Friday, October 31, 2014

One Man's Maple Moon: Thrushes Tanka by H. Gene Murtha

English Original

we lean
into one another's
broken parts
a pair of thrushes
rebuild their nest
(for Inky)

Biding Time: Selected Poems 2001-2013,  2013

H. Gene Murtha


Chinese Translation (Traditional)

我們倆人
破碎的身體
彼此依靠
一對畫眉鳥
重建自己的窩

Chinese Translation (Simplified)

我们俩人
破碎的身体
彼此依靠
一对画眉鸟
重建自己的窝


Bio Sketch

H. Gene Murtha, a naturalist and poet, sponsored and judged the first haiku contest for the inner city children of Camden, NJ., for the Virgilio Group, of which he is a lifetime member. He is widely published for his work in haikai literature from the USA to Japan.

Thursday, October 30, 2014

Butterfly Dream: Yellowing Leaves Haiku by Anne Curran

English Original

a yellowing
of leaves on the oak …
I turn fifty

Modern Haiku, 45:3, Autumn 2014

Anne Curran


Chinese Translation (Traditional)

橡樹上
泛黃的葉子 ...
我今年半百

Chinese Translation (Simplified)

橡树上
泛黄的叶子 ...
我今年半百


Bio Sketch

Anne Curran comes from Hamilton, New Zealand. She has taught English, communications studies and English as a second language. While teaching she has taken time to write Japanese verse forms and a poetry collection. In her spare time she enjoys visiting Art galleries and watching films.

Wednesday, October 29, 2014

A Room of My Own: The Pain from an Old Wound

moonstruck
Nostalgia gains momentum
leapfrogging
from Taiwan to Toronto
I'm its colonial subject

my dog
seems to know the length
of its leash
I have no clue
how to measure Nostalgia

go back
to where you came from
Nostalgia screams ...
one kick after another
I see Bruce Lee in the mirror

Note: Bruce Lee (27 November 1940 – 20 July 1973) was a Chinese American actor, and he is highly regarded by many commentators and fans as the most influential martial artist of modern times.

Tuesday, October 28, 2014

Hot News: Butterfly Dream, Volume One 2014

A haiku is an imaginative lotus pond with the real frog in it. Chen-ou Liu


Dear Contributors and Readers:

I am pleased to announce that Butterfly Dream: 66 Selected English-Chinese Bilingual Haiku, Volume One 2014 is now available online for your reading pleasure.  (Note: I'd revised some of Chinese translations. For those whose haiku are included in the anthology, each  will receive a copy of its e-book edition within three days)


http://issuu.com/neverendingstoryhaikutanka/docs/butterfly_dream_volume_one_2014
This book is dedicated to Zhuang Zhou (369 BC - 286 BC), often known as Zhuangzi.

Once Zhuangzi dreamt he was a butterfly, a butterfly flitting and fluttering around, happy with himself and doing as he pleased. He didn't know he was Zhuangzi. Suddenly he woke up and there he was, solid and unmistakable Zhuangzi. But he didn't know if he was Zhuangzi who had dreamt he was a butterfly, or a butterfly dreaming he was Zhuangzi. Between Zhuangzi and a butterfly there must be some distinction! This is called the Transformation of Things.


I think therefore I am entering a butterfly's dream

Third Prize, 2013 Kusamakura International Haiku Competition

Chen-ou Liu (劉鎮歐)


Please post to all appropriate venues. Your time and help would be greatly appreciated. And many thanks for your continued support of my project.

Look forward to reading your haiku (see "Butterfly Dream, Volume Two: Call for Haiku Submissions" Deadline: December 1, 2014)


Chen-ou


Selected Haiku:


two light beams shining
where there were once twin towers –
my son, my daughter

Jack Galmitz

when my gendai world was flat I kept falling off
                                           
                                                                               the text horizon

kjmunro

reading obituaries
the here and there
of fireflies

Ben Moeller-Gaa

Spring evening --
the wheel of a troop carrier
crushes a lizard

Dimitar Anakiev

low winter moon
just beyond the reach
of my chopsticks

Fay Aoyagi

white lie
the mirror doubles
the white chrysanthemum

Roberta Beary

lengthening shadow ...
above her eggs the hen's heart
beats against my arm

Beverley George

bedroom mirror --
the coldness of that dangling
single breast

Rita Odeh

moving into the sun
the pony takes with him
some mountain shadow

Jane Reichhold

             a poppy . . .
      a field of poppies!
the hills blowing with poppies!

Michael McClintock

after the divorce
a tattered moon
in every window

Pamela A. Babusci

morning mist…
disconnected thoughts search
for conjunctions 

George Swede

harvest moon
the horizon between here
and hereafter

Lorin Ford

                           no
                          way
                        to see
                          the
                      mountain
(((((((((((((((((sombrero)))))))))))))))))

LeRoy Gorman

Monday, October 27, 2014

Butterfly Dream: Mood Swings Haiku by Archana Kapoor Nagpal

English Original

mood swings --
changing colours
of the summer sky

DailyHaiga, September 2014

Archana Kapoor Nagpal


Chinese Translation (Traditional)

情緒波動 --
夏天的天空
不斷地改變顏色

Chinese Translation (Simplified)

情绪波动 --
夏天的天空
不断地改变颜色


Bio Sketch

Archana Kapoor Nagpal is an internationally published author of 7 books, and her winning stories are now part of international anthologies. She writes inspirational content for corporate newsletters, websites, blogs and print publications. Her inspirational poems touch every area of a person's life. She enjoys writing haiku and tanka as well. Visit her Amazon Author Profile to know more about her.

One Man's Maple Moon: Feeding Tanka by Michael Dylan Welch

English Original

another feeding --
again we count
his fingers and toes
and they’re all
still there

Rivet, 13, June 2005

Michael Dylan Welch


Chinese Translation (Traditional)

再一次餵食 --
我們再度數算
他的手指和腳趾
它們都安然
健在

Chinese Translation (Simplified)

再一次餵食 --
我们再度数算
他的手指和脚趾
它们都安然
健在


Bio Sketch

Michael Dylan Welch is vice president of the Haiku Society of America, founder of the Tanka Society of America (2000), and cofounder of Haiku North America conference (1991) and the American Haiku Archives (1996). In 2010 he also started National Haiku Writing Month (NaHaiWriMo), which takes place every February, with an active Facebook page. His personal website is www.graceguts.com, which features hundreds of essays, reviews, reports, and other content, including examples of his published poetry.

Sunday, October 26, 2014

Poetic Musings: Broken Moonlight Haiku by Judt Shrode

The brevity of the [haiku] is in fact possible because each poem is implicitly part of a massive, communally shared poem.
-- Haruo Shirane


cold floor . . .
stepping barefoot
on broken moonlight

First Prize, 2014 Francine Porad Award for Haiku

Judt Shrode
             

Commentary by the Judge, John Stevenson:

It is probably not physically painful, stepping on broken moonlight, but this poem suggests pain at a deeper level of sensation. Buson’s famous poem about stepping on his dead wife’s comb, reportedly written while she was very much alive, partakes of this same sensation. The current poem is likely be read by knowledgeable haiku readers as a corollary to Buson.

        Since Buson’s poem seems to have been fictional in some part, we might wonder whether he experienced a physical pain and then created a context in which it would have meaning. Or if he began with the emotion and imagined physical circumstances that would most effectively communicate his feeling. The current poem seems to extend this, saying that because of what Buson accomplished we can take the next step within the context he created. We no longer need the physical pain to invoke or explain the deeper sensations.

        Some may think that it’s wrong for us to presume to put ourselves in the company of Buson or anyone that others have designated as great poets. But this is a mistake. We are all in this together. We are all in this alone. These are not contradictory statements. In fact, they are a single statement. We are alone together. By taking a walk with Buson, this poet seems to put the emphasis on “together” and that is why, for me, it belongs at the top of this list.


... Buson’s famous poem about stepping on his dead wife’s comb, reportedly written while she was very much alive, partakes of this same sensation…Since Buson’s poem seems to have been fictional in some part, we might wonder whether he experienced a physical pain and then created a context in which it would have meaning. Or if he began with the emotion and imagined physical circumstances that would most effectively communicate his feeling...

Even the personal poems can be imaginary.

piercingly cold
stepping on my dead wife's comb
in the bedroom

The opening phrase, mini ni shimu (literally, to penetrate the body), is an autumn phrase that suggests the chill and sense of loneliness that sinks into the body with the arrival of the autumn cold and that here also functions as a metaphor of the poet's feelings following the death of his wife. The poem generates a novelistic scene of the widower, some time after his wife's funeral, accidentally stepping on a comb in the autumn dark, as he is about to go to bed alone. The standard interpretation is that the snapping of the comb in the bedroom brings back memories of their relationship and has erotic overtones. But this is not about direct or personal experience. The fact is that Buson (1706-83) composed this while his wife was alive. Indeed Buson's wife Tomo outlived him by 31 years.

--excerpted from Haruo Shirane’s essay, titled “Beyond the Haiku Moment: Basho, Buson and Modern Haiku Myths,” Modern Haiku, 16:1 Winter/Spring 2000


Some may think that it’s wrong for us to presume to put ourselves in the company of Buson or anyone that others have designated as great poets. But this is a mistake. We are all in this together…

As Haruo Shirane demonstrates in his groundbreaking book Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Basho, Basho believed that “the poet had to work along both axes: to work only in the present would result in poetry that was fleeting; to work just in the past, on the other hand, would be to fall out of touch with the fundamental nature of haikai, which was rooted in the everyday world.” 16 Viewed as a key figure who elevated haikai from an entertaining pastime to a respected poetic form, Basho had developed a set of related poetic ideals widely utilized by his disciples, fellow poets, and successive followers since the mid-1680s. 17 These new ideals were their sincere efforts to deal with the fundamental paradox of the late-seventeenth-century haikai, one “which looked to the past for inspiration and authority and yet rejected it,  which parodied the classical (and Chinese) tradition even as they sought to become part of it, and which paid homage to the ‘ancients’ and yet stressed newness.” 18

-- excerpted from Chen-ou Liu's essay, titled "Make Haibun New through the Chinese Poetic Past: Basho’s Transformation of Haikai Prose, " Simply Haiku, 8:1, Summer 201

Saturday, October 25, 2014

One Man's Maple Moon: Wet Lips Tanka by Guy Simser

English Original

his tiny wet lips
to my offered cheek
sucking
the meaning
of parenthood

Ribbons, 3:4, Winter 2007

Guy Simser


Chinese Translation (Traditional)

他的小而濕潤嘴唇
貼著我的臉頰
吸吮
為人父母
的含意

Chinese Translation (Simplified)

他的小而湿润嘴唇
贴著我的脸颊
吸吮
为人父母
的含意


Bio Sketch

Guy Simser: A Gusts tanka journal Selection Committee member since 2006, Guy has written Japanese form poems since 1980, including his five years in Tokyo (Canadian Embassy). Published in eight countries, his poetry awards, among others include: Carleton University Prize; Diane Brebner Prize; AHA Tanka Splendor Prize; Hekinan International Haiku Special Prize.

Friday, October 24, 2014

Butterfly Dream: Dragon's Mouth Haiku by Bruce Ross

English Original

New Year's Eve
the dragon's mouth
full of light

Bruce Ross


Chinese Translation (Traditional)

除夕
龍的嘴
閃閃發光

Chinese Translation (Simplified)

除夕
龙的嘴
闪闪发光


Bio Sketch

Bruce Ross is editor of Haiku Moment, An Anthology of Contemporary North American Haiku and main editor of the forthcoming A Vast Sky, An Anthology of Contemporary World Haiku.

Thursday, October 23, 2014

A Room of My Own: I dream therefore I am

a solo somonka for all would-be/depressed poets

their fingers grasp
toward me for a handshake
or a touch ...
the poster A Poet's View sways
in my midsummer dream

I have a dream
lingering in my mind:
men and women
stand in vigil at TV shops
watching my funeral

Wednesday, October 22, 2014

Cool Announcement: A New Release, micro haiku

My Dear Friends:

NeverEnding Story contributor George Swede published his first collection of micro haiku, titled micro haiku: three to nine syllables. The 101 haiku in this book range from three to nine syllables, culled from Swede’s decades-long published work to “show how the world's most brief poetic form can succeed when shorter than the typical English-language haiku which ranges from 10 to 14 syllables.”


About the Author:

George Swede's most recent collections of haiku are Almost Unseen (Decatur, IL: Brooks Books, 2000) and Joy In Me Still (Edmonton: Inkling Press, 2010). He is a former editor of Frogpond: Journal of the Haiku Society of America (2008-2012) and a former Honorary Curator of the American Haiku Archives (2008-2009).




Selected Haiku:

leaving my loneliness     inside her

divorce papers     falling leaves

snowflakes     bricks

from where the leaf fell a star

the holes in my thoughts fill with stars

spring morning grave digger whistling

fisherman reeling in     twilight

eyes closed
open to what's
inside

training bra
on the clothesline
half moon

spring thaw
wings beating inside my skull

trout river
my shadow
has gills

autumn wind
cells falling from
my body

willow
conducting
the storm

town dump
i find a still-
beating heart

creek 
cricket 
creaking

bridge
at both ends
mist

nightfall
the demons
on time

Note:  Below is excerpted from Aubrie Cox's book review, which was first published in A Hundred Gourds, 3:4, 2014:

snowflakes     bricks

Admittedly, the haiku above makes me pause, but I want to explore it. It has a season (snowflakes = winter), it juxtaposes two images and it has a kire/cut between the two words. Are these not all facets that most poets would consider essential to haiku, happening between these two words? I can certainly envision the snow coming down and landing on a walkway, or maybe against one of the many brick buildings on the campus where I work. The snowflakes settle onto the rough surface before fading into the crevices, leaving behind a small wet mark. The space between “snowflakes” and “bricks” feels like the moment before the two make contact. It’s so brief, just like my experience would be in noticing the moment. The before and after are almost simultaneous. Any more words would disrupt and only distract the reader from the moment. They’d tell too much.... 
... although these poems are micro on the page, off it they are just as, if not more, full as any haiku.

it juxtaposes two images and it has a kire/cut between the two words.

The type of cutting employed in George's haiku above belongs to Type II Formulation: "Buson and Shiki," pp. 410-11

…The more complex uses of kireji that come into prominence later on break down this linguistically confined structure of the sentence unit in favor of freer poetic play across the gap made by ya, other cutting-words, or syntactic breaks which cleave the poem in two …

Later in the seventeenth century when Danrin poets formulated their ideas about kireji, the discussion might be presented in terms of Yin-Yang metaphysics or simply in terms of a discrimination set up within a hokku between a "this" opposed to a "that." A work from 1680 put it in a refreshingly slangy way:

The kireji is that which clearly expresses a division of Yin and Yang. Yin and Yang mean the existence of an interesting confrontation within a poem (okashiku ikku no uchi ni arasoi aru o iu nari). For instance, something or other presented in a hokku is that?-no, it's not that but this, etc. 46

Eisenstein, circa 1929, would have replaced Yin with thesis and Yang with antithesis and cast the whole matter in the mold of his peculiar dialectic, but he would certainly have gone along with this Japanese poet's notion of arasoi, "confrontation." "By what, then, is montage characterized and, consequently, its cell -- the shot?" he asked himself in "The Cinematographic Principle and the Ideogram." "By collision. By the conflict of two pieces in opposition to each other. By conflict. By collision." And the phrases of hokku were, he insisted, "montage phrases," and hence they generated their meaning by a like dynamic process. 47

For more information, see "To the Lighthouse: Three Formulations about the Use of Cutting"

And using George's micro haiku as examples, I'll further discuss the "less is more" aesthetic of hosomi (sparseness, slenderness, or understatement) in my forthcoming "To the Lighthouse" post.

One Man's Maple Moon:Clay Horse Tanka by Pat Tompkins

English Original

life-size clay horse
made to pull a chariot
for an emperor
unearthed, it has traveled
to a foreign afterworld

Pat Tompkins


Chinese Translation (Traditional)

為皇帝拉戰車
真馬大小的泥馬
最近出土,
它的足跡遠到
一個異國的來世

Chinese Translation (Simplified)

为皇帝拉战车
真马大小的泥马
最近出土,
它的足迹远到
一个异国的来世


Bio Sketch

Pat Tompkins is an editor in the San Francisco Bay Area. She likes combining haiku with prose in haibun, which have appeared in bottle rockets, Thema, Haibun Today, and Contemporary Haibun Online.

Tuesday, October 21, 2014

Butterfly Dream: Yard Haiku by Jack Galmitz

English Original

the yard: a birdbath, a chainsaw

yards & lots, 2012

Jack Galmitz


Chinese Translation (Traditional)

院子:一個鳥浴盆,一把電鋸

Chinese Translation (Simplified)

院子:一个鸟浴盆,一把电锯


Bio Sketch

Jack Galmitz was born in NYC in 1951. He received a Ph.D in English from the University of Buffalo.  He is an Associate of the Haiku Foundation and Contributing Editor at Roadrunner Journal.  His most recent books are Views (Cyberwit.net,2012), a genre study of minimalist poetry, and Letters (Lulu Press, 2012), a book of poetry.  He lives in New York with his wife and stepson.

Monday, October 20, 2014

One Man's Maple Moon: Rock Tanka by Carole Harrison

English Original

this rock
in its silence
louder
through my flesh
than a cicada symphony

Bright Stars, 2, 2014

Carole Harrison     


Chinese Translation (Traditional)

這塊岩石
它的沉默
比蟬鳴交響樂
流通過我的肉身
還要響亮

Chinese Translation (Simplified)

这块岩石
它的沉默
比蝉鸣交响乐
流通过我的肉身
还要响亮


Bio Sketch

Carole Harrison combines her love of photography, long distance walking and short form poetry. Her work has been published in Eucalypt, Ribbons, Moonbathing, Atlas Poetica, plus other anthologies and on-line pages. She lives in country Australia surrounded by rainforest, cows and lots of local birds.

Sunday, October 19, 2014

Butterfly Dream: Welcome Song Haiku by Radhey Shiam

English Original

first rain
frogs and I sing
a welcome song

Radhey Shiam


Chinese Translation (Traditional)

第一場雨
青蛙和我合唱
歡迎曲

Chinese Translation (Simplified)

第一场雨
青蛙和我合唱
欢迎曲


Bio Sketch

Radhey Shiam: Born on Jan. 14,1922, inherited love for literature, Gandhian way of life, universal brotherhood and human religion, influenced by Danish saint Mr. Alfred Emanuel Sorensen popularly known as ‘Sunyata’. Contributes haiku, tanka, articles and poems in English, Hindi and Urdu languages to Indian and foreign magazines. The Saigyo Award for Tanka 2009, Publication – Song of Life published by Bhartiya Vidya Bhawan.

Saturday, October 18, 2014

A Room of My Own: I See

Under the Dickinson bust an index card on which Remember, poetry ... is scribbled in red ink. Notebook in hand, back straight, mind alert, I start reading her last manuscript, Behind /Beyond the Attic Wall.

the year
dying in the night
I alone
lean out the window
into the dark

Friday, October 17, 2014

To the Lighthouse: A Rhetorical Device, Synaesthesia

                                                                                                long walk home...
                                                                                                the sound of police sirens
                                                                                                darkens the night

A color is employed to suggest the quality of scent, a crying sound, a tactile sensation, or a temperature. As in the case of the Kabuki theatre, Eisenstein argues that the montage effect of haiku results in the experience of synaesthesia or multisensory experience. This characteristic helps him to develop the key principles of audiovisual montage and color-sound montage.
-- Chen-ou Liu, "Haiku as Ideogrammatic Montage: A Linguistic-Cinematic Perspective," Haiku Reality, 5

...  this deliberate confusion of senses is a superb rhetorical technique. The “transference of the senses” as a rhetorical device is a familiar element in Japanese poetry.
-- Peipei Qiu, Basho and the Dao: The Zhuangzi and the Transformation of Haikai, p.91

A haiku or a tanka without "rhetoric" was likely to be no more  than a brief observation without poetic tension or illumination.
-- Donald Keene, The Winter Sun Shines in: A Life of Masaoka Shiki, p 57.


Eisenstein thinks that haiku is “little more than hieroglyphs transposed into phrases,” 33 and that each of these haiku is made up of montage phrases or shot lists. 34 The “simple combination of two or three details of a material kind yields a perfectly finished representation of another kind – [the] psychological.” 35 For him, “haiku… act simultaneously as linguistic signifiers and denotative images of ‘natural’ things.” 36 Structurally and consequentially speaking, he considers haiku as an extension of the ideogrammatic structure characterizing the Chinese and Japanese writing systems. He believes that a Japanese haiku master’s juxtaposing two or three separate images to create a new meaning parallels his crashing two or three conflicting shots with each other to produce a new filmic essence. The juxtaposition of contrasting images in haiku (or the collision of conflicting shots in cinema) may single out, highlight, and purify a particular quality. Take Basho’s ever-famous frog haiku for example:

an old pond...
a frog leaps in,
the sound of water

His juxtaposition of two contrasting images of "an old pond" and " a frog leaping into the pond" makes a larger meditative, lonely silence “heard” through the opposition of the water sound. 37 More importantly, juxtaposed images of some haiku engage the reader in more than one sense, as can be seen in the following ones by Basho:

Their fragrance
Is whiter than peach blossoms
The daffodils

Over the evening sea
The wild ducks' cry
Is faintly white

It is whiter
Than the rocks of Ishiyama
The autumn wind

Onions lie
Washed in white
How chilly it is 38

A color is employed to suggest the quality of scent, a crying sound, a tactile sensation, or a temperature. 39 As in the case of the Kabuki theatre, Eisenstein argues that the montage effect of haiku results in the experience of synaesthesia or multisensory experience. 40 This characteristic helps him to develop the key principles of audiovisual montage and color-sound montage. 41

-- excerpted from Chen-ou Liu's Haiku Reality essay, titled "Haiku as Ideogrammatic Montage: A Linguistic-Cinematic Perspective"  (For further discussion on the relationship between haiku and cinema, see "To the Lighthouse: Arranged Marriage of Haiku and Cinema")


The rhetorical device, synaesthesia (transference of the senses), is a "familiar element in Japanese poetry... the method of “conceit” [is] derived from the Zhuangzi-style yugen in earlier haikai" (Peipei Qiu, p. 91) This device has also been employed in many of Basho’s famous haiku as quoted above. The following is the most famous one that is praised for its skillful description of the seascape and of a sense of solitude.

umi kurete                  The sea darkens:      
kamo no koe               the voices of wild ducks
honokani shiroshi       are faintly white.

Basho                         trans. by  Peipei Qiu

Commentary by  Peipei Qiu (p. 91)

... as darkness begins to permeate the sea, the faint cry of wild ducks fades into the infinite silence; it deepens the stillness, like a piece of whiteness heightens the darkness of the sea. In this poem, the auditory image, “the voices of wild ducks,” is described with a visual term, “white.” This “transference of the senses” has invited numerous comments. Some readers believe that with “whiteness” Basho really is not describing sound but something else -- the waves, the sea, the vapor over the sea, the color of wild ducks, and so forth. Others maintain that “whiteness” does indeed depict “the voices,” and this deliberate confusion of senses is a superb rhetorical technique.... (For a brief summary and translation of comments on the poem by Japanese scholars, see Makoto Ueda, Basho and His Interpreters, pp. 123–124)


Haiku Examples and Short Comments:

Whiter, whiter
Than the stones of Ishiyama
This autumn wind.

Basho
trans. by Donald Keene

The haiku above was written in 1689 when Basho visited Nata Temple in Komatsu (Peipei Qiu, p. 91). The visual image, "white" (in L1), is used not only to describe a hill of white stones on which Nata Temple was built, but also the purity of autumn wind.

As the bell tone fades,
Blossom scents take up the ringing.
Evening shade.

Basho

The haiku above merges three sensory modes. Steve Odin suggests that “the reverberating sound of a fading bell tone merges with the fragrant perfume of flower blossom, which in turn blends with the shadowy darkness of evening shade”.

the brightness
of the full moon
deepens the cold

Hiss of Leaves, 2012

T. D. Ingram
 
The haiku above is a one-sentence haiku. Ingram’s skillful use of cutting (through the excellent choice of a verbal phrase) and synaesthesia makes a successful shift from the physical/outer world (portrayed in a natural scene) to the mental/inner one (indicating the narrator’s state of mood). The contrasts between these two worlds are psychologically effective.

whispers of a fragrance
my sister loved
evening in spring

First Prize, 2010 Betty Drevniok Award

Ellen Compton

Judge's comment: The winning haiku. The 1st prize haiku, with an element of synaesthesia, achieved with muted personification, invokes as many as four senses with the phrase “whispers of a fragrance” while the nature of the scent itself is left an enigma. This, with the past tense in the second line, creates an air of nostalgia, without being maudlin. Added to this, the line “evening in spring” is the title of the last of Richard Strauss’s “Four Last Songs”, a personal favourite, and among the greatest of German lieder. (Noote: four senses? I don't think so. synaesthesia, transference of the senses, is more about "the transfer of qualities from one sensory domain to another, to the translation of texture to tone or of tone to color, smell or taste ..."/ interaction between different sensory images than merely the juxtaposition of them. See Steve Odin's comment on Basho's "bell tone" haiku).


Updated, October 19

The old man’s voice
is the color of his hair
this frosty night

Gregory D. Cottrell

Gregory D. Cottrell describes the old man’s voice as the color of his hair (white), giving readers a feeling of chilly whiteness (a wintry feeling)

Searching on the wind,
the hawk's cry
is the shape of its beak

J.W. Hackett

J.W. Hackett describes sound through sight. The shape of the hawk’s beak represents its cry, which is sharpened by the wind.

Butterfly Dream: Steeple Haiku by Kelley White

English Original

the steeple
piercing the sky ...
dance of snowflakes

Kelley White


Chinese Translation (Traditional)

教堂的尖塔
直刺蒼穹 ...
雪花飛舞

Chinese Translation (Simplified)

教堂的尖塔
直刺苍穹 ...
雪花飞舞


Bio Sketch

Pediatrician Kelley White worked in inner city Philadelphia and now works in rural New Hampshire. Her poems have appeared in journals including Exquisite Corpse, Rattle and JAMA.  Her most recent books are TOXIC ENVIRONMENT (Boston Poet Press) and TWO BIRDS IN FLAME (Beech River Books.) She received a 2008 Pennsylvania Council on the Arts grant.

Thursday, October 16, 2014

One Man's Maple Moon: White Clouds Tanka by Christine L. Villa

English Original

only remembering
how he loved me...
in a clear brook
white clouds gather
in my hands

Honorable Mention, 2014 Tanka Society of America Tanka Contest

Christine L. Villa


Chinese Translation (Traditional)

只記得
他如何地愛我...
在一條清澈的小溪
白雲聚集
在我手中

Chinese Translation (Simplified)

只记得
他如何地爱我...
在一条清澈的小溪
白云聚集
在我手中


Bio Sketch

Christine L. Villa, fondly called Chrissi by family and friends, is currently living with her parakeet named Georgie in California. She loves writing for children, taking photographs, and making jewelry. Her haiku and haiga have been published in various international journals and e-books. You can read more of her works on her blog Blossom Rain

Wednesday, October 15, 2014

Butterfly Dream: Silence Haiku by Alexander B. Joy

English Original

stillborn ...
feeling the weight
of silence

Alexander B. Joy


Chinese Translation (Traditional)

胎死腹中...
感受無言
之重


Chinese Translation (Simplified)

胎死腹中...
感受无言
之重


Bio Sketch

Alexander B. Joy is a Ph.D. candidate in Comparative Literature at the University of Massachusetts Amherst.

Tuesday, October 14, 2014

One Man's Maple Moon: Loneliness Tanka by Joyce Wong

English Original

on the beach,
loneliness stretches out
at night,
multiplies with
the countless grains of sand

GUSTS, 13, Spring/Summer 2011

Joyce Wong


Chinese Translation (Traditional)

在沙灘上,
寂寞向海岸延伸
到了晚上,
像無數沙粒
一樣地擴增

Chinese Translation (Simplified)

在沙滩上,
寂寞向海岸延伸
到了晚上,
像无数沙粒
一样地扩增


Bio Sketch

Joyce Wong is a quiet artistic soul who loves reading, writing, music, and poetry. She began writing tanka in 2010, inspired by Machi Tawara’s Salad Anniversary. Her tanka have been published in GUSTS, Moonbathing, and Take Five: Best Contemporary Tanka, Volume 4. One of her tanka was honored with a Certificate of Merit from the Japan Tanka Poets' Society in the 7th International Tanka Festival Competition, 2012. She lives in Vancouver, BC, Canada.

Monday, October 13, 2014

A Room of My Own: Day and Night

written on Canadian Thanksgiving Day

Thanksgiving Day:
a stray dog and I
avert our eyes

footsteps echo
outside the closed church ...
Thanksgiving night

One Man's Maple Moon: Incident Tanka by Saito Mokichi

English Original

an incident
has occurred in Shanghai,
while the red flowers
of balsam
scatter on the ground

The Prism of Mokichi, 2013 (trans. by Aya Yuhki et al)

Saito Mokichi


Chinese Translation (Traditional)

一件事端
發生在上海
就在那時候
鳳仙花紅
散落在地上

Chinese Translation (Simplified)

一件事端
发生在上海
就在那时候
凤仙花红
散落在地上


Bio Sketch

Saito Mokichi (May 14, 1882 -- February 25, 1953) was a psychiatrist and one of the most successful practitioners of the new tanka. In 1913, he published Shakko (Red Lights), a book that created a great impression not only on tanka poets but also on the literary world in general. In 1951, he received the Order of Culture.

Sunday, October 12, 2014

Butterfly Dream: Collection Plate Haiku by LeRoy Gorman

English Original

the smell of sweat
here comes
the collection plate

The Heron's Nest, 16:2, June 2014

LeRoy Gorman


Chinese Translation (Traditional)

汗臭味
奉獻盤
傳到這裡

Chinese Translation (Simplified)

汗臭味
奉献盘
传到这里


Bio Sketch

LeRoy Gorman writes mostly minimalist and visual poetry.  His most recent book, fast enough to leave this world, is one of tanka published by Inkling Press, Edmonton.  More information on his writing can be found at the American Haiku Archives where he served as the Honorary Curator for 2012-2013.

Saturday, October 11, 2014

One Man's Maple Moon: Sunshine & Pain Tanka by Helen Buckingham

English Original

waking half way
through the day
half the sunshine
half the pain
-- still time for a poem

Little Purple Universes, 2011

Helen Buckingham


Chinese Translation (Traditional)

醒來   
日子過了一半
一半陽光
一半疼痛
-- 仍然有時間寫一首詩

Chinese Translation (Simplified)

醒来   
日子过了一半
一半阳光
一半疼痛
-- 仍然有时间写一首诗


Bio Sketch

Helen Buckingham has been writing tanka for the past decade or so and in 2011 had a collection published with (and by) Angela Leuck, titled Little Purple Universes. In the same year she brought out a solo collection: Armadillo Basket (Waterloo Press) encompassing a number of styles, western and Japanese, including tanka.

Friday, October 10, 2014

Cool Announcement: A Freebie, A Life in Transition and Translation

My  Dear Friends:

I was notified that my haiku chapbook, A Life in Transition and Translation, won a Honorable Mention in the fourth Turtle Light Press biennial haiku chapbook competition, 2014. In celebration of the Double Ten Taiwan National Day, here is a free PDF copy of A Life in Transition and Translation for your reading pleasure.



Selected Haiku:

im-mi-grant . . .
the way English tastes
on my tongue

2nd Prize, 7th Kokako Haiku Competition

job hunting...
a yellow leaf drifts
from branch to branch

Editor's First Choice, "Fall Trees Thread," Sketchbook 5:5, September/October 2010

winter rain
I fall asleep
holding myself

A Hundred Gourds, 2:3, June 2013

to leave or to stay...
the light and dark
of a spring wind

Lynx, 28:3, October 2013

midsummer night
I photoshop
my immigrant dream

Under the Basho, September 2013

Pacific shore . . .
I speak to the chestnut moon
in my mother tongue

Honorable Mention, Kitakyushu International Moon Haiku Contest

winter
rain
drops
my
reflection

Modern Haiku, 45:1, Winter/Spring 2014

my dog and I
in a patch of sunlight
New Year's morning

Frogpond, 36:2, Summer 2013

first homecoming...
the silence lengthened
tree by tree

A Hundred Gourds, 2:3, June 2013

budding cherry petals ...
three blue-eyed teens greet me
with middle fingers

Wah, 2014

from Lake Ontario
I scoop the Taiwan moon
distant sirens

Contemporary Haibun Online, 10:2, July 2014

harvest moon rising ....
a tremble
in the migrant's voice

Second Place, 10th Kloštar Ivanić Haiku Contest, 2013

lunar eclipse
can my words map the contour
of a void?

Whispers, Feb. 26, 2014

Silent Night
drifting in from the neighbors --
I relearn Chinese

Second Place, North Carolina Poetry Society Lyman Haiku Award 2011


 Many thanks for your continued support of my writing.

Chen-ou


Note: A Life in Transition and Translation is prefaced and postfaced by the following haibun respectively:

Following the Moon to the Maple Land
for my first Canada Day, July 1, 2003

Name: Chen-ou Liu (phonic);
Country of Birth: R.O.C.;
(Cross out R.O.C. and fill in Taiwan) 1
Place of Birth; Date of Birth; Sex;
simply more technocratic questions
the Immigration Officer needs to pin down my borders.
He is always looking for shortcuts,
more interested in the roadside signposts
than in the landscape that has made me.
The line he wants me confined to
is an analytically recognizable category:
immigrant. My history is meticulously stamped.
Now, you're legally a landed immigrant.
Take a copy of A Newcomer’s Introduction to Canada.

from Lake Ontario
I scoop the Taiwan moon
distant sirens

Contemporary Haibun Online, 10:2, July 2014

Note:  "The Republic of China (ROC)” was established in China in 1912. At the end of World War II in 1945, Japan surrendered Taiwan to ROC military forces on behalf of the Allies. Following the Chinese civil war, the Communist Party of China took full control of mainland China and founded the People's Republic of China (PRC) in 1949. The ROC relocated its government to Taiwan, and its jurisdiction became limited to Taiwan and its surrounding islands. In 1971, the PRC assumed China's seat at the United Nations, which the ROC originally occupied. International recognition of the ROC has gradually eroded as most countries switched recognition to the PRC. Only 21 UN member states and the Holy See currently maintain formal diplomatic relations with the ROC, though it has informal ties with most other states via its representative offices." -- excerpted from the Wikipedia entry, “Taiwan


To Liv(e)

My Dear:

Upon reading your ground-floor comment regarding my decision to emigrate to Canada, “you're a dreamer with your head in the clouds, paying little attention to the reality on the ground,” I laugh… to tears.

It reminds me that Ingmar Bergman once commented on Elliot Gould, “It was the impatience of a soul to find out things about reality and himself, and that is one thing that always makes me touched almost to tears, that impatience of the soul.”

I miss you, miss the conversations we used to have inside and outside the theater, and miss your favorite actress Liv Ullmann and our dream.

autumn twilight
a butterfly darts in and out
of my shadow

It’s true that my immigrant life here is much tougher than I thought. It can easily thrust me into troubling circumstances that threaten to undo my “mastery” over those things that matter most.

Thanks for your advice: “don't let life make your heart hard; sometimes, you need to keep one of your eyes open and the other closed.” You told me that you've long found yourself mesmerized by Pablo Picasso’s painting, “The Head of a Medical Student,” a face in the form of an African mask with one eye open, and the other closed. I can generalize about the provocative poignancy of this painting: most people live their lives with one of their eyes keenly open to the dangers of the world and the uncertainty of the human condition; their other eye is closed so they do not see or feel too many of these things, so they can get on with their lives.

fight after fight
against loneliness --
waning moon

I don’t want to drag you into our decade-old debate again. But, is this the kind of life we’re going to pursue after spending years together reading, seeing, and discussing so many artistic works on life and death? Your Ullmann once quoted Bergman as saying, “Perhaps there’s no reality; reality exists only as a longing.” For me, my longing is reality.

falling off a dream I become a butterfly

Love,

Chen-ou

Frogpond, 34:3, Fall 2011


Updated, October 13

Commentary by the Judge, Penny Harter

In this collection we enter the life of being an immigrant, feel the loneliness of being between worlds, and the questions and challenges that arise from that experience. One must learn a new language, a new landscape, and a new culture. The immigrant is at first cast adrift, never really at home, but never really in exile, either.

winter rain
I fall asleep
holding myself

We don’t have to be a stranger in a strange land to feel this degree of loneliness, but being one makes it all the more poignant.

budding lotus
when did I become
who I am

When any of us have experienced a shift from one land to another, whether chosen or forced upon us, this is a question we find ourselves asking more than once. I know I have been asking it often since my husband died and I only moved from north to south Jersey.

first homecoming . . .
the silence lengthened
tree by tree

And when we try to go home, we are changed, so home is changed. The silence, the trees . . . how do we bridge the gap? And what self are we bringing home again?

last cherry petals
drift to the ground
I miss myself

As we are becoming, day by day, our “new” selves, we miss the old, but can’t go back. And that’s the way it is. But we go on! This is a collection that makes us recognize the changes we must make—and, if we are immigrants, the changes are even more profound.

Thursday, October 9, 2014

Butterfly Dream: First Kiss Haiku by Rebecca Drouilhet

English Original

first kiss story
lost in our history ...
half moon rising

Rebecca Drouilhet


Chinese Translation (Traditional)

初吻故事
從我們的歷史中消失...
半月上升

Chinese Translation (Simplified)

初吻故事
从我们的历史中消失...
半月上升



Bio Sketch

Rebecca Drouilhet is a 58-year old retired registered nurse.  In 2012, she won a Sakura award in the Vancouver Cherry Blossom Haiku International.  Her haiku and tanka have appeared in A Hundred Gourds, Modern Haiku, Frogpond, World Haiku Review, Prune Juice, The Heron's Nest, and the Lakeview International Journal of Literature and Art.

Wednesday, October 8, 2014

A Room of My Own: Yellow Ribbons Haiku

for the spiritual followers of Dr. Sun Yat-Sen, Chinese revolutionary and founding father of the Republic of China,  who said, "The revolution is not yet successful, the comrades still need to strive for the future." (革命尚未成功,同志仍需努力)

a sea of waving hands
with yellow ribbons
Hong Kong's skyline at dawn

Note: Occupy Central Pro-Democracy protestors have adopted the yellow ribbon as their symbol. Below is my another poem about the Occupy Central movement:

as if
stars were spread thick
across the Hong Kong sky:
a mobile light vigil
in the Central District 

Tuesday, October 7, 2014

Butterfly Dream: Foreclosure Notice Haiku by Michael Dylan Welch

English Original

foreclosure notice --
an ice cream truck
comes and goes

Frogpond, 36:3, Autumn 2013

Michael Dylan Welch


Chinese Translation (Traditional)

房屋止贖通知 --
流動冰淇淋車
來了又走了

Chinese Translation (Simplified)

房屋止赎通知 --
流动冰淇淋车
来了又走了 


Bio Sketch

Michael Dylan Welch is vice president of the Haiku Society of America, founder of the Tanka Society of America (2000), and cofounder of Haiku North America conference (1991) and the American Haiku Archives (1996). In 2010 he also started National Haiku Writing Month (NaHaiWriMo), which takes place every February, with an active Facebook page. His personal website is www.graceguts.com, which features hundreds of essays, reviews, reports, and other content, including examples of his published poetry.

One Man's Maple Moon: Spring Day Tanka by Ki no Tomonori

English Original

the light filling the air
is so mild this spring day
only the cherry blossoms
keep falling in haste --
why is that so?

Back Cover Tanka, Ribbons,  8:1, Spring/Summer 2012

Ki no Tomonori
Translated by Emiko Miyashita and Michael Dylan Welch


Chinese Translation (Traditional)

陽光瀰漫
這個春天如此地溫和
只有櫻花
不斷匆忙地飄落 --
為什麼會這樣呢 ?

Chinese Translation (Simplified)

阳光瀰漫
这个春天如此地温和
只有樱花
不断匆忙地飘落 --
为什麽会这样呢 ?


Bio Sketch

Ki no Tomonori (c. 850 – c. 904) was an early Heian waka poet of the court. He was a compiler of the Kokin Wakashū (Collection of Japanese Poems of Ancient and Modern Times), and several of his poems were included in this anthology.

Monday, October 6, 2014

Butterfly Dream: Winter Clouds Haiku by Nancy Nitrio

English Original

the moon
behind winter clouds ...
failed marriage

Cattails, May 2014

Nancy Nitrio


Chinese Translation (Traditional)

月亮
在寒雲之後 ...
失敗的婚姻

Chinese Translation (Simplified)

月亮
在寒云之後 ...
失败的婚姻 


Bio Sketch

Nancy Nitrio began writing haiku in 2007.  Her haiku has been published in various paper and online journal here in the USA and internationally. She has placed second in May 2009 Shiki Monthly Kukai.  She was runner-up in the Snapshot Press Haiku Calendar Contest 2009 and Honorable Mention in the Vancouver Cherry Blossom Festival 2010. She lives in the Sacramento Valley region of central California with her husband of 44 years and five cats. She also enjoys the practice of Ikebana and origami.

Sunday, October 5, 2014

Cool Announcement : In the Company of Good Poems

In Kawamoto's study of haiku aesthetics, he notes that much of the appeal of a haiku -- because it is a poem, after all, and not just an expression of a Zen psyche -- stems from some "rhetorical anomaly," or distinctiveness in the expression, usually found in the base section (127) 1. The  rhetorical anomaly can come in the form of pun, paradox, repetition, hyperbole, something striking in the haiku's sound or its image, or some disruption of syntax or expectation -- in short, something in the language, some derivation from language's denotative function, that catches our notice. One flaw evident in much contemporary haiku, it seems to me, is that its emphasis on simplicity and invisibility of language called “wordlessness” at times leads to a flatness that often lacks any “rhetorical anomaly...
 -- Ian Marshall, Walden by Haiku, p.50

Of the later poetry collections, the most highly admired was the eighth imperial anthology, Shin kokinshu (The New Collection of Ancient and Modern Poems), ... Still emulating the traditional ideals, [the poets] were able to reinvigorate the thirty-one-syllable form through innovative use of such devices as classical allusion, wordplay, and symbolism. Through classical allusion, they could create novel comparisons or contrasts that would expand the meaning of their poems.
-- Makoto Ueda, Modern Japanese Tanka, pp. xiii-xiv)

A haiku or a tanka without "rhetoric" was likely to be no more  than a brief observation without poetic tension or illumination.
-- Donald Keene, The Winter Sun Shines in: A Life of Masaoka Shiki, p 57.


My Dear Contributors and Readers:

As I read over the haiku and tanka submitted for inclusion in the 2013 Butterfly Dream and One Man’s Maple Moon anthologies respectively, the exchange between Anne Elliot and William Elliot that is cleverly depicted in Persuasion 2 came to my mind. In deciding what lifts the submitted haiku and tanka from “good company” to “the best,” I wanted every word to count, to add to the poem, not simply fill a syntactic or semantic gap. The effective use of "rhetorical anomaly" or punctuation marks helped as well. I was also hoping to see some arresting images in the poems jump out and grab me by the throat. I set a high standard, giving equal weight to thematic significance, evocative imagery, skilled use of literary devices, and the two-axis aspect of the poem.

After coffee, deliberation, and more coffee, it is bittersweet to make the following decision: there are no best haiku and tanka for the 2013 anthologies; but, our life at NeverEnding Story is good when in the company of the following poems:

two light beams shining
where there were once twin towers –
my son, my daughter

Jack Galmitz



when my gendai world was flat I kept falling off
                                            
                                                                                           the text horizon

kjmunro



a large bruise
deep inside the mango
unexpected
the way you turned away
when I needed you most

Susan Constable


Many thanks for your continued support of my project. And look forward to reading your new work (see 2014 haiku/tanka anthology submission guidelines ; Deadline: December 1, 2014)

Chen-ou


Notes:

1 The main appeal of a haiku lies in the operation of a dynamic segment, which—while drawing the reader’s interest through powerful stylistic features—remains only a single layer that offers little indication of the poem’s overall significance (or else gives only an ambiguous clue)... We will refer to this part as the “base section.” Similarly we will use the term “superposed section” to refer to those evocative phrases which... work upon and in conjunction with the base sections in order to furnish the reader with clues to the poem’s overall significance... A segment of the base [may] simultaneously function in the role of the superposed section
-- Kōji Kawamoto, Poetics of Japanese Verse: Imagery, Structure, Meter. pp. 73-4.

2 “My idea of good company, Mr. Elliot, is the company of clever, well-informed people, who have a great deal of conversation; that is what I call good company.”
“You are mistaken,” said he gently; “that is not good company; that is the best.
-- An exchange between Anne Elliot and her cousin/suitor William Elliot from Persuasion by Jane Austen , Chapter 16,  pp. 147-8.

Saturday, October 4, 2014

A Room of My Own: Between Life and Death

she lies pale
in the hospital bed
waiting
in dread and hope
for another's death

finally
a man's heart in her chest
and hers gone ...
alone at twilight
she listens to his/her heartbeat

Friday, October 3, 2014

One Man's Maple Moon: Geese Tanka by Susan Constable

English Original

leaning on a rake
he watches geese fly south --
in my dream
he flaps his wings, takes off
for places we’ve never been

American Tanka, 19, 2011

Susan Constable


Chinese Translation (Traditional)

靠著耙
他觀看大雁南飛 --
在我的夢中
他扇動翅膀,飛向
我們從來沒有去過的地方

Chinese Translation (Simplified)

靠著耙
他观看大雁南飞 --
在我的梦中
他扇动翅膀,飞向
我们从来没有去过的地方


Bio Sketch

Susan Constable’s tanka appear in numerous journals and anthologies, including Take Five. Her tanka collection, The Eternity of Waves, was one of the winning entries in the eChapbook Awards for 2012. She is currently the tanka editor for the international on-line journal, A Hundred Gourds.

Thursday, October 2, 2014

Poetic Musings: Aloneness Haiku by Aditya Bahl

as an and you and you and you alone in the sea

Haiku Utsav, 2013

Aditya Bahl


Commentary by Richard Gilbert

Just like the conjunction ‘and’ which only connects two things but belongs to neither side is alone, so are all of us… alone. 

Combined with the pace of a one-liner, the use of repetition and the closing image of a person alone in the sea add emotional weight and psychological depth to the poem.

For more information about repetition, see  "To the Lighthouse: Repetition, Repetition, Repetition" (note: Epizeuxis or palilogia is the repetition of a single word, with no other words in between.)

Wednesday, October 1, 2014

One Man's Maple Moon: Butterfly Tanka by Margaret Chula

English Original

a butterfly perches
on the bamboo chair
breathing in the rain
      if I were alone
      I would dance       

Always Filling, Always Full, 2001

Margaret Chula


Chinese Translation (Traditional)

蝴蝶棲息
在竹藤椅上
在雨中呼吸
    如果我獨自一人
    我會翩翩起舞

Chinese Translation (Simplified)

蝴蝶栖息
在竹藤椅上
在雨中呼吸
    如果我独自一人
    我会翩翩起舞


Bio Sketch

Margaret Chula has published two collections of tanka: Always Filling, Always Full and Just This. She has promoted tanka through her one-woman dramatization, “Three Women Who Loved Love”, which traveled to Krakow, New York, Boston, Portland, Ottawa, and Ogaki, Japan. Maggie currently serves as president of the Tanka Society of America.

Hot News: A New Milestone Reached -- 130,000 Pageviews

My Dear Friends:

NeverEnding Story just crossed the 130,000 view mark today.

Stats:

Pageviews yesterday: 262
Pageviews last month:8,153

I am grateful to everyone who has been a part of this poetry journey. And look forward to reading your new haiku/tanka (see 2014 anthology submission guidelines for haiku and tanka )

Chen-ou

Note:  In addition to being translated into Chinese and published on NeverEnding Story, the accepted haiku and tanka will be tweeted and re-tweeted by  @storyhaikutanka (NeverEnding Story's Tweeter account: following: 8, followers: 329) and @ericcoliu (Chen-ou Liu's Tweeter account: following: 7, followers: 1,456) respectively to reach a larger readership.