(Section 4 of "The Problem of Tanka : Definition and Differentiation," which was first published in Atlas Poetica, 18, Summer 2014 and reprinted by kind permission of NeverEnding Story contributor, M. Kei)
4. Destabilization of Tanka Assumptions
4.1 Modern English Tanka
The publication of the journal
Modern English Tanka (MET), beginning in 2006, destabilized the world of late 20th century tanka.
Denis M. Garrison, a long time poet and editor of short form poetry, founded MET as a deliberate escape from the orthodoxies of tanka. In the inaugural issue, Garrison wrote in his editorial,
It’s time to write, read, critique, and study our English tanka, per se, which presupposes the skillful use of our living language rather than some faux-Japanese-English [. . .] Modern English Tanka is dedicated to publishing and promoting fine English tanka—both traditional and innovative verse of high quality—in order to assimilate the best of the Japanese uta/waka/tanka genres into a continuously developing English short verse tradition. [ . . .] It is not the goal of Modern English Tanka to either authoritatively define English tanka or sponsor any particular formula or template. 42
For the next three years, an outpouring of tanka of all kinds filled the 250 pages of each issue of
Modern English Tanka (MET) four times a year. Publishing approximately 500 poems per volume, the roughly 6000 tanka published by MET provided an outlet for tanka that had previously been kept in drawers. One of the frequent contributors was
Sanford Goldstein, the master of English-language tanka. Although he had previously published several chapbooks and was co-editor with Kenneth Tamemura of the short-lived journal
Five Lines Down, MET gave his work a wide exposure that served to cement his reputation as the leading tanka poet working in English. He wasn’t the only one. Several poets who couldn’t get published under the old regime rocketed to prominence after publishing in MET.
Garrison didn’t stop there. He established Modern English Tanka Press (MET Press) to publish additional journals, collections and anthologies. The MET stable of journals included Modern Haiga : Graphic Poetry (MDHG); Prune Juice : A Journal of Senryu and Kyoka (PRUJ); Atlas Poetica : A Journal of Poetry of Place in Modern English Tanka (ATPO); Modern Haibun & Tanka Prose (MHTP); Concise Delight Magazine of Short Poetry (CNDL); and Ambrosia : Journal of Fine Haiku. When health problems forced him to curtail his commitment to poetry, Atlas Poetica and Prune Juice found new homes and continued publishing in the hybrid print and online editions he pioneered. The other journals closed, and tanka was poorer for it.
Another paradigm changer was the anthology
Fire Pearls : Short Masterpieces of the Human Heart (FRPL) published by Keibooks in 2006. Edited without dogma as to form or content,
Fire Pearls was the first of the post-New Wave anthologies, the first thematic anthology, and the first sequenced anthology in English.
43 The only previous book length sequence was
Jun Fujita’s Tanka : Poems in Exile (1923), although there were some chapbooks, such as Goldstein’s
At the Hut of the Small Mind.
44 Prior to
Fire Pearls, anthologies were usually organized alphabetically by poet’s name.
Fire Pearls divided nearly four hundred poems into five seasonal categories. Within each category, poems were sequenced to create relationships.
Fire Pearls was followed by a series of anthologies published by MET Press, including The Five Hole Flute (FHFL) (sequences), Landfall : Poetry of Place in Modern English Tanka (LNFL), Five Lines Down : A Landmark in English Tanka (FVLD) (an omnibus of the journal), The Tanka Prose Anthology (TKPA), The Ash Moon Anthology : Poems on Aging in Modern English Tanka (ASHM), Streetlights : Poetry of Urban Life in Modern English Tanka (STLT), Take Five : Best Contemporary Tanka, Volumes 1–3 (TAK5:1–3) (TAK5:4 was published by Keibooks), as well as collections by established and emerging poets. MET Press also brought out Jun Fujita : Tanka Pioneer, a collection of all of Fujita’s poetry in one omnibus edition with an introduction that traces the establishment of tanka in English in the early 20th century. MET Press also published Goldstein’s Four Decades on My Tanka Road, an omnibus of the master’s previous hard to find chapbooks, Alexis Rotella’s Lip Prints, and others.
Garrison also provided technical assistance and mentoring to various poets, editors, and small presses who were able to copy the method he pioneered to publish poetry: print-on-demand (POD) publishing combined with online editions. He demonstrated that having a free online edition did not hurt print sales, but provided tens of thousands of readers the opportunity to enjoy and learn about tanka. The print circulations of Anglophone tanka journals (with the exception of Japan’s The Tanka Journal (TTJ)) are minuscule, numbering only a few hundred subscribers. It is the online journals and websites that collectively reach as many as a hundred thousand readers a year.
In the ensuing years numerous projects have come to fruition in the hands of a variety of editors and poets, but covering those developments in depth will be deferred to this author’s History of Tanka in English. What is important is the sheer mass of MET Press publication. It was not just a shot across the bow of New Wave tanka—it was an entire broadside. The challenge would not go unanswered.
Established journals were unwavering in their commitment to their editorial ideals, but they could not prevent new journals from being founded, so they had to compete for readers and submissions from a much more diverse and demanding audience. Some of them folded. So did some of the new venues. Blow back came from various quarters, sometimes from established poets who passed judgment, claiming that not only were some poems not tanka, they weren’t even poetry! Most of the criticism was informal via email discussion groups and similar forums. On the other hand, some established poets, such as Alexis Rotella, who had been publishing Japaniform poetry since the 1970s, embraced the new possibilities. Rotella founded Prune Juice : A Journal of Senryu and Kyoka precisely because she wanted to “get things moving.” (45)
4.2 S-L-S-L-L as ‘Traditional’ Tanka
The formal response came in the summer of 2009 in the form of a jointly authored article by Amelia Fielden, Robert Wilson, and ironically, Denis M. Garrison. They published “A Definition of the ideal form of traditional tanka written in English.” It appeared in both Wilson’s journal, Simply Haiku (SH), and in Garrison’s Modern English Tanka (MET).
While there are linguistic and orthographic differences between Japanese and English that cannot be fully resolved, we believe that it is possible to follow the centuries-old waka/ tanka formal poetic tradition to a substantial and meaningful degree. We do not seek to define nor deal with avant-garde innovations based on tanka in this paper, nor do we seek to restrain poetic experimentation by any poet. 46
They laid out seven “essential guidelines for writing ‘Traditional Tanka in English’ in the ideal form,” 47 which include but are not limited to a set syllable count of 19–31 English syllables, a set pattern of lines in the form of short-long-shortlong-long with an ideal syllable pattern of 3-5-3-5-5 but permitting minor variations, a stop to end each line (“five phrases on five lines”), and a strong fifth line that should not be shorter than the others. They accepted various subjects and treatments with the exception of polemics or didactic works.
My own analysis of syllables in a tanka leads me to believe that their proffered syllable count is too long to approximate the usual Japanese rhythm. I recommend 17–26 syllables, but I accept considerable variation. This is because the English syllable is far more dynamic than a Japanese unit of sound. “Radio diva” is five syllables, but “stretched” is only one.
Kozue Uzawa, a Japanese-Canadian tanka poet, editor, and translator, recommends twenty syllables.
As for syllable counting, I personally like to use about 20 English syllables because this shortness is very close to Japaneses [sic] tanka. If you don’t like to count syllables, just count words. Use 10 ~ 15 words, or up to 20 words at maximum. 48
This was adopted and announced as editorial policy for Gusts, the journal of Tanka Canada, in issue 7, Spring/Summer, 2007. Uzawa, along with Amelia Fielden, edited and translated the highly regarded Ferris Wheel : 101 Modern and Contemporary Tanka in 2006. Her own poetry reflects this preference for twenty syllables.
white pulp
of a baby pumpkin
no smell
no taste, simply soft
seeds not yet formed
Kozue Uzawa 49
Saeko Ogi is a tanka poet and translator who was born in Japan. She currently lives in Australia. In an interview with Guy Simser, she describes tanka in English as commonly having a pattern of 3-4-3-4-4 syllables, or eighteen syllables total—less than the lower bound set by Wilson-Fielden-Garrison. When translating English to Japanese, she renders them as 5-7-5-7-7. 50 Although Ogi provides no evidence in support of her contention that “most” tanka in English are 3-4-3-4-4 in pattern, that someone who is a highly experienced poet and translator regards it as normative shows yet again that there are legitimately varying opinions regarding proper form in English.
Regardless of the various pronouncements made, when we look at tanka as it is actually written by highly qualified and well-regarded poets, we see immense variation. Hypometric and hypermetric lines are common. For example, Sanford Goldstein’s tanka range from twelve to thirty-six syllables in length. Goldstein quotes Takuboku in an editorial in Five Lines Down,
Some may criticize us by saying this will destroy the rhythm of tanka itself. No matter. If the conventional rhythm has ceased to suit our mood, why hesitate to change it? If the limitations of thirty-one syllables is felt inconvenient, we should freely use lines with extra syllables. 51
In fact, it is not entirely clear that the Japanese count “syllables” at all, as per Richard Gilbert. That is why advocates of the “traditional” style have offered S-L-S-L-L as an alternative. The trouble is, short and long what? sound? printed line length? absolute or relative length?
Not only do English syllables differ in sound, they also differ in appearance. Examining the formatting of numerous S-L-S-L-L tanka suggests that the de facto definition of short and long has nothing to do with prosody but is an artifact of formatting. Thus numbers and symbols are used for short lines that when spoken aloud are longer than their printed length, sometimes even longer than the poem’s “long” lines.
We can see the artificiality of this dictate when it results in a mangled line for no good reason except to conform to the format.
this moon
watching her dance
on the
shorelines as if
the stars exist
Robert D. Wilson 52
Wilson isn’t usually as egregious as this, but it’s hard to find a better example of why it’s wrong to let the format dictate the line breaks. The real poem is:
this moon
watching her dance
on the shorelines
as if
the stars exist
“As if ” can justify a line of its own, but “on the” cannot. The poem has been forced into conformity with Wilson’s edict regarding S-L-SL-L. The arbitrary shape is an artifact of formatting and does not conform to units of prosody and meaning.
Wilson prepended the SH edition of “Traditional tanka” with an introduction that was even longer than the article. He offered his own definition of tanka:
A 5 lined poem that makes use of breaks (cutting words: i.e., punctuation or ellipsis, whenever necessary), utilizes a meter similar to that found in Japanese tanka, makes use of Japanese aesthetics, follows as much as possible the S-L-S-L-L schemata, makes use of juxtaposition as needed, and is not a haiku or senryu masquerading as a tanka such as a five lined poem using one or two words per line. 53 Wilson’s definition contradicts the paper he co-authored. In particular, if the paper’s ideal for short lines is only three syllables, they must, of necessity, be composed of one, two, or three words. Prohibiting lines of one or two words imposes an unreasonable restriction to the form, and indeed, Wilson cannot mean that because the two examples he offers each have lines composed of one or two words. Maybe what Wilson meant is that a line should not be composed of one or two syllables, but that’s not what he wrote.
Wilson admires a poem by Carole MacRury,
sleep-walking
through my childhood . . .
until I wake
to forgive and kiss
my dying father goodbye
Carole MacRury 54
“Sleep-walking” is a line composed of a single word that demonstrates why counting anything— words, syllables, or stresses—is a problematic way to compose tanka in English.
The core of Wilson’s definition is the S-L-SL-L format because the rest of the items are optional. A five lined poem that uses breaks “as needed” contradicts the recommended full stops in the “traditional” article. Likewise terms such as “a meter similar to that found in Japanese” and “makes use of juxtaposition as needed” provide a lot of wiggle room. His definition boils down to poem written in S-L-S-L-L with Japanese aesthetics.
Wilson’s own Simply Haiku is the only venue that implements his view of tanka. Of course that is his editorial prerogative, but as long as his own publications are the only ones to embody it, it represents a personal point of view, not a definition. (Cattails also espouses S-L-S-L-L, but has not yet published its first issue as of this writing.) Gusts shares some of the concepts (Amelia Fielden served on the editorial committee at the time) 55, but Gusts has its own distinctive editorial voice. Editor Kozue Uzawa’s preference for shorter tanka results in a lighter, suppler tanka.
As soon as the “traditional” definition appeared, it was roundly challenged. Numerous poets and editors, including this author, disagreed with it, and disagreed even with the notion that the form of tanka described qualifies as “traditional.” There is no “traditional tanka” in English. A wide variety of adaptions have been made over the decades and they are all valid approaches. None enjoys consensus. Harking back to Hartmann and Fujita, we can see that they are both “traditional” in the sense that their approaches have persisted over time and been followed by a variety of poets and editors. Neither of them conforms to the definition given in Wilson, Fielden, and Garrison. Both are far older and have the virtue not only of longevity, but of being created by poets who were native speakers of Japanese and well-educated in both Japanese and Western literature. In other words, S-L-S-L-L is just one of many legitimate adaptions.
Translating tanka from Japanese to English is no easy thing. An entire book is devoted to the subject, Nakagawa Atsuo’s Tanka in English : In Pursuit of World Tanka (1987, 1990). It gives extensive attention to problems of structure and adaption, which in turn provides a number of linguistically valid methods of translation. It logically follows that the same diverse methods are also legitimate methods for composing tanka in English.
4.3 The Kyoka Challenge
Beginning in 2006, kyoka was offered as an alternative outside the tasteful parameters of the New Wave. Articles and poetry published in MET stimulated interest. In 2006, a poem labeled “kyoka” appeared in Moonset, Volume 2:1, Spring, 2006. Prior to that, two poems labeled “kyoka-style” were published in The Tanka Anthology (2003). The Kyoka Mad Poems email list was founded as a workshop in 2006 and continues to this day.
In 2009, Robin Gill published Mad in Translation, a massive compendium of kyoka translated from the Japanese, the first and only of its sort. It was followed by the Mad in Translation Reader, featuring a selection from the original. Prior to that, the Metropolitan Museum of Art and Viking Press translated and published two kyoka books illustrated by Utamaro, the famous woodblock print artist, A Chorus of Birds (1981) and Songs of the Garden (1984). They circulated principally among art lovers, not tanka poets. Kyoka was also mentioned in some of the scholarly anthologies, such as those by Donald Keene.
The kyoka below from Mad in Translation is an example of how kyoka could parody the classical waka.
Though this body, I know,
is a thing of no substance,
must it fade, alas,
so swiftly,
like a soundless fart? 56
Alexis Rotella, well known for writing both tanka and senryu, embraced kyoka. In 2008 she published a collection of her own poetry, Looking for a Prince : A Collection of Senryu and Kyoka. She also founded Prune Juice : A Journal of Senryu and Kyoka (PRUJ) with its first issue appearing early in 2009. It later spun off from MET Press and came under the editorship of Liam Wilkinson, then Terri French.
Rotella is the best and most consistent poet writing kyoka in English. Her poem below shares a sensibility with the kyoka above, but it is a thoroughly modern poem.
Old man—
first he asks
to die,
then for
a ham sandwich.
Alexis Rotella 57
Also founded in 2008, Atlas Poetica : A Journal of Poetry of Place in Contemporary Tanka (ATPO) (originally Atlas Poetica : A Journal of Poetry of Place in Modern English Tanka) expressly included kyoka in its submission guidelines. Thus two journals came into existence in 2008 that saw kyoka as part of their editorial vision. In 2010, Richard Stevenson published Windfall Apples : Tanka and Kyoka. In 2011, Atlas Poetica published “25 Tanka for Children,” a special feature online. In spite of the name, a number of the poems were kyoka and exhibited a playfulness of language not often found in tanka. In 2012, Pieces of Her Mind : Women Find Their Voices in Centuries Old Forms, edited by Alvin Thomas Ethington, appeared. It featured haiga, senryu, and kyoka by women.
Japanese American poets had been writing tanka on humorous or even vulgar subject matter for years.
I cross a field the fine autumn day and cut a fart
it sounds dry—tomorrow should be a fine day too
Konoshima Kisaburo 58 translated by David Callner
Anglophone advocates of kyoka saw it as an avenue to escape the mannerism of New Wave tanka, but although kyoka continues to appear, it remains a minority interest. It did not revolutionize the tanka world. Nonetheless, because tanka and kyoka have exactly the same form in Japanese but are different genres, it explicates why form alone is not a sufficient definition for tanka. The existence of kyoka also points out that the content and style of Anglophone tanka not yet broad as advocatesclaim,althoug(are) hgreatstrides(as) have been made in recent years.
4.4 The Gogyohka and Gogyoshi Alternatives
In the early 1990s in Japan, Kusakabe Enta invented gogyohka, a five line poem derived from tanka. It scrapped the sanjuichi form and defined itself by writing short poems five lines; “gogyohka” simply means “five line(on) poem.” 59 Gogyohka consciously rejected tanka, but tanka aesthetics permeate the work published so far in English. On the other hand, gogyohka encourages sincerity of expression, so works that would be considered naive or undeveloped by English tanka readers are considered fresh and direct when published as gogyohka. Starting in 1994, Enta established a Gogyohka Society in Japan and began publishing the Gogyohka Journal. 60 In 2006, his book Gogyohka was published in English. He held the first Gogyohka Conference in 2008. In 2006, he started holding workshops in the United States. This was followed by the formation of a Gogyohka Society for North America 61, and the establishment of the Gogyohka Junction forum online. A handful of publications in English followed. Starting in about 2010, gogyohka caught the attention of tanka poets on Twitter. It became a fad with many experimenting with the form. The #gogyohka hashtag rapidly came to outnumber the #tanka hashtag. 62 Many poets tried gogyohka and declared that it offered greater freedom than tanka. Although significant changes and expansions had occurred in the type of tanka being published in English, the fascination that gogyohka held for tanka poets illustrates an ongoing disaffection, even after those limits had largely fallen away.
Disputes among poets erupted with a constant discussion about how to differentiate gogyohka from tanka in English. Enta had not been aware of the indigenous English-language tanka movement before he began his workshops, and it was difficult to distinguish gogyohka that didn’t count sound units from contemporary English-language tanka that didn’t count syllables. Some advocates made the “breath” the basis of the line for gogyohka, but it is not clear whether such arguments required the lines to be end-stopped. If so, this is a difference from tanka, but if not, there is no discernible difference. The two have come to an equivalent place via different routes.
Debate erupted between Taro Aizu, a former student of gogyohka, and Enta. Aizu advocated an even freer implementation of gogyohka. Enta trademarked the word “gogyohka” in Japan. When word of Enta’s trademark reached English speakers, ATPO switched to using the public domain term “gogyoshi” in order to avoid infringing on Enta’s trademark. A flurry erupted among Anglophone poets, but the term “gogyoshi” did not catch on with them. Gogyohka continues to be a popular hashtag on Twitter, but interest in gogyohka and gogyoshi has waned among tanka poets.
In 2011, Taro Aizu published his “Declaration of Gogyoshi” 63 in the pages of ATPO. Aizu embraced a broad view of the world’s five line forms of poetry, including Western and Eastern forms. He sought some sort of unification among them, although what he envisioned was not exactly clear. He also republished his earlier book, The Lovely Earth, in English translation.
The following poem appears in The Lovely Earth and embodies the lack of adornment prized in gogyohka and gogyoshi. It resembles the approach of poets in Sounds from the Unknown, where kokoro (“heart,” i.e., sincerity) is valued,
Is my cat
really dead?
I caress
her throat
very softly
Aizu Taro 64
Gogyohka and gogyoshi failed to establish any English-language journals, and aside from the acceptance of the forms in ATPO, didn’t make any inroads among existing journals or websites. Gogyohka and gogyoshi attracted the attention of far more poets than kyoka did, but it had even less impact on tanka.
4.5 Small Issues
This article has explored major developments but omitted several smaller ones, such as the tankeme (2-3-2-3-3 beats), word tanka (one word on each line for five lines), shaped tanka (a tanka arranged to form a shape, such as a cross or circle), and other tanka adaptions. Experimentation continues. For example, Professor Stephen Carter, the well-known translator, has tried exploding tanka translations on up to ten lines. 65 Others, such as Marlene Mountain, have tried writing tanka in English on two lines. Matsukaze has been experimenting with three line and one line tanka. Edward Seidensticker advocated a two line tanka in iambic pentameter. 66 Most recently, Chase Fire has founded the online journal Skyline, a Journal of Modern and Experimental Tanka to provide a venue for tanka experimentation. (Skyline has not yet published an issue as of this writing.) Some have advocated the use of rhyme, quatrain, or other methods. None of these smaller efforts has garnered widespread interest or spawned any journals aside from Skyline.
4.6 Tanka As It Is
The most comprehensive attempt to survey tanka as it is found was the Take Five anthology series. Each year for four years, the editorial team read all tanka published in English to select approximately three hundred poems for inclusion in an annual volume, along with several pieces of tanka prose and tanka sequences. In the final year, the team read in excess of eighteen thousand poems in more than a hundred and eighty venues. 67 Media ranged from print journals to poet blogs to symphonic music to chapbooks to videos and more. The four volumes, covering material published 2008–2011, gives a valuable snapshot of tanka of the modern era. What emerges is a portrait of a highly diverse field of skilled poets working with a variety of techniques to create poetry that is supple, muscular, and insightful. No single approach dominates.
Notes:
42. Garrison, Denis M., ed. “I’ll Tell You About Onions.” Modern English Tanka 1:1. Baltimore, MD: MET Press, Autumn, 2006, p. 1–3.
43. Goldstein, Sanford. At the Hut of the Small Mind. Gualala, CA: AHA Books, 1992. <http://www.ahapoetry.com/ hut1book.htm> Accessed 30 June 2013.
44. Goldstein, Sanford. At the Hut of the Small Mind. Gualala, CA: AHA Books, 1992. <http://www.ahapoetry.com/ hut1book.htm> Accessed 30 June 2013.
45. Rotella, Alexis. ‘Editor’s Note.’ Prune Juice : A Journal of Senryu and Kyoka 1. Baltimore, MD: MET Press, Winter, 2009. <http://prunejuice.wordpress.com/ journal> Accessed 20 October 2011.
46. Fielden, Amelia; Denis M. Garrison, & Robert Wilson. “A Definition of the ideal form of traditional tanka written in English.” Simply Haiku : A Quarterly Journal of Japanese Short Form Poetry 7:2. Summer, 2009. <http:// simplyhaiku.com/SHv7n2/features/Ideal.html> Accessed 20 October 2011.
47. Ibid.
48. Uzawa, Kozue. ‘What is Tanka?’ Tanka Canada. <http://members.shaw.ca/uzawa/whatistanka.htm> Accessed 17 September 2012.
49. In Gusts : Contemporary Tanka 13. Burnaby, BC: Tanka Canada, Spring/Summer, 2012, p 15.
50. Ishikawa, Takuboku. Quoted in Goldstein, Sanford. ‘From This Side of Five Lines Down.’ Five Lines Down : A Landmark in English Tanka. Denis M. Garrison, ed. Baltimore, MD: MET Press, 2007, p 20.
51. Ishikawa, Takuboku. Quoted in Goldstein, Sanford. ‘From This Side of Five Lines Down.’ Five Lines Down : A Landmark in English Tanka. Denis M. Garrison, ed. Baltimore, MD: MET Press, 2007, p 20.
52. Wilson, Robert D. A Lousy Mirror. 31 March 2012. <http://lousymirror.blogspot.com/> Accessed 17 September 2012.
53. Wilson, Robert. ‘Introduction to A Definition of the ideal form of traditional tanka written in English.’ Simply Haiku : A Quarterly Journal of Japanese Short Form Poetry 7:2. Summer, 2009. <http://simplyhaiku.com/ SHv7n2/features/Ideal.html> Accessed 20 October 2011.
54. MacRury, Carole. In Wilson, Robert. ‘Introduction to A Definition of the ideal form of traditional tanka written in English.’ Simply Haiku : A Quarterly Journal of Japanese Short Form Poetry 7:2. Summer, 2009. <http:// simplyhaiku.com/SHv7n2/features/Ideal.html> Accessed 17 September 2012.
55. Fielden, Amelia. Gusts : Contemporary Tanka 5. Burnaby, BC: Tanka Canada, Spring/Summer, 2007, p1.
56. Gill, Robin, trans. and ed. Mad in Translation. Key Biscayne, FL: Paraverse Press, 2009, p 455.
57. Ibid.
58. Konoshima, Kisaburo. David Callner, trans. Simply Haiku : A Quarterly Journal of Japanese Short Form Poetry, 7:1. Spring, 2009. <http://simplyhaiku.com/ SHv7n1/features/Callner.html> Accessed 17 September 2012.
59. Enta, Kusakabe, ed. Gogyohka. (Second Edition) Matthew Lane & Elizabeth Phaire, trans. Tokyo, JP: Shisei-sha, 2009 [2006], p 20.
60. Ibid, p 21.
61. ‘Mr. Enta Kusakabe, Founder.’ The Gogyohka Society. 14 April 2011. <http://www.zoominfo.com/CachedPage/?archive_id=0&page_id=—1324364379&page_url=//www.fivelinepoetry.c0/about_founder_Enta_Kusakabe.html&page_last_updated=2011-04-14T06:58:34&firstName=Enta&lastName=Kusakabe>. Accessed 17 September 2012.
62. Kei, M. ‘The Topsy Turvy World of Micropoetry on Twitter.’ Atlas Poetica 9. Summer, 2011, p 56.
63. Aizu, Taro. ‘Declaration of Gogyoshi.’ Atlas Poetica 10. Perryville, MD: Keibooks, Autumn, 2011, p78.
64. Aizu, Taro. The Lovely Earth. Morrisville, NC: Lulu Enterprises, 2011, p 6.
65. Carter, Stephen, ed. Unforgotten Dreams : Poems by the Zen Monk Shotetsu. New York, NY: Columbia University Press, 1997.
66. Goldstein, Sanford. ‘Tanka As Open Form.’ Five Lines Down: A Landmark in English Tanka. Baltimore, MD: MET Press, 2007, p 95.
67. Kei, M. et al, eds. Take Five : Best Contemporary Tanka, Volume 4. Perryville, MD: Keibooks, 2012, p 10.
