Warp and Weft ~ Images and Words

Saturday, September 30, 2023

The High Lonesome: The Haiku Foundation Volunteer Anthology 2023

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!

Fata Morgana the (in)visibility of my (dis)ability

2nd Place

2021 Marlene Mountain Contest

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

The Bamboo Hut, Number 2, September 2023

Happy to have the following artworks featuring topical one line poems included in this issue:

Our Best Haiga: Black & White Haiga/Haisha, September 2023

Curated by Lavana Kray

September 9, 2023

(note: this haiku was first published in a different haiga in Haiga Online 22.1, 2021)

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

midnight's torn pages

the grammar of shadows

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

Hedgerow Poems, Number 143, 2023

the lacewings

we nearly missed . . .

wild mint patch

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

Honoured to say that this haiku was included in the PDF booklet featuring selected poems from the prompt!

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:

https://www.youtube.com/watch?v=WGkaTOl3pHY

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