I'm honoured to be a content provider for The Haiku Foundation's HaikuLife Film Festival, Haiga Galleries, and New to Haiku feature, among others. I have also donated several artworks to the Gift Shop as a token of my thanks!
Welcome to this archive of my published poetry, photography and art. Thank you for allowing me to share my creative passions with you, and for taking the time to visit. Please be kind, and do not copy any of the content on this site without permission and attribution. All rights reserved © Debbie Strange. I unfold my origami self / and swim into a lake of fire / washing my hair in ashes / the crane-legged words / of a thousand burning poems.
- Archive
- Articles/About
- Awards & Honours
- Images & Words
- Other Writing
- Photography Publications
- Poetry of Light Photography Exhibition
- Readings/Videos
- A Year Unfolding: Haiku
- Mouth Full of Stones: Haikai eBook
- Prairie Interludes: Haiku eChapbook
- Random Blue Sparks: Haiku
- The Language of Loss: Haiku & Tanka Conversations
- Three-Part Harmony: Tanka Verses
- Warp and Weft: Tanka Threads
Saturday, September 30, 2023
The Haiku Foundation, Haiku of the Day (formerly Per Diem), September 2023
Selected by Marianne Dupre for the theme of "Fall": September 28, 2023
harvest moon . . .
the cat's whiskers sparkle
with grain dust
Cattails, January 2014
MacQueen's Quinterly: Knock-your-socks-off Art and Literature, Issue 20, September 2023
Delighted to have the following three paper collages, incorporating words from my book Warp and Weft: Tanka Threads, selected from the series "What We Make of Language":
into the open book of sky
Kokako, Number 39, September 2023
oxbow creek
I search for the right turn
of phrase
evening primrose
we open ourselves up
to the night
juvenile kite
rainy days are made
for flying
horizon line
a splinter of sunset
in the black swan's bill
fine-tuning
my internal rhythms
to earth's hum,
I find a frequency
designed just for me
white columns
of trapped bubbles rise
under lake ice . . .
we skate over the turrets
of mythical castles
Fevers of the Mind Poetry, Art & Music, Issue 7: Bare Bones Writing II, 2023
Happy to have the following ekphrastic poem, written in response to a photo prompt by Ankh Spice, selected for this print anthology:
scald
this is the way
it comes for you
in the end
a valkyrie sun astride
the mountain's obsidian back
mercury swans and planets
laying claim to the words
of your bioluminescent suffering
Australian Haiku Society, 2023
Spring Equinox Haiku String, September 2023 - theme "clouds"
mountain village
a steeple pecking
at the stratus
Thursday, September 07, 2023
The Haiku Foundation, Haiku of the Day (formerly Per Diem), July 2023
Selected by William Scott Galasso for the theme of "Music & Memory: July 22, 2023
talking drums every song we know by heart
Hedgerow Poems 121, Autumn 2017
The Haiku Foundation: HaikuLife Film Festival 2023
This haiga video, comprised of previously published poems, was created to celebrate The Haiku Foundation's International Haiku Poetry Day HaikuLife Film Festival on April 17, 2023:
Shadowlight
(with recitation)
The Haiku Foundation: EarthRise Rolling Haiku Collaboration, April 2023
Theme: overlap and interaction of commercial and natural worlds
busker's hat
a child offers coins
of dried lunaria
1st Place
2022 Bloodroot Haiku Award
Trailblazer Contest, 2023
Honoured to have the following concrete work selected in the tanka/kyoka category as one of three finalists (longlisted from 99 entries) in this "contest without winners"! My thanks to the judging panel for their selection and insightful comments below...
Comments from the Judging Panel: Hemapriya Chellapan, Kat Lehmann, Shloka Shankar, Richa Sharma, and Robin Anna Smith
It would not be an understatement to note that this concrete tanka puzzled and intrigued us the most at first glance. We felt like detectives trying to piece together the almost asemic-like marks in red until one of the panelists pointed us in the right direction; the marks are commonly used in proofreading. Here, the marks denote:
INSERT / CAPITALIZE / CLOSE THE GAP / DELETE / LOWERCASE / NEW PARAGRAPH / TRANSPOSE
The shape of the tanka mimics that of welling cutting pliers, commonly used for marking and trimming the meat in livestock such as pigs, goats, and cattle. If the poem were to be presented in the traditional s/l/s/l/l format, it would look something like this:
welling cuts
there is nothing left
to say to her
that hasn't already
been said . . .
Instead, the poet has chosen to create clusters of two, three, and four lines respectively, to show the biting action of the "cuts." This could be interpreted as an abusive relationship, perhaps between a mother and a daughter, on the brink of a complete breakdown in communication. As another panelist noted, the marks add to the sense of panic or mental confusion experienced by the persona. In this context, it would be interesting to look at the wordplay of "welling," used as a noun and verb here, causing them to emotionally "well up." They are constantly walking on eggshells, trying to watch what they say, but it doesn't matter—everything they say is turned against them, leading to an impasse. When the same fights are picked or triggered repeatedly, the responses become verbatim and, unfortunately, one starts to predict the next likely barb coming one's way. The deliberate choice to place the ellipsis at the end and not after "welling cuts" shows the resignation of the poet's persona.
This was one of the stronger tanka entries we received and is trailblazing for the risks it takes, both visually and conceptually.
Interview with me:
What inspired the poem?
I am inspired to write experimental poems rooted in trauma-based life experiences and news events, and this kyoka/tanka is an example of that practice.
What was your process for writing it?
The poem revolves around word association and the asemic-like structure of proofreading marks. Their colour is reminiscent of welling blood, and the marks resemble the varied shapes of physical wounds and scars. I chose to use ragged lines to emphasize this aspect, and the uneven blocks of words represent the way humans are inclined to compartmentalize overwhelming emotions. I think we have a tendency to edit trauma into bite-sized portions so that it becomes more easily digestible. If one is repeatedly subjected to emotional or physical abuse, the senses often become numbed as a coping mechanism. The second block of words can be taken literally or metaphorically, and the third block is meant to be ambiguous. The ellipsis at the end of the poem indicates resignation and it is a concrete visualization of the knowledge that there are more "cuts" to come.
cuts 1: emotional abuse
- cutting comments meant to inflict maximum pain
- cutting people out of one's life
- cutting/ignoring others
cuts 2: physical abuse
- human-to-human: using torture during war, the escalation of world and domestic violence
- human-to-animal: using marking pliers to identify livestock, and the animal cruelty practices common in the production of our food
- human-to-self: I was reminded of a friend who slit her wrists and the fact that cutting is particularly prevalent among teen girls.
cuts 3: writers' tools
- cutting words: a short-form poetry technique
- cutting: editing a writer's work ("kill your darlings")
How do you think the poem helps to push the boundaries of or contributes to the genre?
I hope the content and shape of this poem might encourage other writers to incorporate non-conventional visuals into their work, thereby extending the limits of the form, and broadening our idea of what is deemed to be suitable content.
What other forms, formats, or iterations did you consider, and why do you think the poem had to be written this way?
Though the initial poem was written as presented in the commentary, I quickly realized that this format was not challenging enough, and that it did not contain the gravitas for which I was striving.
Is there anything else you want to share about the poem or your writing practice?
I'd like to thank the panel for selecting this poem and for their thought-provoking, astute, and encouraging commentary.
I make art and write a little something every day, whether my muse is visiting or not, because I know the process will ultimately be cathartic, healing, and inspirational for me! This daily practice is a vital tool in helping to mitigate the isolating effects of chronic illness.
I was also delighted to discover that the following concrete work was longlisted from 314 entries in the haiku/senryu category, even though it was not ultimately selected as one of the 13 finalists:
Daily Haiku: Charlotte Digregorio's Writer's Blog, August 2023
September 7, 2023
cloud inversion
the mountain not a mountain
after all
Frogpond, Volume 45:1, Winter 2022
minnows dart
between our fingers . . .
summer fling
Haiku Canada Review, Volume 14, Number 2, October 2020
Wednesday, September 06, 2023
The Befuddled Press, 2023
Honoured that the following haiku was selected to be published as a haiku-mark:
morning rain
a string of prayer beads
on each branch
Akitsu Quarterly, Spring 2016
United Haiku and Tanka Society, Fleeting Words Tanka Competition 2023
My thanks to the judge, an'ya, for her lovely commentaries!
tussocks
soften the bog's edge
my thoughts
lost in this tangle
of lemming runways
3rd Place
2023 Fleeting Words Tanka Competition
Judging Commentary:
In Third Place, this interesting tanka by a consistent winner in various contests, Debbie Strange who lives in Canada. The word "tussocks" in line 1 immediately grabs the reader's attention. The person in this tanka knows enough to stay at the edge of the bog, and is aware enough to see the "lemming runways" (excellent word choice btw).
skeins of wool
unravel at my feet
in the last light
a swirl of snow geese
begins to descend
Honourable Mention
2023 Fleeting Words Tanka Competition
Judging Commentary:
Again, to Debbie, thank you for entering this HM. An incredibly visual write that allowed me to imagine a woman in her rocking chair with skeins of wool at her feet. I sense the metaphor here and can see the woman dozing off with that swirl of descending snow geese.
Three Rivers Haiku Association: Iris - An International Haiku Contest on the Theme of the Gourds, 2023
Honoured to place in this contest! My thanks to the judge, Krzysztof Kokot!
Translated into Croatian
first school day
the coiling tendrils
of loofah
Honourable Mention
FemAsia Magazine, July 2023
Honoured to be a featured artist with the following paper collage series in the July issue. My thanks to the editorial team for their lovely comments!
Women & Words
Art has long been a powerful medium through which individuals can explore and express intricate emotions, complex narratives, and profound ideas. In the realm of artistic expression, paper collage stands as a versatile and captivating form that merges fragments of various elements to create a new, harmonious whole. One artist who has harnessed the evocative potential of paper collage is Debbie, whose "Women & Words" series encapsulates a profound exploration of femininity, identity, and the narratives that shape our lives.
In creativity, some individuals possess an innate ability to transcend boundaries, weaving their experiences and emotions into unique tapestries that invite others to see the world through their eyes. Debbie Strange, a remarkable artist from Canada, is a visionary. Despite battling chronic illness, Debbie has channelled her passion for short-form poetry, visual art, and photography into a prolific body of work that connects her to the world and resonates deeply with others.
Debbie's creative journey is a testament to the transformative power of artistic expression. Her extensive portfolio of poetry has graced the pages of prestigious journals around the globe, a testament to her ability to distil complex emotions into poignant verses that strike a universal chord. But her artistic prowess doesn't stop at the written word—Debbie's visual artistry and photography further enrich her creative oeuvre, allowing her to communicate and connect on multiple levels.
At the core of Debbie's artistry is an unyielding desire to forge connections: connections between herself and the world around her, between her experiences and those of her audience, and between various artistic mediums. Through her art, she bridges the gap between the tangible and the intangible, the visible and the unseen, inviting viewers to contemplate the intricate dance of human existence.
The "Women & Words" paper collage series is a collection of six mesmerising works that delve into the multi-faceted dimensions of womanhood, language, and the interconnected stories that bind us. Through meticulous cutting and layering of paper, Debbie assembles intricate compositions that capture her subjects' visual and emotional complexities. Each collage is a symphony of colour, texture, and form, meticulously crafted to communicate a distinct story.
Because
Tsuri-doro: A Small Journal of Haiku and Senryu, Issue #17, September/October 2023
short-eared owl
one hay bale taller
than the others
frostwork
on the windowpane . . .
I wish you'd stayed
Honoured to have the following work selected for the endpiece of this issue:
Trash Panda, Volume 5, Summer 2023
Honoured to have my entire submission selected in a blind reading by the editor, Lisa Anne Johnson!
grasshoppers multiplying in the furrows of father's brow
Frogpond 45.3, 2022
flood plain
a red barn succumbs
to its reflection
Kokako 36, 2022
the mass bleaching
of coral reefs . . .
mother's bony hands
Australian Haiku Society Haiku String, 2022
rebuilt homes
fire poppies blaze
on the hillside
HM, Capstone Int'l Center Haiku Contest, 2021
no bluebirds
return to the nest box . . .
stone-washed sky
Presence 72, 2022
The Take 5ive Journal, August, 2023
Theme: Neurodiversity
there will be
no carnival with noise
and neon lights . . .
a hypersensitive boy
riding life's roller coaster
wave after wave
of heat and humidity . . .
the child
who can't bring herself
to taste ice cream
the weather
in this mountain valley
so unpredictable
your moods shape-shifting
into light and shadow
One Moment at a Time, Tanka Society of America Members' Anthology 2022
Edited by Jim Chessing
Honoured to have the section "Caressed by Ferns", named for the following tanka:
newly turned,
this earth where soon
you will lie
caressed by the soft
fingertips of ferns
NeverEnding Story, September 2023
Special Feature: Selected Poems for Labor Day
pens and brushes,
the tools of my trade . . .
I wield them
like swords in this fight
against infirmity
Tanka Society of America
Twitter Work Special Feature, April 2023
Humana Obscura, Issue Number 7, September 2023
Grateful to the editor, Bri Bruce, for choosing me as the Featured Artist for this issue with selections from my blurred image series, "Indistinct/ion", which explores the disability challenges (tremors and impaired vision) facing this photographer :
A Touch of Snow
Fresh Out: An Arts and Poetry Collective, September 2023
Curated by Eric A. Lohman
Featured Artist: September 4, 2023
Fresh Out: An Arts and Poetry Collective, August 2023
Curated by Eric A. Lohman
Featured Artist: August 17, 2023
Five Fleas Itchy Poetry, September 2023
buzzwording this deep dive into a cloud of fish
AI winter : everything nothing but a memory
corroded bones reducing me to rust
from out of nowhere
the grizzly bear
and a bicycle
Failed Haiku - A Journal of English Senryu, Vol. 8, Issue 93, September 2023
My thanks to editor Hemapriya Chellappan for selecting the following haiga:
Daily Haiku: Charlotte Digregorio's Writer's Blog, August 2023
40 Poems Selected on the Theme of Borders
refugees
try to cross the border . . .
this tree well
lined with frozen bits
of moss and rabbit fur
The Take 5ive Journal, July 2023
Creatrix Poetry and Haiku Journal, Number 62, September 2023
buckskin chaps
he learns to live life
on the fringes
open range
thistles grow through
a cowboy's hat
Bottle Rockets, Vol. 25, Number 1 (or #49), August 2023
twitchers
beating around the bushes
for something more
Blithe Spirit, Volume 33, Number 3, August 2023
marionette lines level four drought
otter pup
a red crab tickles
its whiskers
ring-necked dove
the teenager's hickey
begins to fade
bells ring
throughout the night
mendicants
offer silent blessings
and prayers for peace
Akitsu Quarterly, Fall/Winter 2023
vespers
the mantis begins
to sway
winter solstice
the sun wedged between
standing stones
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