Skip to main content

Living Things

The weeping willow, despite its name, its curtain of low-sweeping boughs, does not weep over what is lost,does not grieve.

after her death
watching the rain
meeting the river

Beneath the bark, a layer of living cells divides and multiplies, expanding sapwood and heartwood, stretching the bark until it cracks and sheds to fit the new girth.

laughter lines—
the scar around my breast
faded now

Growth: out into the world, down into the dark earth, and up into the light.

Contemporary Haibun Volume 10
Red Moon Press 2009

Comments

  1. a beautiful haibun on death and renewal. you have such a delicate touch. I learn a great deal from writers such as yourself.

    ReplyDelete
  2. Thank you, Dalloway. It means a lot to me to have feedback like this.

    ReplyDelete
  3. Very strong haiku.

    all my best,

    Alan

    ReplyDelete
  4. There is so much here, this really merits re-readings. You've singly encouraged me to take a closer look at haibun. I used to only give it a brief glance in the magazines I read, now I'm lingering.

    ReplyDelete
  5. Thank you Alan and Jem.

    This haibun emerged after I'd been struggling to contain what is now in the prose in a tanka!

    And it made me think even more about subject matter and form, and how the first often dictates the second.

    Lynne x

    ReplyDelete
  6. Reading this again, and this is a wow paragraph for me!

    Beneath the bark, a layer of living cells divides and multiplies, expanding sapwood and heartwood, stretching the bark until it cracks and sheds to fit the new girth.The whole haibun is wonderful and shows its strength through its "re-readibility".

    all my best,

    Alan
    The With Words Competition 2009.

    ReplyDelete
  7. Thanks so much for coming back to this, Alan. To know that someone has returned to read the work again is a wonderful thing.

    ReplyDelete
  8. excellent haibun. Love the rain on the river haiku and it's parallels

    ReplyDelete
  9. Thank you, Dave. I really appreciate you taking the time to comment.

    ReplyDelete

Post a Comment

Popular posts from this blog

Consolidation & Simplification

Since January 2020 all my work - haiku writing, poetry, prose, imaginative and non-fiction writing - has been posted on my website   Lynne Rees .  Please feel free to share anything from this archive, or my main site, but I'd be grateful if you could credit me as the writer and link back to the source.  Thank you 🙏 Lynne 

haibun ~ Playing Lego Minecraft with Morgan

There’s only a portal of black obsidian between the zombies and lava in The Dimension of The Nether and The Overworld where Steve is standing and I am counting his sheep, cows and pigs. But we really shouldn’t be hanging around when night is about to fall and mob attacks are imminent: Blazes and Creepers, Spiders from The Cave, all ready to descend on The Farm.  autism spectrum my nephew names all the monsters It’s time to lock up the animals, he says, time to close doors and windows, so I turn Steve around and notice he’s clutching a tiny baguette, something that fills me with unaccountable joy: that in this world of sharp edges and danger a boy has placed Bread in a man’s hands and they are carrying it home.  Presence 63,  March 2019

haiku: a poetry of absence or an absence of poetry?

The following paper was presented at the PALA (Poetics and Linguistics Association) 2015 Conference at Canterbury University, Kent, UK on 16th July 2015.  Abstract: HAIKU: A POETRY OF ABSENCE OR AN ABSENCE OF POETRY? Minimalism in Contemporary English Language Haiku The popular perception of haiku as three lines of 5, 7 and 5 syllables persists in the mainstream poetry world and beyond as if nothing has changed since the first Western translators counted the onji, or sounds, in traditional Japanese haiku and created that misconstrued but enduring template fleshy enough to support a traditional English syntax. And while putting flesh on bones might be a useful metaphor for the construction of formal and free verse, contemporary English language haiku practice is often more akin to the trimming and polishing of bones to create a form where point of view, adjectives and even verbs may be dispensed with entirely.  This 30 minute presentation will analyse examples of min