Wednesday, October 7, 2026

Special Feature: Selected Poems for October 7th Reflections

CBC News, September 24, 2026: Netanyahu rejects genocide allegations in Gaza after mass walkout at his UN speech


Against the Drowning Noise of Other Words, CCCXI: "wordbombs"

row upon row
of nearly empty seats
beneath harsh lights
the war criminal's wordbombs
echo back from walls to strike him



Democracy Now, September 16, 2026: “The Elimination Project”: Israel’s Systematic Dismantling of Palestinian Life in West Bank: B’Tselem" (Israeli human rights group)

A major new report by the Israeli human rights group B’Tselem titled “The Elimination Project” accuses Israel of “dramatically intensifying its attacks on every aspect of Palestinian life in the West Bank.”

B’Tselem Executive Director ,Yuli Novak: Israel is dismantling the basic conditions needed for collective Palestinian existence in the West Bank. Our new report “The Elimination Project” shows how this mechanism works and how over the past three years, it has become more lethal, violent and explicit. Come with us to the West Bank to see for yourself. The Elimination Project in the West Bank operates through five domains of action that work together and reinforce each other: killing, violence, intimidation, movement restrictions, economic strangulation, social and political destruction, ethnic cleansing and territorial takeover. These are all parts of a system with one aim: to ensure Jewish supremacy and eliminate the Palestinian collective.


Against the Drowning Noise of Other Words, CCLXXX: "wall of fire"

In four minutes, a farmhouse in the West Bank village enveloped in a wall of fire.

blood-stained olive leaves
cinder through the smoky air
laughter greets laughter



On July 28, 2025, Israeli human rights groups already published their reports on Israel's genocidal war on Gaza:

The Israeli Information Center for Human Rights in the Occupied Territories, B’Tselem:

July 2025 Report: Our Genocide

And Physicians for Human Rights, Israel:



The first casualty, when war comes, is TRUTH. 

-- Hiram Johnson (1866-1945), a Progressive Republican senator in California)


Democracy Now, DECEMBER. 20, 2023: [NewYork-based, American NGO] Committee to Protect Journalists: Israel Is Killing Media Workers at Unprecedented Pace

smoky rubble
a bullet-riddled helmet
marked PRESS



Against the Drowning Noise of Other Words, CL: "first casualty of war"

              the
           bloodied
             man
nailed to a wooden cross
               in
               a
             press
              vest

2026 Haiku Canada Members’ Anthology 


"Israel's oldest daily, Haaretz," which was was sanctioned by the Israeli government on Nov. 24, 2024

Opinion, October 6, 2026: What the IDF Won't Say About Civilian Casualties in Gaza

There's a sweeping denial in the response to the film "NAZA" (a Hebrew acronym for "collateral damage") released by the Israel Defense Forces Spokesperson's Unit – that a strike resulting in 200 civilian casualties was never either "approved or carried out" in the Gaza Strip, and that "no credible claim has been made that a strike on any military objective caused a comparable number of casualties....


Until now, it has generally been claimed in Israel's public conversation that civilian casualties of more than 100 were never approved. Now, the ceiling has shifted to 200. Less than 25 years ago, the country was in an uproar over 14 people, most of them children, being killed in the assassination of Salah Shehadeh, then-head of Hamas' military wing. But since then, we've grown accustomed to that "slight bump on the wing," as a former air force commander once said when asked what he felt when he launched an airstrike on a residential area.

Who decided that it was acceptable to kill 200 women, children and elderly people in order to kill a wanted man? Is killing a Hamas truck driver worth 20 children? And who are we kidding? In the Israel of 2026, is there even any suitable public debate over these decisions?

And what has happened in practice? In the assassination of Ibrahim Biari in Jabalya in late October 2023, at least 126 civilians, including 68 children, were killed, according to the organization Airwars, while another 280 were wounded. In other words, a single attack caused more than 400 civilian casualties. And according to testimony from soldiers that Breaking the Silence collected and cross-checked, the collateral damage approved for that attack was 300.

Around a month later, the assassination of Wissam Farhat, commander of Hamas' Shujaiyeh Brigade, erased an entire residential complex, killing at least 300 civilians, according to Airwars. At least 118 civilians, including 48 children, were killed in Gaza City's al-Taj Tower in October 2023. And in his book "6:29," Haaretz's Amos Harel described an attack in March 2025 that killed around 400 Palestinians, most of them civilians....

...But the problem is even worse than that. In my research into the "chosen blindness" of AI systems, two characteristics came up over and over: They can generate an almost unlimited number of targets, and there's no way to reconstruct their "judgment." One can question an officer about why he marked a particular man as a target, but it's impossible to ask an algorithm.

Moreover, the Washington Post reported that at the start of the war, the criterion for verification was lowered from two sources to one, and that sometimes, an attack was carried out without verifying the system's recommendation at all....

This is the first war in which AI was used on such a large scale to select targets. The machine shattered the human bottleneck that limited how many targets it's possible to locate and approve at the very moment when Israel was marinating in pain and anger, with a deeper desire for revenge than ever before. And that is the context that the IDF's response prefers not to touch.


Against the Drowning Noise of Other Words, CCCVIII: "smoky clouds"

where tents were
a tornado-twist
of smoky clouds


Against the Drowning Noise of Other Words, CCCIX: "attack drone"

in smoky twilight
a mule-drawn flatboard wagon 
with wounded Gazans ...
an attack drone flying past
silences everything below



Against the Drowning Noise of Other Words, CCXI: "beach party and booms"
written in response to The New Yorker, July 28, 2025: Israel’s Zones of Denial
Amid national euphoria over the bombing of Iran—and the largely ignored devastation in Gaza—a question lurks: What is the country becoming?

Tel Aviv's beach party
the faint boom, boom, boom
from Gaza



FYI: Here are relevant excerpts and remarks taken from  The New Yorker, July 28, 2025: "Israel’s Zones of Denial:"

When we go to the beach, you can hear the booms from Gaza. When you eat a lollipop or an ice cream, you hear things being blown up... Not only is reality horrible, you also don’t know what the real story is.

Etgar Keret, Israeli writer and Tel Aviv liberal

What we are doing in Gaza now is a war of devastation: indiscriminate, limitless, cruel and criminal killing of civilians.

-- Ehud Olmert, former Israeli Prime Minister.

... the war in Gaza has produced a people “who have lost everything and feel only humiliation and abandonment—and despise hypocritical Western moralism. This will feed future militants, and how they behave will be shaped by old grievances and new technologies—which Israel masters today, but they could master, too.” In the familiar pattern, today’s resolution is tomorrow’s tinderbox.

-- Malley Agha, who was once a peace negotiator for the Palestine Liberation Organization.


Haaretz, July 31: The Victim Identity Israel Built Over Generations Now Fuels Its Denial of Genocide in Gaza

Genocide does not require a single, explicit directive; rather, it's the result of a process in which rhetoric, policy, political discourse, collective dehumanization and repeated patterns of action converge into mass acts of destruction.

But the saddest chapter in Israel's increasing tendency to deny the genocide in Gaza is reserved for Yad Vashem, The Holocaust Martyrs' and Heroes' Remembrance Authority. The historians who work there and devote days on end to investigating the events of the Holocaust are choosing to silence their mouths and pens when it comes to the horrors of Gaza. In light of the flood of statements at the beginning of the war by Israeli politicians calling for mass killings there, a group of local scholars turned to Yad Vashem chairman Dani Dayan and requested that the institution publish a public condemnation of the declarations, specifically those calling for genocide. But in January 2024 Dayan replied to Prof. Amos Goldberg, who initiated the move: "The six million Jews who were murdered in the Shoah are entitled to an institution that deals with them and with them alone. Therefore, Yad Vashem doesn't deal with genocide as such but only with its interface with the Shoah… Our area of activity is the Shoah, and only the Shoah."

The comments written by the Yad Vashem chairman are unsettling not only because of his silence, but also because his words are wrapped in a cloak of ostensible institutional integrity, while turning an arrogant back to the sense of historic responsibility that is supposed to inform the memorialization of the Holocaust. "Six million Jews are entitled to an institution that deals with them alone," writes Dayan – suggesting an exclusivity of the memory of murdered Jews as an excuse for hardheartedness, for closing one's eyes and maintaining silence in the face of ongoing war crimes and tens of thousands of slaughtered and starved people. All part of the terrible crime being perpetrated by the descendants of another genocide, the Shoah, among others.

Wasn't the murder of six million Jews also enabled due to many around the world washing away responsibility? Yad Vashem's entrenchment in the claim that their expertise are limited to the Holocaust is an act of moral bankruptcy, of disavowal of responsibility based on institutional convenience and the ideological adoption of a governmental policy responsible for horrific war crimes. It is a dire betrayal of the values of liberty, justice and the sanctity of human life, which the memory of the Holocaust is supposed to teach us.

For the past three generations Israel has been constructing an identity of victimhood, ranging from acts perpetrated during the Holocaust to those of Hamas on October 7. It denies its own crimes and is therefore living in a permanently distorted reality. Any attempt to speak about Israel's crimes against the Palestinians is seen as a threat not only to the image of the nation but to its very survival. The defensive narrative has become foundational to Israel's national identity, and any criticism of this narrative is met with the kind of institutional and public violence we are witnessing today.


To conclude today’s Special Feature post, I would like to share the following poem, written in response to the video clip Dreams of Palestinian Children, in which children, playfully jostling one another, crowd around the camera and call out their dreams.

Against the Drowning Noise of Other Words, CCCXV: "jagged crescent and sky"

Dust settles as the night folds the playground into shadow.

each classroom window
its jagged crescent
jagged Gazan sky


Added: Against the Drowning Noise of Other Words, CCCXVI: "one-minute silence and fireballs"

in Tel Aviv
traffic blocked on the highway 
for one-minute silence ...
forty miles away, fireballs
burst open in morning air

Tuesday, October 6, 2026

Butterfly Dream: Feathered Eyes Haiku by Gareth Nurden

English Original 

summer blue
the peacock stills
feathered eyes

Gareth Nurden 

 
Chinese Translation (Traditional)

夏日湛藍
一隻孔雀靜止
眼睛般的羽毛

Chinese Translation (Simplified)

夏日湛蓝
一只孔雀静止
眼睛般的羽毛

 
Bio Sketch

Gareth Nurden was born in Newport, Wales and has had several-hundred pieces of haiku, senryu and haiga published in over twenty countries worldwide such as Wales, Canada, Russia, Japan, Australia and more and has had several pieces nominated for Haiku Foundation Touchstone Award for individual poem in 2024 and 2025.

Monday, October 5, 2026

Butterfly Dream: Hazelnut Picking Haiku by Alan Summers

English Original 

hazelnut picking
the child in a memory puts 
my hand to the moon

Honourable Mention, Autumn Moon Haiku Contest 2021 
 
Alan Summers

 
Chinese Translation (Traditional)

採摘榛子
記憶中的孩子
將我的手伸向月亮

Chinese Translation (Simplified)

采摘榛子
记忆中的孩子
将我的手伸向月亮

 
Bio Sketch

Alan Summers is founder of Call of the Page, and editor-in-chief of three journals: Blo͞o Outlier Journal, MahMight Haiku Journal, and Babylon Sidedoor. He is surrounded by cats, who often find their way in from an insecure attic window!

Sunday, October 4, 2026

A Room of My Own: For Sale Tanka

on the driveway
all hopscotch squares
except one
fill with crimson leaves ...
for sale sign askew


Added:

a dollhouse
at the rain-streaked window ...
foreclosure sign


Added:

roof cobwebs
threaded with rosary beads —
foreclosed house in mist


FYI: My tanka below could be read as a sequel to the "for sale" and "foreclosure" poems above:

foreclosure
and for sale signs
like scarecrows ...
wildflowers bloom
in rioting glory

Gusts, 26, Fall/Winter 2017


Added:

somewhere, someone
shadowing me through twilight
faint buzz overhead


Added:

distant sirens ...
from one dream to another
no blinking exit


FYI: it could be read as a prequel to my haiku below:

echo of footsteps
in the psych ward hallway
EXIT blinking



Added:

winding dappled trail
through a green-leafed breeze
I'm off the map's edge

Saturday, October 3, 2026

Butterfly Dream: Colored Lights Haiku by Marion Alice Poirier

English Original

colored lights
swinging in the fog ...
House for Sale

Marion Alice Poirier


Chinese Translation (Traditional)

彩色燈光
在霧中搖曳 …
待售房屋

Chinese Translation (Simplified)

彩色灯光
在雾中摇曳 ...
待售房屋


Bio Sketch

Marion Alice Poirier is a lifetime resident of Boston, MA. She began writing haiku in 2001 and eventually began to teach haiku in workshops on Poetry Circle and Emerging Poets. She also write short poetry and have been published in on-line haiku and short poetry journals like Tinywords, Hedgerow and The Heron's Nest.

Friday, October 2, 2026

Poetic Musings: Reveille Tanka by Tracy Davidson

reveille
the bugler’s last note lingers
in the silence
as far as eye can see
rows of white crosses

Third Place, 2025 Sanford Goldstein International Tanka Contest
 
Tracy Davidson
 
Commentary by judges: We can’t help but hear “reveille,” the familiar military bugle call for all soldiers and other personnel to start their regimented day. With the bugle’s lively sound, we would expect lots of activity after the morning call. But then in line two, the word “lingers” catches our attention. With the next line, “in the silence,” the poet wants us to stop and think—setting us up for metaphorical wordplay, “as far as eye can see.” The word “eye” has a double meaning, both as “I” the poet, and “eye,” as witness of the vividly solemn “rows of white crosses.” The endless rows found in national cemeteries remind us of the fallen. Do we see the irony? Is there no end to the rows of white crosses disappearing on the sightline? Is “reveille” a wake-up call for us, the people, to remember, all over the world, the lasting effects of war? There are numerous eye-opening meanings in the poet’s affecting tanka.

Thursday, October 1, 2026

Butterfly Dream: Ruby Slippers Haiku by Kristen Deming

English Original

alone now
no ruby slippers
to take me home

plum afternoon,  2017

Kristen Deming


Chinese Translation (Traditional)

現在孤單一人
沒有紅寶石拖鞋
帶我回家

Chinese Translation (Simplified)

现在孤单一人
没有红宝石拖鞋
带我回家


Bio Sketch

Kristen Deming was an accomplished haiku poet and lover of literature. Her haiku collection, Plum Afternoon was a finalist in the Haiku Society of America's Merit Book Award in 2017. As a past president of the Haiku Society of America and active member in the haiku community in Japan for many years, one of Kristen's enduring contributions to the haiku communities around the world was a weekly poetry column in the Japan Times called "Haiku Moments" that she co-wrote with a Japanese colleague for six years, helping to open the world of haiku to English speakers and to give glimpses of Japanese culture through the lens of haiku. 

Wednesday, September 30, 2026

Butterfly Dream: Used Books Haiku by George Swede

English Original

used bookstore
a sunset beam lights a row
of forgotten authors

Almost Unseen, 2000

George Swede


Chinese Translation (Traditional)

二手書店
夕陽的光芒照亮一排
被遺忘的作者

Chinese Translation (Simplified)

二手书店
夕阳的光芒照亮一排
被遗忘的作者


Bio Sketch

George Swede's most recent collections of haiku are Almost Unseen (Decatur, IL: Brooks Books, 2000), Joy In Me Still (Edmonton: Inkling Press, 2010) and micro haiku: three to nine syllables (Inspress, 2014). 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).

Tuesday, September 29, 2026

One Man's Maple Moon: Flies and Carabao Tanka by Robert D. Wilson

English Original

they talk
behind my back
like flies
who think they are 
a carabao

Jack Fruit Moon, 2009

Robert D. Wilson


Chinese Translation (Traditional)

在我背後
他們議論紛紛
就像蒼蠅一樣
卻自以為是
一頭水牛

Chinese Translation (Simplified)

在我背后
他们议论纷纷
就像苍蝇一样
却自以为是
一头水牛


Bio Sketch

Robert D. Wilson is Co-Owner of Simply Haiku. 

Monday, September 28, 2026

A Room of My Own: All-Night Laundromat Gembun

Distant blue flashes ripple on wet asphalt—a low echo.

half-asleep, alone
yet not alone enough
all-night laundromat


Added:

On a cul-de-sac, a detached house with gardens in front and back.

pension, high-tech stocks ...
the first day of retirement
under a gray sky


FYI: This could be read as a prequel to my tanka below:

first day
after retirement
the brush
is dipped deeper
in Chinese ink

Tanka Honorable Mention, 2016 San Francisco International Competition for Haiku, Senryu, Tanka


Added:

my wife's tears ...
I peel the onion 
one layer at a time


Added:

The kitchen refrigerator hums a low drone.

slanted moonlight
on my wife's post-it note:
I need more space


Added:

eviction notice
a stack of poetry books
overdue


Added:

autumn garden
one sunflower leaning
against the fence

Sunday, September 27, 2026

Butterfly Dream: Cat Haiku by Millicent Bee

English Original

moonlight ...
more cat than a cat 
its shadow 

Presence, 84, 2026

Millicent Bee


Chinese Translation (Traditional)

月光 ...
比貓更像貓
它的影子

Chinese Translation (Simplified)

月光 ...
比猫更像猫
它的影子


Bio Sketch

Millicent Bee is a US-based poet, First Frost Award winner, and two-time Touchstone Award nominee. Her work appears in numerous haiku, senryu, and poetry journals. 

Saturday, September 26, 2026

One Man's Maple Moon: Dreams and Words Tanka by M. Kei

English Original

dreams
stuck to the pavement
like melted ice cream
       your words 
       a gathering of flies

M. Kei


Chinese Translation (Traditional)

夢想
黏在人行道上
像融化的冰淇淋
    你的話語
    招引一群蒼蠅

Chinese Translation (Simplified)

梦想
黏在人行道上
像融化的冰淇淋
    你的话语
    招引一群苍蝇


Bio Sketch

M. Kei is a tall ship sailor and award-winning poet who lives on Maryland’s Eastern shore. He is the editor of Atlas Poetica: A Journal of World Tanka. His most recent collection of poetry is January, A Tanka Diary. He is also the author of the award-winning gay Age of Sail adventure novels, Pirates of the Narrow Seas. He can be followed on Twitter @kujakupoet, or visit AtlasPoetica.org.

Friday, September 25, 2026

Reading More and Writing Better: Bookmarks Haiku by Julie Warther Schwerin

his and her
       bookmarks
leapfrogging
        through Bly

Frogpond,  44:3, Autumn 2021

Julie Warther Schwerin 


FYI: The haiku's hinge is "leapfrogging" in L3. On the surface, the word simply describes the alternating movement of two bookmarks as one reader gets ahead, then the other. The verb is vivid, playful, and kinetic, introducing motion into an otherwise static domestic tableau.

Only with L4—"through Bly"—does the haiku execute its own leap. For readers familiar with Robert Bly's conception of "leaping poetry," the final line retrospectively transforms the meaning of "leapfrogging."

The verb now operates on two levels. Literally, the two bookmarks overtake one another as two readers make their way through Bly's work. Metaphorically, "leapfrogging" evokes Bly's own poetics: the intuitive, associative leaps by which disparate images and states of consciousness are unexpectedly, yet convincingly, connected.

The placement of the key word is essential. Because "leapfrogging" precedes "through Bly," the reader first experiences it as a concrete description of physical movement. Only when Bly's name appears does the verb acquire its second semantic field. The result is not an overt pun but a delayed realization. Significantly, the poem is itself leaping: the reader's understanding moves suddenly from the literal image of alternating bookmarks to a metapoetic awareness of Bly's aesthetics. The semantic leap occurs at precisely the moment Bly's name appears, allowing the reader to experience the very kind of intuitive associative movement that Bly regarded as the essence of poetry.

This delayed recognition is central to the haiku's success. By withholding Bly's name until the final line, the poem allows the ordinary image to establish itself before revealing its metapoetic dimension. The allusion is therefore performative rather than merely referential: the haiku does not simply point to Bly's poetics—it enacts them.

Equally important, the allusion remains non-essential. Readers unfamiliar with Bly still encounter an engaging image of two people sharing an author's work, their reading progress alternating in a quiet rhythm. Those who recognize the reference receive an additional layer of meaning, as the central verb itself becomes an homage to Bly's aesthetics. Such layered accessibility is a hallmark of successful allusive haiku: the reference enriches the poem without becoming necessary for its appreciation.

The visual layout further reinforces this reading. The alternating indentation of L2 and L4 subtly suggests the leapfrogging motion of the bookmarks themselves. Typography, syntax, and semantics converge as the eye moves back and forth across the page, echoing both the alternating positions of the bookmarks and the intuitive leaps characteristic of Bly's poetic imagination.

Perhaps the haiku's most elegant achievement is that it embodies rather than merely references Bly's poetics. The final line does not explain the allusion; it prompts the reader to experience it. Meaning arrives by sudden association rather than linear exposition. The poem's structure, semantics, and typography all participate in this movement, transforming an ordinary domestic detail into a meditation on shared reading, companionship, and the nature of poetic movement itself.

Thursday, September 24, 2026

One Man's Maple Moon: Childhood Tanka by Marion Alice Poirier

English Original

home again
I walk childhood streets
in morning fog. . .
where cobblestones end
a river flows to the sea

Marion Alice Poirier


Chinese Translation (Traditional)

再次回家
在瀰漫的晨霧中
我漫步在兒時的街道
鵝卵石路的盡頭
一條河流奔向大海
    
Chinese Translation (Simplified)

再次回家
在弥漫的晨雾中
我漫步在儿时的街道
鹅卵石路的尽头
一条河流奔向大海


Bio Sketch

Marion Alice Poirier is a lifetime resident of Boston, MA. She began writing haiku in 2001 and eventually began to teach haiku in workshops on Poetry Circle and Emerging Poets. She also write short poetry and have been published in on-line haiku and short poetry journals like Tinywords, Hedgerow and The Heron's Nest.

Wednesday, September 23, 2026

Hot News: New Milestones, 7 M Pageviews & Adding 1 M Pageviews in 15 Days; Call for Submissions

My Dear Friends:

NeverEnding Story reached new milestones late last night: 7 M pageviews—adding 1 million pageviews in 15 days (FYI: On September 7, 2026, it reached 6 M pageviews).


I’m grateful to everyone who has shared this poetry journey. NeverEnding Story now seeks haiku and tanka submissions. The accepted haiku and tanka will be translated into Chinese and posted on NeverEnding Story and X. And you are welcome to follow me on X at @ericcoliu (5 following; 5,295 followers).


on the windowsill
two canaries singing
to each other
I tweet and retweet
NeverEnding Story  😋


A writer is somebody for whom writing is more difficult than it is for other people.
—Thomas Mann


At 6 a.m., a film of cold grease has formed over my untouched coffee.

I add three words
revise them then kill the line ...
paper-white dawn


And a gentle reminder:

Every time a poem is written, every time a short story is written, it is written not by cunning, but by belief. The beauty, the something, the little charm of the thing to be, is more felt than known.
-- Robert Frost

The world is never the same once a good poem has been added to it.
—Dylan Thomas

A poem after a poem after a poem is POWER!
—paraphrasing Margaret Atwood


Look forward to reading your poetry

Happy Writing

Chen-ou