Please join NeverEnding Story to expand the readership base for tanka through tweeting at least one tanka a day for the month of May.
on the windowsill
two canaries singing
to each other
I tweet and retweet
Below is excerpted from Angela Leuck's article, titled "Tanka and the Literary Mainstream: Are we 'there' yet?" ("Book Review Editor's Message," Ribbons, 10:1, Winter 2014, p. 74):
An alternative approach is suggested by Chen-ou Liu, author of the blog, "NeverEnding Story." In his June 2012 Lynx interview with Jane Reichhold, Liu describes the current relationship between the haiku/tanka community and the literary mainstream in terms of "an asymmetric power relationship." He believes a "top down" approach will not work; i.e., trying to change the perceptions of those in the mainstream. Rather, Liu supports a "bottom up" approach, which for him means consolidating and expanding the readership base for tanka through online publishing and social networking sites. He argues:
If there are more people who love reading/writing haiku and tanka, the mainstream poetry world will eventually open their main gate to haiku and tanka poets. This approach to reversing the asymmetric power relationship has been demonstrated in the case of the power transfer from traditional media, such as news papers, TV, and books, to online and social media.
Liu also says that with the increasingly hectic nature of contemporary society, there will be more interest in shorter poetry, as people have less time and attention, but are still seeking to read something meaningful. He notes that both haiku and tanka have become more and more popular on Tweeter....
Please help spread the word about this celebration via your poetry blogs, websites, Facebook pages, and Twitter accounts.
And NeverEnding Story seeks tanka submissions. The accepted tanka will be translated into Chinese and posted on NeverEnding Story and Twitter (You are welcome to follow Chen-ou Liu on NeverEnding Story, http://neverendingstoryhaikutanka.blogspot.ca/, or to follow NeverEnding Story on Twitter at @storyhaikutanka). The best 66 tanka will be included in the anthology, and the poet whose poem is chosen as the best tanka of the year will be given a 3-page space to feature the tanka of his/her choice. Each poet in the anthology will receive a copy of the e-book edition.
Note: Below is the full text of my Lynx interview excerpt mentioned in Angela Leuck's article:
L: What do you feel we as haiku or tanka writers need to do to get these forms more accepted by the mainstream poetry world?
CL: In terms of defining what poetry is, there is an asymmetric power relationship between the mainstream poetry world and the haiku/tanka community. It’s difficult to change their perception of haiku/tanka in a top-down manner. In my view, the most effective way of reversing this unbalanced relationship is to adopt a bottom-up approach; that is to consolidate and expand our readership base through online publishing and social networking sites. If there are more people who love reading/writing haiku and tanka, the mainstream poetry world will eventually open their main gate to haiku and tanka poets. This approach to reversing the asymmetric power relationship has been demonstrated in the case of the power transfer from traditional media, such as news papers, TV, and books, to online and social media.
Most importantly, living in a hectic society, most people now only have a short attention span. If they are interested in reading something meaningful, I think short verse forms, such as haiku and tanka, will become more and more popular. I’ve been tweeting my published work for two years, and found more and more Twitter users use hashtags such as #poetry, #micropoetry, #haiku, #tanka, #gogyohka, #gpoem, #5lines,..etc, to indicate their tweets are short poems (For further information, see M. Kei, “The Topsy Turvy World of Micropoetry on Twitter,” Atlas Poetica, 9, Summer 2011).