The Whole Body Singing is Quendryth Young’s first book of English-language haiku, containing more than one hundred haiku, six haiku sequences and one haibun. Since the publication of her first collection of free verse and traditional poems, Naked in Sepia (2004), Quendryth has devoted much of her life to the haiku way. She co-ordinates the haiku group cloudcatchers, edits the haiku section of the literary magazine, FreeXpresSion, and is a participant with John Bird and Nathalie Buckland in the Wollumbin Haiku Workshop. Continue reading “The Whole Body Singing: Review by Graham Nunn”
each in own future: 55 tanka & unrelated randomly placed photographs from many places
(DVD: tanka & photographs); 324/50 Macquarie St, Teneriffe Qld: Postpressed, 2007
sleeping suburbs apart: conversations with ex-husbands & lovers
(poems, tanka and haiku); Flaxton: PostPressed, 2005.
self portrait with sand: postcards from various places
Flaxton: PostPressed, 2002.
noticing the view: haiku & other poems.
Flaxton: PostPressed, 1999.
“Moving Galleries” is an on-going project, initiated by a trio of haijin calling themselves Rooku Troupe. They have been instrumental in getting haiku published on decals in Melbourne’s suburban trains.
Here is an interview with a writer who has his haiku currently riding around the Melbourne tracks.
A writer of poetry, haiku, short stories and novels, Michael de Valle’s poetry has featured in both the Moving Galleries pilot and the Spring 2007 Exhibition. Moving Galleries editor, and poet, Leanne Hills, approached Michael to discuss his influences.
Janet Howie had two haiku published in KO – haiku magazine in English: SPRING-SUMMER edition, and four haiku in the AUTUMN-WINTER edition 2007. She also had one haiku in Famous Reporter 35.
Recent discussions with some of HaikuOz’s ‘greats’ – notably patron Janice M Bostok and co-founder John Bird – have revealed a common thread of concern. Namely, that some writing of haiku in Australia has, unfortunately, slipped away into the phenomenon of the pretty postcard. In other words, that the spirit and subtlety, that once placed Australian haiku apart from that so frequently written elsewhere, has been submerged to a more mundane, more prosaic form of writing which, in one of my darker moods, I see as:
in perfect formation
across a cloud wall
(or to be more strictly ‘correct’: three autumnal ducks/in quite perfect formation/ across a cloud wall)
This opinion is bound to be greeted by indignation, offence and, perhaps, horror. That I accept. I also apologize. I beg, however, that my discussion be accepted in that spirit. As a starting point for further discussion. What I am advocating, is a rethink, a re-examination, of how we are writing haiku in Australia. A move away from the formulae that accept phrasing such as ‘autumn evening’, ‘winter day’, ‘summer afternoon’. In other words, that we look again at the craft of our writing and the spirit of haiku – particularly as it applies to Australia.