After months of preparation of the site and selection of content, the editors of Echidna Tracks – Simon Hanson, Lynette Arden and myself (Lyn Reeves) – are pleased to announce the launch of our first issue.
Go here to enjoy the wide-ranging voices and observations of Places we Live: cities, suburbs, towns. Haiku will be posted one a day until the issue is complete. If you would like to receive a daily haiku in your inbox, sign up to follow by email. Continue reading “Echidna Tracks: Australian Haiku”
For the past eighteen months or so Watersmeet has been meeting seasonally for a ginko in various locations. After our silent walk, participants have shared jottings or observations, sometimes over a coffee at a nearby café. Recently, however, some have been asking for a longer session of haiku sharing, so on our last gathering we began with morning coffee and the intention to a ginko afterwards. I had invited those who were coming to bring a haiku, or something haiku-related, to add to the mix.
On March 17th I had the privilege of launching Jane Williams’ new haiku collection, Echoes of Flight in the bushland setting of Waterworks Reserve, on a day of perfect autumn sunshine sharpened with the pungency of eucalyptus leaves and blossom.
Jane Williams is one of the most versatile writers I know. Her work covers a wide range of genres – poetry, short stories and writing for children – In fact, we can look forward to the release of a collection of poems for children and a children’s picture book later this year, making 2018 a trifecta of achievements in publishing her work. She also writes a variety of Japanese-style short form works including haibun, haiga and tanka. This latest collection, her eighth, is a selection of her haiku and senryu.
Jane Williams’ collection of haiku and senryu, echoes of flight, will be launched by Lyn Reeves on Saturday 17th March, 11.00am, at Waterworks Reserve Ridgeway Rd, Ridgeway. Site number 9 (last hut on the left).
You are warmly invited. There will be cake.
‘Echoes of Flight is a wonderful treasure box of haiku moments experienced through finely tuned poetic senses. These moments are captured in crisp detail, displaying a profound reverence for the world in which the poet so keenly observes. We are richer for seeing things as Jane Williams does.’ – Ron C. Moss. Continue reading “Echoes of Flight – by Jane Williams”
At our first ginko for the year, on Friday 16th February, we were wondering where summer had gone as we met at the Japanese Gardens in the Royal Hobart Botanical Gardens, rugged up against a cold westerly wind.
There were only four of us, partly due to the unseasonal weather, though Ron Moss’s volunteer fire brigade was called away to Bruny Island to fight a house fire that had gotten out of control in the gusty conditions.
Ross Coward recalled how Watersmeet had its beginning in 2000 in this place. Tom Daly had brought along a copy of the Watersmeet: haiku anthology from which we read several haiku, including a favourite of mine by Ross: Continue reading “Watersmeet Summer Ginko”
I met the late WA haiku poet, Nicholas Barwell, in 2005 and there began years of discussions about haiku and my first attempts at writing haiku. Following this, I was fortunate to be offered, and to complete, an intense mentorship (writing, researching, critiquing and workshopping of haiku for publication) with mentor, John Bird, in 2007. I am so grateful to both of these people for the excellent grounding they gave me in haiku and the development of my love for haiku.
Why not free verse, sonnets or ghazals? (I‘ve written some). Or bush ballads? (I love horses).
My involvement with haiku started with an unexpected discovery in 2004. Carla Sari read out a haiku by Dhugal Lindsay:
xxxxxxxxxxxxxxxxxxxxpicking up a jellyfish . . . xxxxxxxxxxxxxxxxxxxxmy lifeline xxxxxxxxxxxxxxxxxxxxclear and deep
I was immediately transported to my early childhood on the beach at Seaford, holding a moon jellyfish from the shallows (they’re non-stingers) in the palm of my hand, where it became a shining lens. In this first ‘aha moment’ it seemed to me that a haiku could be a lens which, focusing on a detail or two, could evoke an entire scenario and mood, an experience of participation rather than a story told. Continue reading “Why Haiku? : Lorin Ford”
The discipline of haiku guides me to appreciate the ‘now’ of my day. How wonderful it is to jot down images and tiny events that show the extraordinary in the ordinary.
My haiku are not made up of seventeen syllables but usually far fewer. However, I try to keep to the short/long/short format unless I feel the haiku should be a one-liner. I have also written a few two-liners when that is the way they fell.
Though I often use the visual sense in my haiku I also try to catch the other senses of sound, taste, smell and touch. The seasons are used to good effect in most haiku and I too follow this course. I find now I’m older many of my haiku use the autumn season to express thoughts and moments.
The core of the haiku is that light touch and simplicity which shines on the spirit of the poem…that certain something that is almost impossible to explain…maybe wabi sabi.