Frogpond 34.3 • Autumn 2011 (pdf) - Haiku Society of America

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Briefly Reviewed by George Swede, Toronto, Ontario Baker, Winona. Nature Here Is Half Japanese: Haiku and Senryu. Bloomington, IN: Trafford Publishing, 2010, 52 pp., perfect softbound, 5.5 x 8.5. ISBN: 978-1-4269-2801-7, 17.95 USD, . In her seventh collection, Baker, a long-time British Columbia poet, has divided her 95 haiku into the typical four-seasons format. A number are too descriptive or involve simple cause-and effect with the result that they lack the expected resonance: fishing with grampa / she wants to put the bullheads / back in the ocean; a jet enters / the afternoon / red poppies tremble. But, a sizeable number reverberate with the unexpected: heady odours / from the manure pile— / cock pheasant’s cry; office party / all the happy faces / on the balloons. Overall, as Michael Dylan Welch states in his intro: “This new book shows once again why her voice is worth a close listen.” Beros, Achilles. Haiku Forty-Four (photos by the author). Amazon Digital Services: Kindle Edition, 2011, 402 KB, 51 pp. PDF. ASIN: B005GBPGBG, 0.99 USD . Pitched on Amazon as, “a surrealist exploration of the world in haiku form,” the forty-four haiku in this collection are indeed bizarre and dreamlike. And, over half succeed in surprising us with the astonishing logic of the unconscious—not bad for a newcomer to the haiku genre: A dream of a kiss. / I wake with tingling lips / hugging hollowness; Glass walls surround me. / Green light tints colorless skin. / Have I been here long?; With colossal grace, / icebergs slide into the sea / at the edge of dreams. While Beros uses 5-7-5 almost exclusively, he manages to avoid being verbose, the downfall of most 5-7-5 poets writing in English. Carter, Terry Ann. Lighting The Global Lantern: A Teacher’s Guide To Writing Haiku And Related Literary Forms. Yarker, ON: Wintergreen Studios Press, 2011, 178 pp., perfect softbound, 7 x 10. ISBN: 978-0-9865473-1-7, 22.50 USD, . The evocative title of Terry Ann Carter’s ninth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Haiku Society of America
ook is sure to catch the attention of the target audience mentioned in the subtitle. How to capture student interest and how to write haiku and related forms such as tan renga, rengay, and renku/renga take up half the book. How to compose haibun, tanka and haiga take up the other half. To do justice to such breadth of coverage, Carter includes insightful chapters from prominent poet-educators such as Randy Brooks, LeRoy Gorman, Penny Harter, Jim Kacian and Michael McClintock as well as a number of expert others. Accomplished poets and scholars, however, will have quibbles with a table of contents that does not identify who wrote what. For instance, “Part 7: Articles of inspiration for teachers and students” lists only the titles of the articles. Thus, one has to go to page 34 to find out that LeRoy Gorman wrote “The Haiku Roadshow.” Perhaps Carter figured that a harried teacher would consider the author’s name as information overload. A second concern for scholars, especially, is that Carter often does not reference her sources within the text. As a result, the reader has to frequently guess from where the information came when consulting the misnamed “Works Cited.” Also, sometimes Carter get the facts wrong: Patrick Lane was not the first Canadian to publish a collection of haiku (in 1984); Claire Pratt was (in 1965), a fact to be found in my article listed in her Works Cited, “The Haiku in Canada: The Formative Years.” Apart from such concerns, of little interest to most teachers, Carter’s book will be treasured by teachers desperate to come up with a lesson plan for next week’s poetry topic. Enăchescu, Adina AL. Esenţe Nipone / Nipponese Essences: Haiku (Sorina Crihană-Dascălu translator). Bucharest: Editura Societătii Scriitorilor Români, 2011, 178 pp., perfect softbound, 5.5 x 8. ISBN: 978-973-7700-80-3, no price and no e-mail or street address. According to the “Foreword” and seven “Critical References”at the back, Enăchescu, is a major Romanian poet who turned to haiku about ten years ago. This book is a selection of the best haiku previously published in five prior collections from 2003 to 2008. When searching for good haiku to quote here, I was frustrated by two problems with . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frogpond 34:3 101
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frogpond The Journal of the Haiku S
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Submissions Policy 1. Submissions f
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folded inside a paper crane— tsun
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tree stumps father never needed poe
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indian summer— ghee pools in the
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humpty-dumpty this fractured life o
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Finally looking at a peony— speec
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march morning the holocaust of drea
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middle of the night until I find it
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after the argument separating light
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on one spindle the heron waits pati
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the couch we sink into each other w
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Breezes of the night left behind, t
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fescue roaming the prairie npk 10-8
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wild rhubarb that sudden yearning f
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heat wave the shade of a glacial er
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water strider— I still don’t be
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f(r)oghorn alon e wh at‘s a wi sh
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Over the ringing in my ears, an edg
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crete for readers to grasp. Those t
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Juxtaposing the religious significa
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fireflies one by one the half-tame
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After its first and only submission
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shot Press, 2006). “Yom Kippur,
Page 49 and 50: Haiku Sequence Scent of the Sea by
Page 51 and 52: The Kiss by Adelaide B. Shaw, Millb
Page 53 and 54: Touchdown by Diana Webb, Leatherhea
Page 55 and 56: At Red Willow Canyon by Mark F. Har
Page 57 and 58: Question and Answer by Cara Holman,
Page 59 and 60: Release Me by Wende Skidmore DuFlon
Page 61 and 62: Pick-Your-Own by Diane Mayr, Salem,
Page 63 and 64: Essays At the Heart of The Heart of
Page 65 and 66: Do you feel that the current versio
Page 67 and 68: eing bound by it, how to use haiku
Page 69 and 70: perceived. Through this transparent
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Page 73 and 74: 4. To emphasise a single word on a
Page 75 and 76: A three-line haiku often segments t
Page 77 and 78: after the crash the doll’s eyes j
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Page 81 and 82: The Lost Weekend: An editor’s bri
Page 83 and 84: Reviewed Nigel Jenkins, Ken Jones,
Page 85 and 86: Very occasionally, form and poetic
Page 87 and 88: acknowledgments and introduction, a
Page 89 and 90: Notes 1. Stryk, Lucien and Takashi
Page 91 and 92: drifts so gently from the sky that
Page 93 and 94: Richard Zimler. Love’s Voice, 72
Page 95 and 96: Ito Isao (trans.& ed.). 100 Selecte
Page 97 and 98: Isao claims that an “ardent spiri
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Page 109 and 110: Significance & Meaning Is the writi
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Page 113 and 114: of a one-line haiku: another exampl
Page 115 and 116: Judged by Merrill Ann Gonzales, Day
Page 117 and 118: Comments by Merrill Ann Gonzales an
Page 119 and 120: HSA Patrons Friends (Gifts Of More
Page 121 and 122: Hryciuk, Marshall, 102-103 Hugget,
Page 123 and 124: HSA Officers & Regional Coordinator
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Frogpond 34.3 • Autumn 2011 (pdf) - Haiku Society of America

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