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

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Anatoly Kudryavitsky. Capering Moons: Haiku and Senryu Poetry. Tralee, Ireland: Doghouse Books, 2011, 62 pp., perfect softbound, 5 x 7.5. ISBN: 978-0-9565280-2-5, £12 . Maeve O’Sullivan. Initial Response: An A-Z of Haiku Moments. Uxbridge, U.K. Alba Publishing, 2011, 66 pp., perfect softbound, 5.75 x 8.25. ISBN: 978-0-9551254-3-0, 16 USD . Haiku from the Emerald Isle by J. Zimmerman, Santa Cruz, California Capering Moons is the third poetry collection by Anatoly Kudryavitsky, an internationally published and award-winning poet residing in Dublin, Ireland. Kudryavitsky devotes his book’s first half to haiku grouped traditionally into four seasons. The haiku are mellow and descriptive, such as his 2008 first-prize winner at the Suruga Baika International Haiku Competition, Japan (p. 13): sheep unmoved in the green grass… a slow passing of clouds The poem contrasts inactive sheep with barely moving clouds: all are leisurely and probably display similar off-white colors and frayed edges. Rich softness occurs everywhere: sheep’s wool, green grass, clouds. The consonance of the “s” in all lines (highlighted by the rhyme of “grass” and “pass”) reinforces the impression of softness. Similarly Kudryavitsky’s 2009 first-prize winner at the Haiku Magazine International Haiku Contest, Romania-Japan (p. 23): aspen in the rain each leaf dripping with the sound of autumn offers not just a description. In addition to showing what is seen and heard, the poem suggests the tactile sense of rain that . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Haiku Society of America
drifts so gently from the sky that it allows a listener to also hear the water collected by aspen leaves and dropping from them. The slant-assonance of “a”-like vowels (aspen/rain/autumn) connect to the implied “fall.” The second section of the book (“More Haiku and Senryu”) maintains the meditative descriptive voice. The third section comprises two rensaku. Kudryavitsky subtitles each as a “Haiku Sequence.” He organizes both temporally, the haiku leading from dawn through a composite day to dusk. He sets one in Tuscany and the other in Flanders, and the haiku do give a larger picture together than separately. The “Ghent Renkasu” is a little more successful because its haiku, such as (p. 54): castle keep ninety-nine steps to the rising sun give a more individual sense of place. The final section is a single haibun, of Ufa City and the Silk Road. Another recent collection of haiku and senryu from the Emerald Isles is Initial Response by Maeve O’Sullivan (also from Dublin). This is O’Sullivan’s first solo haiku/senryu collection. (She co-authored the 2005 Double Rainbow with poet Kim Richardson.) At first glance it’s a more intriguing book than Capering Moons: the cover and interior of Initial Response dazzle with exuberant ink-scribble-and-splash art by the haiku poet John Parsons; its poems are sequenced alphabetically rather than seasonally; its cream paper and robust font are easy on the eye. Unfortunately, a typical poem such as (p. 18): one hundred degrees ice-cold lemonade warm banana bread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frogpond 34:3 91
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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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Page 41 and 42: Juxtaposing the religious significa
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Page 47 and 48: 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
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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: Notes 1. Stryk, Lucien and Takashi
Page 93 and 94: Richard Zimler. Love’s Voice, 72
Page 95 and 96: Ito Isao (trans.& ed.). 100 Selecte
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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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