Showing posts with label kyoka. Show all posts
Showing posts with label kyoka. Show all posts

Sunday, July 06, 2025

Failed Haiku - A Journal of English Senryu, Vol. 10, Number 110, July 2025

Thrilled to have the following collaborations and translations included in this issue:


German Translations and Images by Claudia Brefeld (senryu by me):



Köcherfliegen
das Abstreifen der Hülle
von dem, was war


ikterischer Himmel
das Baby, das es nicht
nach Hause schafft


Kyoka collaboration with Graham Bates:


shark teeth . . .
infinite regeneration
is just
the remedy for which
I have been looking!

(note: not long after we wrote this, human teeth were grown in a lab for the first time ever.)




 

Sunday, April 13, 2025

The Abstractaphy Initiative, April 2025

 Curated by Richard Grahn



(note: this tanka/kyoka art first appeared on the cover of Prune Juice 38, 2022)


(note: this haiga first appeared in Failed Haiku Senryu Journal 4.39, 2019)


(note: this haiga first appeared in Halibut, October 2018)



Friday, December 13, 2024

Saturday, November 09, 2024

Failed Haiku - A Journal of English Senryu, Vol. 9, Number 104, November 2024

Thrilled to receive 2nd Place in the Ninth Annual Jane Reichhold Haiga Competition (mixed media category). My thanks to the judges, Mike Rehling and Kelly Sauvage Moyer!


Commentary:

Here, again, we have the image of a raven; yet, this time, its role as the harbinger of death stands at the forefront of this work by Debbie Strange. The quickening, a time when early fetal movements are typically felt during pregnancy, is not experienced in this case, indicating the possibility of miscarriage. The gravity of the loss suspected is only enhanced by the straightforward language utilized with the senryu to communicate the power of such an ethereal force. We found this to be an effective, not to mention chilling, creation on the part of the poet-artist.

(note: this is an original photo, superimposed with mono-printed feathers)


The following haiga and tanka art were also included in this issue:




 

Tuesday, November 28, 2023

Mariposa, Number 49, Autumn/Winter 2023

ancient caldera
clouds waterfalling
over the rim


homeless men
play chess in the park . . .
each one
a forfeited pawn
in someone's game

Thursday, September 07, 2023

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:




Saturday, July 01, 2023

Frameless Sky, Issue 18, June 2023

Honoured to be the "Take the Challenge" winner with the following artwork chosen by Emma Arthur Alexander to accompany her featured haiku:



The following haiku/senryu, tanka/kyoka, and cherita were incorporated into the featured artist's photographs, and selected by guest editor Vandana Parashar on the theme of "family":


basement apartment
mom collects what light
she can


I run
my fingers along
your spine . . .
how familiar,
the scent of you


oh, sister

how I miss
the colour
and music

you brought
into our lives


 

Dwarf Stars 2023 - The Best Very Short Speculative Poems Published in 2022

Honoured to have the following kyoka chosen for this anthology of shortlisted poems. My thanks to the editors, David C. Kopaska-Merkel and Miguel O. Mitchell!


a derecho
of misinformation . . .
the world
we inhabit becomes
an alternate reality

Prune Juice (cover) Issue 32, December 2022

 

Thursday, June 01, 2023

Failed Haiku - A Journal of English Senryu, Vol. 8, Issue 90, June 2023

My thanks to editor Bryan Rickert for selecting the following tanka art for the cover of this kyoka issue:


These tanka art were also included:






Thursday, December 22, 2022

Prune Juice, Issue 38, December 2022

Honoured to have the following kyoka collage artwork selected for the cover of this issue:


The following haiga was also included in this issue:






Thursday, December 01, 2022

Haiku Canada Review, Volume 16, Number 2, October 2022

sundogdayafternoon


wintry mornings . . .
we seek out sunbeams
stretching
like contented cats,
purring with delight

Monday, December 16, 2019

Failed Haiku - A Journal of English Senryu, Vol. 4, Issue 47, November 2019

Rock and Roll Issue edited by Michael Lester




This kyoka is inspired by Ziggy Stardust and the Spiders from Mars. I was pretty much a "folkie" until David Bowie expanded my musical horizons in the early 1970s.


Sunday, October 14, 2018

Atlas Poetica Special Feature, September 2018

25 Rhyming Kyoka


street dancers
with body-popping pecs
strutting their stuff
like grouse on sunrise treks
luring hens to dusty leks

Thursday, June 28, 2018

Skylark, Vol. 6, Number 1, Summer 2018

Honoured to have my photograph chosen for Skylark's inaugural cover contest:





Individual kyoka and tanka:


macular
degeneration
I see
more clearly now
than ever before


a mirage
of mountains beckons
us homeward
we don't know their names,
but they know ours


they have
scarcely enough
to survive
and yet, this music
under the bridge




Selected Tanka Sequence for Another Chance to See Feature


Going Back

big sky morning
ancestral homesteads
felled by wind
hollow bones whistling
a song I used to know

barrelling
down washboard roads
between fields
plumes of the past lingering
on all I left behind

at day's end
light beams splintering
across shorn fields
on this moonless night
I, too, am camouflaged


Note: Going Back was first published in Ribbons, Volume 11, Number 3, Fall 2015


Thursday, June 07, 2018

Atlas Poetica, Number 32, May 2018

Tanka Sequences


shadows call to me

I walk
into the break of day
accompanied
by sparrowsong
and your shadow

slanted light
caresses the ruins
at eventide
shadows call to me,
but I do not answer


the dark side

a portent
of dangerous times
anvil clouds
press the setting sun
under water

rainbow flares
of nacreous clouds
we are
easily seduced
by the dark side of beauty


nothing

farm auction . . .
we have nothing
left to lose
except these thistles
rooted in our hearts

rumours echoed
through the streets
of our town
nothing to do but run
and we are running, still


the surest way

water reeds
trail from the paddles
of a bull moose
it is moments like this
that make me whole

pawprints
of spirit bears lead me
to water
following a river
is the surest way home


Individual Kyoka

ladies who lunch . . .
two white-tailed deer
daintily sample
the fresh salad bar
in my garden cafe


Individual Tanka

you who were
made of brilliance
thank you
for the theory
of everything

(for Stephen Hawking)

Tuesday, October 18, 2016

The Bamboo Hut, Autumn 2016

believing
you were my bellwether
I followed
every footstep sinking
deeper into the mire


where are you
my fair-weather friend
have you left
for sunnier climes
grown weary of my rain


at the first
slow swell of violins
these tears
that seep into my mouth
and quench my thirst


inheriting
her jewellery chest
I wonder
about the secrets
she had yet to tell


calluses
on my fingertips
musical scars
that bleed every time
I strum our duet


at the base
of this volcano
cinnabar
our pilgrim cheeks blaze
with revelation


don't sell me
anti-ageing creams
the lines
upon this canvas
my life's masterstrokes


over time
every mountain
sinks back
into the ocean
as must we all





Friday, July 01, 2016

Prune Juice, Issue 19, July 2016

frogspawn
the way you wriggle
out of lies


a fox
in the hen house
your affair


blood-streaked
arms and legs flailing
we relearn
the complicated steps
of the mosquito Macarena

Friday, July 24, 2015

Bright Stars Tanka Anthology, Vol. 3, June 2014

writing
a love song
for you
baiting the hook
reeling you in


beside
the endless highway
murdered
her twin's only son
and his girl


in the forest
ghostly Indian Pipe
e m e r g e s
out of moss and earth
older than I'll ever be


collecting flowers
to press inside my book of you
gathering words
of stone and feathers
acorn poems in my pocket


in the highlands
we are standing stones
leaning
toward each other
f r a g m e n t e d


in my pocket
an opened invitation
I already know
the name of his new wife
the name of my best friend


at the clinic
one pale woman
waiting
while they review
her mammogram


falling
snow stars
melting
in the grace notes
of your hair


you cradle
my stone sorrows
in the leaf
of your palm
sifting me into sand


she flew
from the tropics
to the prairies
carrying orchid leis
for her winter sisters


sitting
on Santa's lap
year after year
she asks for one thing:
a father who stays

come
fly with me
over the mountains
in the curve
of a magpie's black wing


preparing
a nest for you
plucking
blood-tipped raven feathers
from my brooding breast


antelope
dissolving into wind
over the prairie
ancestral bones
remember my name


pine needles
stitch my lips together
a silent vow
the forest has heard
so many broken promises


our breath
wispy quills of maroon
curling
a graceful ballet
in the sky


drawing
a heart in sand
i offer
my beloved's name
to the boundless sea


a fox
on the cabin steps
waiting
our dog asks
if she can go out


black ice
and snow angels
at twilight
we are riven
we are stone


sailing
into midnight
encircled
by stars upon stars
nothing but stars


your lips
a perfect storm
raining kisses
into the chipped bowls
of my unquiet hands


Mother

I see now
with my inner eye
that she always walked alone
beside the waters
that called her name
a small song rang out

a firestorm
is raging in her belly
she rends the heated cloth
and bares the scars
upon her naked breast
she is leaving, she is leaving

after she
is said and dead and done
we are earthbound
dust sparkles
on our wings though
we are still too singed to fly

mother, why
does the torment of your life
still haunt me
daughter, let go
you were never meant
to bear my cross of stone


O (No) Canada

shame on us
thousands of aboriginals
(ab)used
in nutritional experiments
and residential schools

now they search
the dump for bodies
hundreds of missing
and murdered Indigenous sisters
whose spirits wait for justice


Crocodile Tears

Oh, those crocodile tears. You painted your face with them every time you wanted something from me. All it took was a single tear quivering on the tip of your lash, and I would dissolve into a crush of bruised petals beneath your feet. You devoured me with lips dripping lies like honey. When you finally spit me out, I was nothing more than a shadow.

they said
I squandered my only life
on quarter moons
and pennies
for your thoughtlessness


New York Room

(After Edward Hopper, Room in New York, 1932)

Passing an open window on a sobbing afternoon, I catch a fleeting glimpse of you, reading. I wonder if the broken arrows of world news are piercing your conscience, or whether you are charting a new course on the unfolded map of your heart. Perhaps your mind's inward-looking eye is remembering the nothing and everything of me. Your woman in red presses the keys of the piano tenderly, as if they are recalling the song of your flesh, though there is no answering thrum. I avert my knowing gaze from the ache of her unsuspected future.

tableaux
through keyholes
all the things
we wish
we could unsee


1st Place
Writers' Collective/Winnipeg Free Press Short Fiction Contest, 2011


Winged

I came in off my land 20 years ago, weary and beaten down inside and outside. My man was gone. My kids were gone. Now I'm nearly gone. I'm brittle as bone, scarred by the sun, with furrows as deep as those on the land.

thumbing history
through train track-stitched prairie
to Head-Smashed-In Buffalo Jump
and its mountain
of bleached skulls

I'm the town's school librarian now, and it's a comforting job having out-of-date, yellowing, and dog-eared books as my faithful companions. Books have always seduced me, and I gorge on them like some sweet pleasure that I will soon be denied. The library's fusty air and squeaking floorboards are both soothing and inspiring. This is where I began to work on the book that will bear my name.

at the library
aspiring writers
emerge
from inky cocoons
unfolding new wings

Accompanying each story in my manuscript is a photograph of a derelict building that will soon vanish from the face of the earth. The pictures help to breathe life into the tales told by those forlorn walls. A stately old farmhouse has taken root up on a nearby hill, with a vista of swaying golden wheat surrounding it. Defending the sagging front porch are two gnarled lilac trees that scarcely bloom. The front door dangles askew, and most of the windows are wounded. Inside the house, shreds of decayed curtains and patches of water-stained wallpaper are still visible, but nearly all the paint has peeled away. Lacy cobwebs float everywhere, while puffs of dust rise with each footfall.

dirty thirties
three million acres
d r i f t i n g
in a dust cloud of dreams
over the Atlantic

I'm wary while setting up my tripod. Hunting season is fast approaching, and I've been winged a time or two over the years. I guess I've always looked like something wild. My breathing is slow and easy as I frame the scene. Suddenly, the house on the hill is violently splitting asunder, creaking and groaning like a ship going aground. There is no time to capture the image of the crumpling veteran. As the house willingly surrenders its ghosts, a towering cloud of roiling dust rises over the hill.

wraiths
hover and moan
appearing
then disappearing
into smoke

In the dusk, as I am crawling over the pile of bleached bones that were once a home, white feathers begin to swirl like snowflakes over the wreckage. I look up at the silhouette of a whistling swan gliding across the face of the moon. Then, I put my hands in traces of something that looks and smells a lot like blood.


1st Place (prose excerpt)
Writers' Collective/Winnipeg Free Press Fiction Contest, 2012