snowy boughs
we shape ourselves
to the season
Sunday, November 21, 2021
Tsuri-doro: A Small Journal of Haiku and Senryu, Issue #6, November/December 2021
basalt pillars
father used to seem
so tall
Ribbons, Volume 17, Number 3, Fall 2021
My thanks to Jenny Ward Angyal for her lovely review of The Language of Loss: Haiku & Tanka Conversations. It may be accessed via the book title's tab of this blog.
a whisper
of moths circling
the beacon
it is much too late
for sirens
My thanks to Ryland Shengzhi Li for including my work in his essay, Gifts of Tanka: An Essay on Structure:
"The event-and-response structure comprises an event, state, or thing paired with a response...
the ocean
was in a rage last night
but today,
these peace offerings
of blue mussels and kelp
(1st Place, 2018 Sanford Goldstein International Tanka Contest)
Here, the event comprises the first two lines of the ocean in a rage last night, while the response, today's peace offerings, comes in the last three lines. What follows rage is not destruction, as one might expect, but offerings of peace.
Although the words of the poem focus on the ocean, they also invite the reader to infer meanings about human life. The poem suggests a mood of hopeful expectation in a dire situation, perhaps reconciliation after a fight. If even the ocean, the vastest thing on earth, can resolve rage with peace offerings, how much more so we human beings. In this sense, the poem's description of the ocean gives us perspective and grounding in our own life, while relating the ocean to human affairs helps us see the ocean with greater familiarity. The poem also suggests the impermanence of all things: even a strong emotion like rage will eventually wane and be pacified. The "peace offerings" here are also food items, often used to cultivate peace between humans.
Haiku Canada Review, Volume 15, Number 2, October 2021
(ir)rational thinking you might even be right
clear conscience
a loon's call drifts
into morning
Note: This issue includes a lovely review by Pearl Pirie of Prairie Interludes. It may be accessed via the book title's tab of this blog.
Daily Haiga: An Edited Journal of Traditional and Contemporary Haiga, November 2021
Featured Artist: November 20, 2021
Note: this haiku was first published in Modern Haiku 51.1, Winter-Spring 2020
Monday, November 08, 2021
Mariposa, Number 45, Autumn/Winter 2021
pyrocumulus
the dragon arching
across your back
dusty tack
hangs in empty stalls
redolent
with memories that might
or might not be mine
Graceguts: Michael Dylan Welch's Blog, 2021
My thanks to Michael Dylan Welch for including the following collaborative work in his trifold, City Rengay, published in 2021:
Winnipeg Wind
by Michael Dylan Welch (in normal type) and Debbie Strange (in italics)
Portage and Main—
the wind whipping snow
after my missed bus
Assiniboine Forest at dusk
a deer flicks its tail
in the ruin
of St. Boniface Cathedral
a crushed snail
another heatwave—
Leo Mol nudes recline
in the garden
the Golden Boy
still pointing north
at Fort Whyte
the snowshoe tracks
of humans and hares
Note: this rengay first appeared in The Bamboo Hut's Hands Across the Water - A Journal of Collaborative Poetry, December 2018.
GUSTS, Number 34, Fall/Winter 2021
a whirlwind
of forsythia petals . . .
your impatience
with all the little things
that stop me in my tracks
you press
your ear against
a birch's heart
come, listen to the sap
bubbling inside me
a kaleidoscope
of clearwings spinning
above the meadow
on this summer day,
I remember you
Frogpond, Vol. 44, Number 3, Autumn 2021
wolf pack
our social glue
u n s t i c k s
This issue includes Kristen Lindquist's lovely review of The Language of Loss: Haiku & Tanka Conversations:
This issue also includes Randy Brooks' wonderful review of A New Resonance 12:
Daily Haiga: An Edited Journal of Traditional and Contemporary Haiga, October 2021
Featured Artist: October 19, 2021
Note: this tanka was first published in Kokako 25, September 2016
The Cicada's Cry: A Micro-Zine of Haiku Poetry, Autumn 2021
dead man's fingers
nature puts the fun
in fungus
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