Frank shares an amazing example of a Haibun written as a memoir of his experience at Gertrude’s Nose, on the Minnewaska Preserve. This just goes to show you the versatility of this form.
Here are a few tips (a sneak peek) of what you will find in my new book, Word Craft – Prose & Poetry:
Begin the haibun with a title. The title should hint at something barely noticeable in the beginning which comes together by the ending.
Your haibun prose can be written in present or past tense including, first person (I), third person (he/she), or first-person plural (we).
Subject matter: autobiographical prose, travel journal, a slice of life, memory, dream, character sketch, place, event, or object. Focus on one or two elements.
Keep your prose simple, all excessive words should be pared down or deleted. Nothing should be overstated.
The length can be brief with one or two sentences with a haiku, or longer prose with a haiku sandwiched between, to longer memoir works including many haiku.
There are different Haibun styles: Idyll: (One prose paragraph and one haiku) haiku/prose, or prose/haiku; Verse Envelope: haiku/prose/haiku; Prose Envelope: prose/haiku/prose, including alternating prose and verse elements of your choice.
Don’t forget to read Frank’s Haibun. The link is below!
I’ve been working on a “How To” book, called Word Craft ~ The Art of Creating Syllabic Poetry with a goal to self-publish by April 2020. This will be a chapbook and great reference for all syllabic poets.
It’s occurred to me that I would like to include more syllabic poetry examples in the book. I’m looking for donations which I will feature with a citation in the Bibliography, including your name and the year written. You would still retain the rights to your work to publish elsewhere.
I’m looking for Haiku in English (5/7/5, 3/5/3, 2/3/2), Senryu in English (5/7/5, 3/5/3, 2/3/2), Haiga in English (5/7/5, 3/5/3, 2/3/2), Tanka in English, Gogyoka in English, Haibun in English, Cinquain (including Reverse, Mirror, Butterfly, Crown, and Garland), Etheree, Nonet, and Shadorma poetry. NO other poetry forms will be considered.
Additionally, if you donate a poem (or more) I will gift you a MOBI copy of the ebook which you can upload to your Kindle when the book is published.
I reserve the right to not accept your submission if it’s not what I’m looking for. Please email your syllabic poetry submissions to firstname.lastname@example.org no later than February 29, 2020.
I will reply to your email if your poem is accepted. That email, will give me permission to publish and recognize your poem in my book. I feel like this is a great opportunity to get your poetry published in a way that will help others learn to write syllabic poetry.
Thanks for considering this opportunity! I appreciate you all.
Welcome to the Tanka Tuesday Poetry Recap featuring the work of poets from around the globe. If you would like to participate in this challenge, you can learn the rules in the menu item called Colleen’s Weekly Tanka Tuesday Guidelines.
Currently, UHTS is accepting poetry for the Autumn Issue of the Cattails Journal. Submissions for Autumn/ October issue open 1st July (midnight) GMT and close 15th August (midnight) GMT. Read the submission requirements: HERE. You can view the journal HERE. READ the UHTS poetry definitions that are acceptable for submission HERE.
UHTS also is sponsoring the “Fleeting Words” Tanka Competition. Submission Period and Deadline: May 1-August 15 of each year. There is a 10 poem limit on the number of submissions. If more than 10 poems are submitted, only the first 10 poems will be entered. Entries must be the original work of the author, be previously unpublished and not under consideration elsewhere for the entire time period it takes to complete the judging. Click HERE for submission requirements and read carefully to find the current competition.
We had great success using the new email submission for your poetry. (email@example.com). Remember, please send me your name, title of your poem, #type of poem, and the link to your blog post where the poem was published.
Please don’t just email me your link. When you do that, I have to go to your blog, copy your poem, cut and paste that with no formatting into a Word document and then, cut and paste the poem into my new post. The WordPress platform has changed. It’s becoming more and more difficult for me to copy posts from those of you who use the OLD editor. This recap takes me about 3 hours to compile into a post. I need your help in order for me to continue publishing a RECAP featuring your poem with a link back to your blog. Thanks. ❤
The Poet of the Week will be published in the 2019 Poet of the Week Anthology, which everyone will be able to grab as a FREE PDF in January 2020.
Each week, I like to highlight a poet who I call the Poet of the Week, who has shared an exceptional message, or shown impassioned creativity through words or form. Poetry is all about perception, so don’t be shocked if you don’t feel the same way about a poem that I do.
As an added accolade, I will also reblog your post on my blog to give the Poet of the Week maximum exposure. ❤
This week, I’ve chosen Annette Rochelle Aben, as the Poet of the Week. Her poem, an Etheree called, “Is it Really Love?” really did justice to the prompt words by invoking emotions. When you read Annette’s words, you feel her pain. That empathy connects her to her readers. Find her poem below.
This weeks honorable mention goes to Kerfe Roig and her Haiga, “Derby King.” The drawing is done by Kerfe, and in true Haiga fashion compliments the poem while the Senryu portion stands alone.
Why did I call her a poem a Senryu? If your poem has irony present (usually in the third line) it’s usually a Senryu.
“Irony is a figure of speech in which words are used in such a way that their intended meaning is different from the actual meaning of the words. It may also be a situation that ends up in quite a different way than what is generally anticipated. In simple words, it is a difference between appearance and reality.“
Fair maidens grace the plot of old fables and of fairy tales, gaining princes and crowns. How unfair of the writers, to deny those more unsightly, all the riches within the pages and the right to happy ever after.
As many of you already know, I love structured poetry. This includes the Haiku, the Tanka, and the Haibun. I like to think of myself as a student of these poetic forms. Learning to write them correctly is an art form in itself. I think that’s what appeals to me the most, the arrangement of the syllables. Writing a Haibun is a challenge, but with practice, you will soon have no trouble.
For Colleen’s Weekly Poetry Challenge, we will use the rules below to write our Haibun poems. NatureWriting.com shares how to write a Haibun poem. Please follow the rules carefully.
The text unfolds in the present moment, as though the experience is occurring now rather than yesterday or some time ago. In keeping with the simplicity of the accompanying haiku or tanka poem, all excessive words should be pared down or deleted. Nothing must ever be overstated.
The poetry never attempts to repeat, quote or explain the prose.
Instead, the poetry reflects some aspect of the prose by introducing a different step in the narrative through a microburst of detail.
Thus, the poetry is a sort of juxtaposition – seemingly different yet somehow connected.
It is the discovery of this link between the prose and the poetry that offers one of the great delights of the haibun form. The subtle twist provided by an elegantly envisaged link, adds much pleasure to our reading and listening.
Some Common Forms of Modern Haibun
The basic unit of composition– one paragraph and one poem
We guide our canoe along the shores of beautiful Lake Esquagama. It is nine o’clock at night on this evening of the summer solstice. As the sun begins to dim the lake becomes still as glass. Along the shore, forests of birch are reflected in its mirrored surface, their ghostly white trunks disappearing into a green canopy. The only sound is a splash when our bow slices the water. We stop to rest the paddles across our knees, enjoying the peace. Small droplets from our wet blades create ever-widening circular pools. Moving on, closer to the fading shore, we savour these moments.
as a feather
on the breeze
the distant call
of a loon
The prose envelope – prose, then poem, then prose
Echoes of Autumn
I walk quietly in the late afternoon chill, birdsong silent, foliage deepened into shade, a rim of orange over darkening hills.
through soft mist
the repeated call
of one crow
Reaching the gate then crossing the threshold I breathe the scent of slow-cooking, the last embers of a fire, red wine poured into gleaming crystal, the table – set for two …
Poem then prose
(Rather than begin with a single tanka, I wrote a tanka set or sequence, followed by the prose. In contemporary haibun writing, the poems are occasionally presented in couplets or in longer groups).
The Road to Longreach
the coastal fringe
of green and blue
behind the gateway
to the outback
and cotton stubble
in the autumn sun
as hawks patrol above
faces to the sky
the last blaze of colour
in the dryland’s
of the rural strip
brick red, burnt ochre
of the open range
and further out –
in orange dust
a single cornstalk
displays its tassel
Days pass as we move through the desolate landscape, carved into two parts by the road we travel on, a continual ribbon drawing us straight ahead into its vanishing point, where only spinifex grass and saltbush lies between us and our destination.
The verse envelope — poem, prose, then poem
covers the window
Ice shapes resembling small fir trees stretch across the glass, while delicate snow flowers sparkle around them. Lost in its beauty, I move through this crystal garden as my warm fingers trace up and down, leaving a smudged pathway.
Mother’s voice interrupts, “Susan, come away from that cold window and get dressed or the school bus will leave without you!”
burning hoop pine
scent of a warm kitchen
oatmeal with brown sugar
Alternating prose and verse elements
I climb round and round close to the outside wall, to avoid the railing where the stair treads narrow about their central post. A semi-circular platform rests high above. Its glass windows provide a sweeping view. Counting the last few steps, I finally reach the top of the Moreton Bay Lighthouse, where I gaze in awe at the ocean below.
the rising sun
an endless pathway
of molten gold
Outside the lighthouse, lamp is rotating. I disengage it as there is no need for its warning light. Now the bold red and white stripes of the lighthouse itself will become the beacon. I study the turbulence of the deep waters churning the rocky shore below. The subtle changes in the wind, waves, and tides are entered in my log book – these brief markers of the ever-transforming seascape that surrounds me.
Haiku.org offers a PDF that is most helpful in the writing of your Haibun. Download that HERE.
This is an example of a Haibun poem that I have written for my poetry challenge. I am not an authority. I am a student of poetry just like many of you. The best way to learn this form is to research it and write it.
I stared into the murky depths of the Harlem River. The breeze blew briskly, and I sniffed the salt in the air. The tide was out, and my reflection wavered on the shallow surface of the harbor emulating my thoughts. Had I made the right decision to leave my home and journey to New York? My only companion, a long-legged loon, stalked his way through the shells and rocks as he poked his beak into the sand. In one swift movement, he had retrieved his lunch, a mussel dangling from his beak. The bird met my staring eyes. The answers to my question were crystal clear. Seek, and ye shall find.
Change is in the air –
fleeing to find our fortunes
our folk stays behind.
Hope is the harbor that binds
and mirrors our Renaissance.
I wrote the above Haibun poem about the Harlem Renaissance. From my prose, you can tell what is happening in that moment because it is written in the first person singular. The Tanka poem that follows is connected but not directly related to the exact experience in the prose. So you see, the poetry is a sort of juxtaposition – seemingly different yet somehow connected.
It is important to follow the rules when writing this poetry form. It isn’t a true Haibun if you don’t follow the directions as closely as possible.
Now lets have fun! Get busy and write some Haibun poetry! ❤