Scott Owens writes:
Great news! Something Knows the Moment has been named 1 of 5 finalists for the 2012 Next Generation Indie Book Awards.
Thanks for ordering, reading, and supporting Something Knows the Moment.
Charlotte Digregorio recently posed this question:
Does haiku keep you sane?
Read what a number of poets had to say here.
Scott Metz had this to say about Roadrunner:
R'r 12.1 is now up on the website.
It feature three sections of new poetry (glass wombs, a collage of scissors, and not quite ice cream), an interview with john martone by Jack Galmitz, an article on the one-line poetry of Grant Hackett (also by Jack Galmitz), and Scorpion Prize 25 by Bob Perelman.
The submission deadline for 12.2 is August 1st, 2012.
Roberta Beary was recently featured on Basho's Road:
Pris Campbell was recenlty featured on The Outlaw Poetry Network:
Charlotte Digregorio passed this along:
The Cradle of American Haiku Festival in Wisconsin Open to the Public
If you can make it, The Cradle of American Haiku Festival in Mineral Point, WI, Friday, July 20 through Sunday, July 22 is a jam-packed weekend of learning and fun! This is the third time the Festival is being offered. Please read the information below:
Gayle Bull invites HSA members to The Cradle of American Haiku 3, a festival in Mineral Point, WI, Friday, July 20 through Sunday, July 22. The Cradle Festivals celebrate the importance of the Midwest in the development of English language Haiku. The first Cradle Festival honored Raymond Roseliep of Dubuque, IA, one of the best early American haiku poets. The second Cradle honored Robert Spiess of Madison, WI, one of the best early poets and editors of English language haiku journals.
This year's Cradle Festival will honor the development of “American Haiku Journal," the first publication devoted exclusively to English haiku. It was founded in Platteville, WI. Don Eulert, one of its founders, will be among honored guests and presenters.
The three days will feature readings, presentations, food and fun. Some of the presenters and panelists are Charles Trumbull, Jerome Cushman, Gayle Bull, Marjorie Buettner, Charlotte Digregorio, Francine Banwarth, Melissa Allen, Bill Pauly, Aubrie Cox, Mike Montreuil and Lidia Rozmus.
The fee for the three-day festival is $45. This will include all presentations, workshops, readings and the reception and Saturday night picnic.
We encourage pre-registration to make it easier to determine the amount of food and facilities needed.
Throughout the Festival, there will be coffee, tea, iced tea, water and goodies on the front porch of Foundry Books for those who just want to sit, relax, talk and write. We look forward to seeing you at the Festival.
Check mineralpoint.com for accommodations. If you have any questions, please contact Gayle Bull at firstname.lastname@example.org. She will be happy to send you a registration form.
The Cradle Schedule
Friday, July 20
3 to 7 p.m.–Registration (Foundry Books)
7 – 8 p.m.– Opening Reception and Welcome
8 p.m. – until closing–Open Reading
Saturday, July 21
8 a.m.– Registration (Foundry Books) and Farmers Market at Water Tower Park. (A lot of good inspiration for haiku came from the latter last summer.)
9 a.m.– Welcome
9:15 – 10:15 a.m.– Charlie Trumbull: “Black Haiku: The Uses of Haiku by African-American Poets.”
From the earliest years that haiku has been written in the U.S., African-American poets have been among the foremost experimenters in the genre. The result has been, for the most part, a tradition of haiku writing that runs parallel to what we might call the haiku mainstream. This presentation will trace the history of “black haiku” in America, from the Harlem Renaissance movement of the 1920s and 30s, to the Black Arts movement of the 1960s and 70s, to today’s “blues haiku” of Sonia Sanchez and the jazz haiku of Kalamu ya Salaam.
10:30 – 11:45 a.m.–America Haiku Panel – Don Eulert, who founded “American Haiku” with the late Jim Bull, Gayle Bull, and Charlie Trumbull. Jerome Cushman will moderate the panel.
11:45 a.m. – 1 p.m.– Lunch on your own
1- 2 p.m.– Marjorie Buettner – “There is a Season.” A Memorial Reading, 2011. (First presented at Haiku North America conference, Seattle).
“Whatever circles comes from the center. We circle what we love.” — Rumi.
The memorial reading will have a combination of power point presentation, music and a memorial flyer. It will be an hour-long presentation reviewing the lives and haiku of 22 poets who have died in the past couple of years.
2:30 – 5:30 p.m.– Breakout Sessions
2:30 – 4 p.m.– Charlotte Digregorio, “Polish Your Haiku for Publication.” This workshop will include lecture, analysis of great haiku, and critique of participants’ work. Participants will receive training on the finer points of writing haiku to ensure that their submissions are first-rate. Handouts will include samples of haiku, along with an extensive bibliography and list of resource tools for haikuists to take their writing to publication level. Highly recommended for beginning and intermediate haikuists.
2:30 – 4 p.m. Aubrie Cox — “Why Did My Teachers Lie to Me? Teaching Haiku in and out of the Classroom.” Teaching haiku can be both challenging and rewarding. We will discuss the fundamentals, benefits, and possibilities of teaching how to read and write contemporary English language haiku in classes, workshops, and on a one-on-one basis.
2:30 – 5:30 p.m. Lidia Rozmus — “One brush stroke: sumi-e and traditional haiga” workshop. There will be two back-to-back sessions with each session lasting 1.5 hours. (Limit 10 per session).
4 – 5:30 p.m.– Haiku Workshop. Francine Banwarth, Melissa Allen, Bill Pauly, Charlie Trumbull, and Jerome Cushman. This is a critique session. Bring your haiku or just come and listen to some top poets and editors talk about haiku.
4– 5:30 p.m. Mike Montreuil, Haibun Editor, “One Hundred Gourds – Tell Me a Story”: Writing Haibun. The first half of this 90-minute workshop will present two Japanese Masters of haibun, Basho, the originator of the form, and Issa. A short discussion will follow on why haibun lost its appeal until its resurgence in the late 20th century.
We will also look at a longer haibun from Robert Spiess, who was one of the first writers of English North-American haibun.
Next, modern and shorter haibun: work by Roberta Beary and Jeff Winke. Finally, very short haibun by Larry Kimmel.
The last half of the workshop will focus on writing haibun. Attendees will be asked to either complete a haibun from a partially completed text that Mike will supply or write a haibun using their own ideas. Mike will ask those attending the workshop to rework them and then email them to him, if they wish, so they may be considered for a future issue of “A Hundred Gourds.”
5:30 – 6:30 p.m.– Free time
6:30 – 7:30 p.m.– Midwest Picnic
7:30 – 8:30 p.m.– Open Reading
9- until closing– Public Reading at Wine Bar.
Sunday, July 22
9:30 – 10:30 a.m.– Ginko
10:30 – 11:30 a.m.
Melissa Allen – “Become A Motorcycle: Understanding and Writing Gendai Haiku.” In Japanese, gendai means modern. When applied to haiku, this word signifies that a poem has moved away from traditional haiku poetics, whether in subject matter, structure, or language use. Bring a gendai haiku you have written, if you have one. Please feel free to attend if you don’t, and attend even if you know little or nothing about gendai. We will briefly discuss the nature of gendai and read some well-known examples, such as the motorcycle haiku by Kaneko Tohta, quoted in the workshop’s title. Next, we will discuss our own haiku, and in the process, try to better understand what is meant by gendai.
Noon–until the end. Lunch, ginko readings, and closing remarks at the Gray Dog Deli.
Norman Darlington sent this update:
Darlington Richards are pleased to announce the launch of the Little Book of Yotsumonos.
John Carley’s recently-designed four-verse renku format is represented by 60 poems, wherein Carley collaborates with such well-known haikai poets as Hortensia Anderson, Lorin Ford, Carole MacRury, Sandra Simpson, William Sorlien and Sheila Windsor, together with an introduction to the form.
“I have always been impressed by John Carley’s knowledge of Japanese linked verse… It is my sincere hope that this new form of linked verse will take root.” —Nobuyuki Yuasa, Professor Emeritus, Hiroshima University, and translator of Basho’s The Narrow Road to the Deep North and Other Travel Sketches (Penguin Classics, 1966).
“the Little Book of Yotsumonos opens up a world of poetic possibility, sourced by the old, both the Chinese and Japanese poetic traditions, yet fresh and original… I suspect few will be able to read this book without wanting to try and compose a yotsumono themselves.” —Sonja Arntzen, Emeritus Professor of East Asian Studies, University of Toronto, and translator of The Kagero Diary and Ikkyu and the Crazy Cloud Anthology.
Norman & Moira
Darlington Richards Press
Ramesh Anand has a new book of poems entitled Newborn Smiles, Cyberwit.net Press, 2012. Newborn Smiles is a 72 pages anthology that contains 100 high quality published haiku and 30 published free verses. Preface is done by Patricia Prime and Kala Ramesh.
He would like to distribute his author’s copy for free excluding the postal charges. Those interested can contact him at email@example.com
Copyright 2012 Ramesh Anand
Published by Cyberwit.net Press
Excerpts from Preface Section:
A haiku from this collection has been in my mind ever since I read it.
... lungi shivering on
the beggar's face
Lungi is a piece of cloth that is worn / tied around the waist [something like a sarong], by men. In a hot humid country like India, something that is loosely wrapped around the waist is a more practical way of handling this scorching heat. Since a poor man’s wardrobe would be limited, what he wears in winter might be the same lungi that would have kept him cool in summer too.
Here I clearly see a poor man, in extreme cold weather, hunched and huddled-up, The impact this image creates is note worthy. The poem is rewarding if readers know a bit about lungi, else it could easily pass off as a pedestrian attempt.
The main themes of Anand’s haiku concentrate on the seasons, flowers, the weather, and the poet’s family. Anand’s double allegiances to both his Indian background and the world of European haiku emerge through particular motifs. Here, for example, we have references to the monsoon, the mosque, elephants and the wallah, alongside haiku that refer to the more traditional themes of the natural world: spring’s end, winter twilight, autumn dawn, maple leaves and cloud pause.
In a haiku climate which is choc-a-bloc with innovative work, this collection assumes the need for haiku to move the human heart, to confront the everyday, but not to be imprisoned by them, and to hearten the reader to continue his or her own journey through the reading and writing of haiku. And throughout, the image recur, both natural and of the heart, out of which Anand invites his readers to make a journey with him.
Read more about Newborn Smiles on Scribd.
A new issue of Rusty Truck is online:
My pal, Susan Nelson Myers, and I continue to work on The Frugal Poet cookbook/anthology. For those of you who have not submitted, guidelines are located on this page:
The Frugal Poets will have the honor of cooking for a good friend and poet who will be traveling through our state next month. We look forward to entertaining our guest. :)