Startling and pleasing to come across the blessed genre so unexpectedly in Planet! They were the first words Ken Jones said to me, by email in 2007, after he'd read two of my early haibun in Planet, the Welsh based journal of literature, history and contemporary journalism. I was writing haibun in a vacuum at that time, unaware of the network of other haibun writers in the UK in general, and in Wales in particular, but I'd already taken Ken's advice, from one of his articles published in CHO, about writing the haiku before writing the prose part of the haibun. This approach was working well for me so I was glad to have the opportunity to thank him personally. Startling, pleasing, blessed. Those words conjure him for me now he's no longer at the other end of an email, or at a reading we've both been invited to or at a workshop we've been asked to lead. He was always, in different degrees, enthusiastic, confrontational, mischievous even. We didn'
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
Ethiopian Time by Bob Lucky. St. Paul, Minnesota: Red Bird Chapbooks, 2014. Single signature, hand sewn binding, author hand-numbered edition of 100. 5.5" x 7," 52 pp. $12 USD, including shipping to USA & Canada, $20 USD International. The blurb on the publisher's website says of this haibun and tanka prose collection: Bob takes the foreign and makes it familiar. Then he takes the familiar and the ordinary and turns it completely foreign. That's a pretty good summary of my immediate response to the work. The opening haibun, "New Home," talks about exploring a new neighbourhood, the affluent area, teething problems with the house's electrical system. It also shows us the road from the house slick with mud; there are watchmen carry[ing] AK47s; and recounts the plumber's advice to wear flip-flops in the shower to prevent us from getting shocked . I don't know about you but I generally, extreme weather conditions excepted, take the h
The Hungry Writer: An Interview with Lynne Rees Lynne Rees started working with haiku forms in 2006, was haibun editor at Simply Haiku in 2008 and 2009, and co-editor, with Jo Pacsoo, of the British Haiku Society's Haibun Anthology, The Unseen Wind (2010). In 2011, she jointly edited, along with Nigel Jenkins and Ken Jones, another country, haiku poetry from Wales . Lynne has also published Learning How to Fall (poetry, 2005), The Oven House (novel, 2008), Messages (flash fiction collaboration with Sarah Salway, 2008), forgiving the rain (haibun, 2012) and Real Port Talbot (travel guide, local history & memoir, 2013). JW: Let me ask first, with your permission, about your personal background. You come from Wales and I wonder what influence, if any, this circumstance had on your literary development and interests. The population of Wales is small when measured on the world's scale and Welsh history and culture are unique. Was a Welsh sensibility or identity form