Bill Waters ~~ Haiku

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Archive for the month “March, 2017”

Three cherita

don’t be mad!

a tentative smile
a shy glance

a tiny golden weed-flower
you offer
between finger and thumb

 

I was just a kid

I knew a lot less
than I thought I did

about life, and I spurned
love that did not suit me
to my later regret

 

in the deep of the night

I hear a cat
playing in the hall —

pouncing, pouncing,
and then bouncing down the stairs
a plastic ball


Published in Atlas Poetica (Issue 27), 3/29/17.

Republished in Miriam’s Well: Poetry, Land Art, and Beyond (https://miriamswell.wordpress.com/2017/04/05/poetry-month-5-cherita-by-bill-waters/) for National Poetry Month, 4/5/17

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Two on spring

snagged on branches

a tuft of cloud

pulled by the wind

 

spicing the breeze

with its call:

eastern phoebe


Published in Akitsu Quarterly: Spring 2017 (http://www.wildgraces.com/Akitsu-Quarterly.html), 3/8/17.

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Michael Dylan Welch: power outage

Old Pond Comics

20170227_op_nahaiwrimo_buddha_neon

Of course, you can never turn off the neon buddha. He can talk about haiku all night.

power outage

the neon buddha

loses his smile

–haiku by Michael Dylan Welch (published in Daily Haiku)

The neon buddha poems created by Michael Dylan Welch are some of my favorite poems on the web. This one comes from DailyHaiku, but you can read 40 more poems on Michael’s site Graceguts.

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On Glenn G. Coats’ haibun book Waking and Dream

waking and dream by Glenn G. Coats. Winchester, VA: Red Moon Press, 2017. RRP: $15. Pb, 128pp. ISBN 978-1-936848-82-9.

waking and dream takes its title from a haibun of the same name—a reminiscence in which a lifelong fisherman who has moved far from the trout-filled waters of his earlier years travels back in his mind to fish them once again. “My fly rods stand in a line down in the basement” he says; “a net hunches in a corner like a cat.” But who needs fishing tackle when memories are as clear as a favorite watercourse? “I work my way upstream, casting Coachmen across pools and under trees, the shadows beneath overhangs. I feel the cold current through my rubber boots, my arm working flies through the air, the steady back and forth of a saw….”

Fishing plays a prominent (though not exclusive) role in this collection: in cold weather and hot weather, from shore and afloat, with rod and spear and seine net. Used as a context and a metaphor, fishing is portrayed as both a way of life and a way of looking at life — as much a worldview as it is a sport or pastime.

Readers will find themselves among these pages even if they have never hooked a fish, though, because at its core waking and dream is about rites of passage, stages of life, and emotions common to the human experience. Along the way, readers will meet family members galore, as well as minor yet memorable characters such as a dance partner named Fay, the enigmatic Johnny Fastback, and a trespassing fisherman who is known only by his footprints.

Each haibun in this book includes between one and eight haiku. As for haiku placement, the majority come at the end of the piece, as is common—but with a twist. In nearly two dozen instances, not one but a pair of haiku end the haibun, encouraging two ways of reading those pieces: the haiku can be considered sequentially, with the second playing off the first, or in an “either/or” fashion in which readers can choose their own ending, so to speak. Whether or not this is intentional on the author’s part, it’s thought-provoking and fun.

For example, “High Water Marks”:

That night, I thought about the man who came to talk to my father at the dock; how easily my father spoke to strangers. The man who introduced himself as Jim kept a boat a dozen slips away from my father’s. He had grown up near the marshes, had fished and raked clams all his life. Jim knew how to catch snapper blues and he threw anything silver into the bay and the blues could not resist. He caught gar and kingfish which belonged farther south in the Carolinas; hoisted eels onto the pier that were thick and long as his arms. The man was twenty-eight years old and engaged to a girl who could row a boat fast as any man, knew how to work a crab trap and swam for long distances under water. It seemed like Jim had lived a long full life and I prayed to God that I too would live until I was twenty-eight. It seemed long enough at that moment.

near the sea
houses
fill and empty

morning tide
the sand swept clean
of stories

Not only does the second haiku complement the first haiku, creating a diptych of sorts, but each haiku also could serve on its own to put a different spin on the prose part.

Another intriguing feature of this collection is that a dozen of the haibun substitute free verse for the prose portion, offering readers a somewhat different way to enter into the narrative.

For instance, “The Plow”:

They still farm
his fields,
won’t touch the
vines
spinning through
window frames,
or chop the maple
that keeps clapboards
from drying out.
If he were here
he’d say, “Harrow it
under.”

fresh furrows
already talk
of a dry summer

Line breaks are used in this piece to create a powerful stop-action effect — “vines / spinning through / window frames” — as well as to add dramatic emphasis: “he’d say ‘Harrow it / under.’” Impressions like these could not be communicated with such economy using prose.

A captivating compilation of haibun, waking and dream will resonate with anglers and non-anglers alike because across 78 pieces this book tells a story all people can relate to: the story of life.


Published in Haibun Today: A Haibun and Tanka-Prose Journal (http://haibuntoday.com/ht111/Articles_Waters_Coats.html), 2/28/17.

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Leaf

Old Pond Comics

20170222_op_nahaiwrimo_leaf

I say, if your haiku wants to fly away, let it go.

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Just Passing Through

Summer birds visit our bird feeder as individuals, pairs, or small families. Spring birds, though, come in flocks — two dozen, three dozen hungry beaks at a time. They shovel down the birdseed and strut around like they’re at an airport food court . . . which, in a way, they are.

chatter of starlings
— WHOOSH —
and then silence


Published in Hedgerow: A Journal of Small Poems, issue 108, 3/3/17.

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Golden Haiku Contest 2017 Addendum

Unable to travel to Washington, D.C., to see the 96 Golden Haiku displayed throughout the city’s business district? Here, at least, are three of them, courtesy of poet Dennis Gobou (https://www.facebook.com/dennis.gobou). If haiku are springing up in flower beds in D.C., then warmer days must surely be coming!  :- D

Golden Haiku No. 1

Golden Haiku No. 1.

 

Golden Haiku No. 2

Golden Haiku No. 2.

 

Golden Haiku No. 3

Golden Haiku No. 3.

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Thunderheads

thunderheads —

pea vines lashing

the wind


Published in Wild Plum: A Haiku Journal, issue 3:1, page 46, on 3/1/17.

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Golden Haiku Contest 2017

Golden Haiku Brightens Planter Boxes

Having a desire to see more poetry in public places is one thing; turning that desire into a reality is quite another.

Kudos to Washington, D.C.’s Golden Triangle business association for running its Golden Haiku contest again this year! For the next few weeks, almost a hundred haiku will be on display throughout the area near the White House, including these three of mine:

the hush
of an overcast day . . .
red flowers nodding

bursting
its brown wrapper
the daffodil blossom

shrub bed —
scratching out a living
the sparrow

As a proponent of poetry in public places, I’m grateful that a few of my poems have been selected to be a part of this very cool project!  :- D


All winners: https://goldentriangledc.com/golden-haiku-winners/

A press release re. the contest: https://goldentriangledc.com/news/golden-triangle-in-d-c-announces-winners-of-2017-golden-haiku-contest/

My posts re. last year’s contest: Golden Haiku Contest 2016 and Golden Haiku Contest 2016 Addendum.

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