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

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haiku commentary

deeper shadows where the walls meet... autumn rain – Mark E. Brager, The Heron's Nest, Volume XXI, Number 3 (2019) I imagine a corner, two walls meeting at right angles. I can see the depth of shadow there. If I reach out, I am sure the surface – rough brick or smooth masonry – will be cooler; perhaps because the autumn rain I now notice has started to fall. The places where people meet are more emotionally complex, stepping, as we may have to, from the comfort of the familiar to the challenge of the unfamiliar. Those “deeper shadows” may be rich with empathy and gratitude. Eshadows in corners Photograph by Steven Castledinequally, they may be fraught with conflict and umbrage. Brager’s haiku shifts me from inanimate objects to human experience. I sense loss through the image of “autumn rain,” or at least an understanding, or acceptance, of inevitable change that results in something being left behind. Perhaps change, even for the better, always leaves a

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

an open field

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