What is meant by rich leaves?
From Haiku to the Short Poem: Bridging the Divide  by Philip Rowland The vast majority of haiku in English appear in journals devoted exclusively or almost exclusively to the genre. While this provides valuable forums for the sharing and discussion of haiku, it also tends to keep haiku apart from the wider poetry world.
This paper will consider likely reasons for, and offer some suggestions for bridging the divide, arguing, through discussion of examples, for the importance of having haiku appear alongside and in stimulating conversation with other short poetry. In order to find out more about the tendencies of haiku poets in this regard, a short questionnaire was circulated, appearing in places such as the Haiku Society of America Newsletter and the Web site for the Haiku North America conference.
What percentage of your total haiku submissions would you estimate that you send to non-specialized publications? What experiences have you had, good and bad, when you have submitted haiku to non-specialized publications?
What is the best non-specialized publication you know of that will accept haiku?
Do you have any further thoughts on submitting haiku to non-specialized publications? Moreover, given that only fifteen poets responded, the questionnaire came to serve more as a springboard into topics I wished to discuss than as a means of empirical investigation.
On the other hand, those who responded are haiku poets of considerable note, and most did so at length, so the questions seem to have touched something of a nerve. Answers to the first question, it was hoped, would indicate how much of a priority it is for haiku poets to try for publication outside the coterie of haiku magazines and anthologies.
Perhaps it is also fair to speculate, given the range of work considered by quality non-specialist magazines, that it is generally more difficult to have work accepted for publication there whatever the nature of the work might beand that even well-established haiku poets may well be put off by rejection when they are fairly confident that the same poems would be accepted by haiku magazines or be in the running to win prizes in a haiku contest.
It seems to me that this may well be so in some cases, but hardly across the board. The idea that editors of fine poetry magazines, many of them accomplished poets themselves, are impervious to the delights of haiku seems dubious to me. More likely, and simply, they do not rate much haiku all that highly in the context of the full range of work received.
Admittedly, this is little more than common-sense speculation: Nevertheless, it is important to consider the possibility that the bulk of the haiku that are published in specialist haiku magazines may be of little lasting literary interest, and to read widely and carefully enough to be in a position to begin to judge the matter for oneself.
One respondent made the valuable suggestion that one of my questions should have been: One of my aims in editing and publishing Noon: Journal of the Short Poem is to encourage this.
Much as I am keen to include outstanding haiku, the magazine would not, in my view, be as worthwhile if it featured only work in that vein. I do not mean, of course, to suggest that individual haiku poets do not write distinctively, but that the magazine would not be sufficiently exploratory, that is, it would be drawing on and reinforcing existing communities of poets or poems rather than exploring the possibility of new ones.
I shall try to indicate this approach through discussion of some examples shortly. After all, if the choice is not between life and death, but between skiing or going to the beach, will this not make a qualitative difference in the poem?
There you are, in your class of five souls, turning up on a wet night somewhere outside Birmingham. And there on the table is a bunch of sycamore twigs in a vase of water.
Your assignment for this evening? Write a — why not?
In truth what strikes me are all the more interesting questions such an exercise avoids: Why those sycamore twigs?
Why not, instead, listen to what the emerging bits of the poem actually seem to want to be, and to how they want to be expressed? It takes much throwing-away and starting-again.
It takes reading, and effort. What can this language do?Baby Christening Poem Ideas Please find below some beautiful baby christening poems - suitable for both baby boys and girls and naming days too.
Simply reference the Wording Number when ordering your art above via the 'shop' tab. Jun 26, · Best Answer: thiss is my funny short poem. ill cough ill sneeze ill smoke so that i could weeze scalding water would be my bath just as long as i get out of math ill put poison ivy in my foodStatus: Resolved.
A haiku (俳句 high-koo) is a short three-line poem that uses sensory language to capture a feeling or image.
Haiku poetry was originally developed by Japanese poets. They are often inspired by nature, a moment of beauty, or poignant experience.
To write a haiku, start by brainstorming ideas for. Noahwriting is the top writing website for both readers and writers. Publish your work, receive free editing services, and win the award valued up to $!
From Haiku to the Short Poem: Journal of the Short Poem is to encourage this. Much as I am keen to include outstanding haiku, the magazine would not, in my view, be as worthwhile if it featured only work in that vein. I do not mean, of course, to suggest that individual haiku poets do not write distinctively, but that the magazine would not.
Epic Montana & Hunter Weeks bring you Where the River Goes: The Missouri Hunter Weeks - Great short film!