Our first meeting for 2019 had two attendees: Lynette Arden and Maeve Archibald.
The activity chosen by Lynette proved very successful in stimulating ideas for writing haiku.
We took it in turn to choose a Haiku at random from the book haiku mind by Patricia Donegan.
Each haiku was written up on the board and we discussed it.
We read the commentary on the poem from the book and considered what it was that we got from the poem.
We then used the haiku as a spur for our own writing, taking whatever it had evoked as our guide.
This varied between themes, styles, subject matter, and or emotional impact.
We discussed and commentated on each other’s work. Each of us were able to produce 2-3 haiku poems that we found quite satisfying.
The chief value in this exercise was the variety of different haiku gave a variety of stimuli, perhaps providing a new field from which we could each draw.
AHS invites you to share with us your original haiku about Change, a subject that is particularly pertinent at the end of the year. This is a wide-ranging topic. We invite you to explore a multiplicity of ideas in the String without using the word ‘change’.
The haiku will be linked by the subject Change. It is not necessary for each haiku to relate to the one before it.
Thank you for your contributions to the AHS Summer Solstice Haiku String 2018 on ‘change’. The String is now closed for contributions, but please enjoy the haiku in the String. Contributors have come from both Australia and many other countries, which is reflected in the diverse range of haiku.
Continue reading “AHS Summer Solstice Haiku String 2018”
The Australian Haiku Society welcomes contributions from haiku poets worldwide to the AHS Summer Solstice Haiku String 2018.
We will be holding a Haiku String during the day of the Southern Hemisphere Summer Solstice, which occurs in Australia on Saturday, 22nd December 2018. The String will remain open for contributions until Monday 24th December to accommodate international poets who may wish to take part. Continue reading “Announcement of AHS Summer Solstice Haiku String 2018”
The venue for the 19th Bowerbird Tanka workshop was not this time ‘Wirraminna’ but the newly upgraded gardeners’ cottage in the Crommelin Native Arboretum, in Pearl Beach. The venue proved very satisfactory and inspiring for the 13 delegates, with wide double doors of the cottage opening to a grassy slope. The two main workshops on music (Hazel Hall) and tanka as medication (Carmel Summers) were well-received. You can read about them in the report by Kent Robinson on the Eucalypt web-site under the heading Bowerbird along with tanka appraisals by Beatrice Yell and Yvonne Hales and a fitting celebration of the landscape around us by Michael Thorley which alluded to the many tanka about trees published in the first issue of “Eucalypt: a tanka journal”.
Continue reading “19th Bowerbird Tanka Workshop at Arboretum”
hard to read
Mum’s cursive loops
her last wishes
This is a powerful haiku on so many levels and I’m sure there is more to this story than we will ever know. But like all good haiku, we can bring our own thoughts and memories to what is presented here. With a few well-chosen words, so much is evoked and the strong linking to the writing equipment brings this haiga to another level. The stunning use of the wording of cursive loops and the difficulty in reading, or perhaps knowing another, generates momentum that ends with the uncertainty of her last wishes. What’s written in ink, stays in ink, and our deep connections to each other are always a bittersweet mystery.
loose leaves in grandma’s
Memories and fog have such a powerful connection and we also have the loose leaves to contemplate another story of family. What is written in a memory book can hold the passage of time but what of the loose leaves and the teaching of impermanence. Once again the haiku connects strongly with the image without illustrating what is there but creating a link and shift to another place and time.
scarlet or indigo?
today, there’s no need
A fun moment here in the tradition of a senryu where the poet seems to be making a comparison between the modern use of capital letters to SHOUT or force a word, and using good old red ink scribed on an old ledger. This was often done with old convict records to highlight something and the tradition has carried over to the modern era but has become lost in a world of texting and email.
the many ways my poems
A lovely moment to ponder and appreciate and think about the many ways our creative spirit is with us. The poet’s dark ink-like midnight connects well with the image, and that of a new day, with a new poem to follow. We never know when our muse will visit us, and when it might leave which gives us all the more reason to make it welcome. Perhaps over a nice cup of tea.
war-time love letters…
his eyebrows on
my grandson’s face
A lovely haiku that captures the span of generations and how our lives are so deeply entwined with those who have gone before. This haiku blends well with the image and gives us the scope to remember our own physical attributes that come from close and distant loves. The days of letter writing with pen and ink seem to be fading as we move into an increasing digital age. This passage of time has always been so beautifully captured with these great tools and the skills that come with it – long may it continue.
a plum blossom drifts
into my cup
Sometimes the simplest moments in time are the most profound. The image of a drifting plum blossom is such a wonderful contrast to the hard iron teapot. There’s a lovely pause in time suggested here, when the blossom lands amongst the precision and mindfulness of the tea ceremony. This haiku stood out for me as a winner for the seemingly effortless way the haiku blends with the close-up of this lovely teapot. The mark of all good haiga is the individual craft of both haiku and image and how they come together to make something greater.
the sweet taste
of homemade bread
Once again we have the plum blossom connection to the pattern on the iron teapot. This time our sense of taste is activated and we are transported to many warm memories of good nurturing food and home cooking. The sweet tastes of many things are evoked here and taking the time to stop in our busy lives and savour such a moment brings many rewards. There is also a strong link between the lovely pink of the teapot and sweet taste of homemade bread.
early snowmelt –
I turn the teapot
three times each way
The last of winter gives way to early spring and this very traditional way of handling a teapot to encourage the brewing has been handed down through generations of tea lovers. My own dear wife uses this ritual as well and there is something about old traditions that nurtures the soul and gives us a sense of timelessness. We also have a link between the turning of the seasons and the teapot and a cosmic feeling of everything in balance as it should be.
the blush of a peony
about to bloom
The blush of the peony and the warmth and colour of the teapot work together in harmony to give us a haiga that connects on many levels. The lovely moment of spring dusk adds more layers to the colour connections inside the haiku and image and we feel the bloom and sense what is about to unfold.
the imprint of a garden
on my hands
Even after a long day working in the garden, the newfound order and tidiness always feel nurturing, and sore hands and backs can be soothed with a nice hot bath. The imprints on our hands can reveal great mysteries to those who can read a palm. The interesting link between the imprints in the teapot in the image and those on our hands makes this a very successful haiga.
The meeting started at 12.30 pm in our usual venue at The Box Factory, 59 Regent St South, Adelaide. We welcomed new member Meirwen Whewell, who brought an elegant, illustrated book of traditional Japanese haiku to the meeting. This was Meirwen’s first attempt at writing haiku.
Workshop: A few basic techniques for writing haiku (led by Lynette Arden)
The workshop started with a reading of some of Janice Bostok’s haiku from her online resource: http://members.dodo.com.au/janbos/haiku.html
We read the haiku one by one around the circle and then commented individually on the haiku, discussing their meaning and impact.
Four techniques from Jane Reichhold were discussed. Continue reading “Report on Bindii Japanese Genre Poetry Group Meeting: 6 October 2018”
The Australian Haiku Society Spring Haiga Kukai 2018 is now open for entries.
We invite poets to send one haiku per image until 29th September. The winning haiku will be displayed on the AHS website.
Please note that if more than one haiku per image is submitted by any individual, only the first haiku sent will be considered.
Submissions will only be accepted if entered in the comments section.
By entering the competition, entrants agree to make their haiku available for use on the AHS website, although the copyright will remain with the author.
No correspondence will be entered into regarding winning entries.
To enter, select the post title (or click here) and enter your haiku in the comment box below the post. Please scroll to the bottom of the page.
Please make sure that your name appears on your entry as you would like to see it on the website.
Entries are now closed