tanka have been regularly reprinted in the following four e-papers:
1 Poetry and Poetry Lovers, edited by Sweepy (A D Joyce)
2 The Poetry Daily, edited by Govind Joshi
3 The Poetry Daily, edited by My Blogworld
4 The Poetry and Me Daily, edited by Poetry and Me
Below is a relevant excerpt from my Lynx interview with Jane Reichhold:
L: What do you feel we as haiku or tanka writers need to do to get these forms more accepted by the mainstream poetry world?
CL: In terms of defining what poetry is, there is an asymmetric power relationship between the mainstream poetry world and the haiku/tanka community. It’s difficult to change their perception of haiku/tanka in a top-down manner. In my view, the most effective way of reversing this unbalanced relationship is to adopt a bottom-up approach; that is to consolidate and expand our readership base through online publishing and social networking sites. If there are more people who love reading/writing haiku and tanka, the mainstream poetry world will eventually open their main gate to haiku and tanka poets. This approach to reversing the asymmetric power relationship has been demonstrated in the case of the power transfer from traditional media, such as news papers, TV, and books, to online and social media.
Most importantly, living in a hectic society, most people now only have a short attention span. If they are interested in reading something meaningful, I think short verse forms, such as haiku and tanka, will become more and more popular. I’ve been tweeting my published work for two years, and found more and more Twitter users use hashtags such as #poetry, #micropoetry, #haiku, #tanka, #gogyohka, #gpoem, #5lines,..etc, to indicate their tweets are short poems (For further information, see M. Kei, “The Topsy Turvy World of Micropoetry on Twitter,” Atlas Poetica, 9, Summer 2011)