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my haiku books

forgiving the rain
(Snapshot Press 2012)

A multifaceted memoir of home: of children and parents, joy and fear, dreams and desires, and, ultimately, the inherent wonder of ordinary lives. These contemporary haibun combine the narrative power of prose with the epiphanies of haiku poetry to question and explore where home is, how we recognise it, how we leave it, and how we find our way back.

Bashō did this. On his narrow road north. He wrote what he saw and what he felt. Wound his prose around his haiku, studded his creative world with perfect places. Lynne Rees is on the same journey. These are scenes from a life: childhood, adulthood, passion, age, joy, pain. Her haiku are headlamps. Her prose flowing water. I couldn’t put it down. Peter Finch

It had me laughing, very moved, fully involved and also (since Lynne and I seem around the same age) immersed in the reference points along the way! I'm in full admiration of the haibun form and its possibilities in the hands of an adept such as Lynne. Really beautiful. I teach life writing and will be pointing my students to this book as a great example of how to approach auto/biography - but I recommend it to anyone. I know that I'll be going back to it again and again. Fiona Owen, Writer & Teacher






another country - haiku poetry from Wales
(Gomer Press 2011) co-editor

The first anthology of its kind to celebrate the literary wealth of haiku and its associated forms created both within Wales and by Welsh writers internationally from the 1960s to the present.

This is an important contribution, not only to Welsh literature in English but also to all writing of haiku and its related forms in the English language. Paul Griffiths

£9.99 from Gomer Press: orders@gomer.co.uk

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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 minimal, micro and monostich…

haiku

sunrise
barred light on the walls
of the deportation centre


tinywords May 2019

photo haiku

even amongst all this grey light