September 30, 2010

Kikakuza International Haibun Competition 2011

Entries to:
Ms. Motoko Yoshioka,
Regalia 907, 7-32-44 Fujimi-cho,
Tachikawa-shi, Tokyo 190-0013,
(to arrive between 1 Oct. 2010 and 31 Jan. 2011)

Entry fee and no. of entries per author:
the Contest is free this year!
maximum 3 entries per author.

Ideally, there will be one Grand Prix, a number of Za Prizes (Highly
Commended), and some Honourable Mentions, too. The authors of entries chosen
for the first two of these categories will receive prizes as well as
certificates from Kikakuza. In the spring, a bilingual bulletin will be
published in Japan (there is a Japanese Haibun Section, too), and the
results displayed both on the Kikakuza homepage and on the Hailstone Icebox.
You can read last year's top four pieces on that site now (click top right –
Kikakuza '10 Winning Haibun).

No more than 30 lines (max. 80 spaces each), with title and at least one
haiku, not necessarily phrased in three lines. Print on one side of A4, if
possible, with your name and address, tel. no., and email address typed
along the bottom. The judges will not get to know your identity until
judging is over and Kikakuza already knows the results. If English is not
your first language, please add the name of your first language in brackets
after your name.

Judges: Nobuyuki Yuasa & Stephen Henry Gill.

September 24, 2010

Report of 5th Bowerbird Tanka Workshop

On Sunday 19th September 2010, 16 enthusiastic participants and 2 presenters, from locations such as Canberra, Sydney, the Northern Beaches, and the Newcastle region, arrived at Wirramina for the fifth workshop of the Bowerbird Tanka Group. Beverley George’s home, with expansive views of the freshwater lagoon, was a stimulating and delightful venue for this convivial meeting. Everyone was very appreciative of Beverley for again convening and hosting the Bowerbird workshop within her Pearl Beach home.

The day commenced with three of the workshop participants speaking about a favourite tanka they had read, by a poet they had never met. Carmel Summers revealed the many layers beneath a tanka by an’ya that won the 2008 TSA competition. Jo Tregellis then shared with the group what she found particularly appealing within 5 lines penned by Barbara Fisher. Lastly, David Terelinck discussed the attributes behind a tanka by John Quinnett that made it a favourite he returned to over and over again.

Following this, Kathy Kituai facilitated a stimulating and interactive session about tanka poets working collaboratively with other artists. She spoke extensively of her recent three month trip to Scotland to work on a synergy of poetry and pottery. Her trip was funded by an Arts ACT grant. The goal of her grant was to work on a cross-art and cross-culture project concerning the collaboration of poetry and pottery in order to create a new body of work. Kathy shared her experiences of working cross-art and cross-culture with Fergus Stewart, a potter living and working in Lochinver, in the north-west Scottish Highlands. Kathy talked about the collaborative process, how she worked in this cross-culture and cross-arts environment, and the results arising from this merging of talents. This led to passionate discussion by participants about collaborative projects they desired to work on in the future. Discussion also ensued on individuals working collaboratively with place and environment to create unique and lasting bodies of work. Kathy shared some tanka she had written whilst on this cultural exchange, and also many photos that inspired some participants to take their own notes for later use.

After lunch, Amelia Fielden led the group on exercises in writing paired responsive tanka. Amelia set the scene for providing some striking examples of responsive tanka across all areas of the arts. Participants paired off and used pre-written tanka to inspire responses within their partner. This resulted in paired tanka on a wide range of topics that was moving, elegiac, profound, insightful, and in some cases, extremely humorous. Each participant came away from the session with a fresh approach to writing responsively with others. The group were also fortunate to have Amelia share a recently developed definition of the ideal form of traditional tanka written in English.

The workshop closed around 3:30pm. Participants expressed their thanks to Kathy and Amelia for facilitating a stimulating workshop rich in information and interactive tanka experiences.

David Terelinck
22 September 2010

September 21, 2010

Ambrosia closes

Contributors have received notification that the sixth edition of Denis Garrison's journal of fine haiku, Ambrosia, will not go to press and their submissions have been returned to them. The journal is ceasing publication.

In the five editions that have been produced since September 2008, Ambrosia has included the work of the following Australian haiku writers - Judith Anne Ahmed, Dawn Bruce, Emma Dalloway, Marisa Fazio, Lorin Ford, Gina, M.L.Grace, Gregory Jennings, Jo McInerney, April Orr and Barbara A. Taylor.

In its premier edition, Denis Garrison declared his belief that fine haiku should be 'achingly beautiful, painfully poignant, joyfully lightsome, startling epiphanies, wry, humbling, or awesome ... should touch the reader powerfully.'

Previous editions can still be purchased, read or downloaded online. They are available at

September 17, 2010

DailyHaiku Cycle 10

Submissions are now open for DailyHaiku Cycle 10!

DailyHaiku is a print and daily online serial publication that publishes the work of Canadian and international haiku poets, blending contemporary, experimental, and traditional styles to explore the boundaries of English-language haiku. Through our special features section, we also aim to chronicle the diverse and ever-changing landscape of contemporary haiku-related forms. We're now looking for a new roster of six talented haiku poets for our upcoming cycle (Volume 5, Cycle 10, Fall 2010/Winter 2011). If selected as a contributor, you will be responsible for providing a total of 28 haiku over a six-month period.

Submission Period: Sept. 1st--30th, 2010 (closes 11:59 pm Mountain Standard Time)

How to Submit: Email submissions to

What to Submit: Ten unpublished haiku---no more, no less---your contact information, a 75 word publication-ready biographical note, and a digital author photo. We do not accept work published or under consideration by other journals or websites.

Payment: One contributor copy of the print volume featuring your work.

For specific submission guidelines and more information about this publication, please visit:

Haiku Calendar Competition 2010 Results

Results of The Haiku Calendar Competition 2010 can be viewed here at the Snapshot Press website.

A snake story haiku by Australian haiku writer Lorin Ford features in the Snapshot Press 2011 Calendar resulting from the competition, as well as her fish story ku and possibly the first Southern Hemisphere Christmas haiku to appear on a calendar printed in the Northern Hemisphere.

The Haiku Calendar 2011 is available from July 2010 and can be ordered online or by mail order. See the website above for details.

September 15, 2010

Mu First International Contest
Deadline extended until September 30th

Mu First International Contest

Seeking Submissions Now

First Place $100 Prize
Second Place $50
Third Place $25
© 2010 Mu. All Rights Reserved.

Submission Guidelines

We are currently seeking submissions for our first international contest. The submission deadline is September 30th.

Winners will be announced at Mu on October 5th. First, Second and Third winners will receive a monetary prize and will be included in our inaugural issue. Up to 10 runners-up will also be featured in our inaugural issue.

No entry fee required.

Submissions must be the author's own haiku, previously unpublished and not submitted for publication elsewhere.

Please paste up to 5 haiku in the body of an e-mail and send it to NO ATTACHMENTS PLEASE.

International submissions are welcomed and encouraged, but please only send the english translation.

Also, in your e-mail include the following information:

"Mu Competition Submission" in the subject
City, (State), Country
E-mail Address

Thank you, good luck and we look forward to reading your work!

Irish Haiku Society International Haiku Competition 2010

The Competition Prizes

Category A (Irish and International)

The IHS International Haiku Competition offers prizes of Euro 150, Euro 50 and Euro 30 for unpublished haiku/senryu in English.

In addition there will be up to seven Highly Commended haiku/senryu in this category.

Category B (Irish)

The IHS International Haiku Competition offers prizes from D?chas Ireland of Euro 100, Euro 30 and Euro 20 for unpublished haiku/senryu in English or in Irish Gaelic (with an English translation) about Ireland in the changing world. Besides being perfect haiku/senryu, the winning poems in this category may include reflections upon or references to "what it means to live in Ireland at the beginning of the 21st century". This category is only open for participants born or residing on the island of Ireland.

In addition there will be up to three Highly Commended haiku/senryu in this category.

Entrants may win more than one prize.


All the entries shall be postmarked by 31th October 2010. Overseas (non-EU) entries mailed in the month up to and including this closing date must be sent by airmail.

Address for entries:

The IHS International Haiku Competition 2010
75 Willow Park Grove
Dublin 11

The Rules of the Competition

1. Entrants may submit an unlimited number of haiku/senryu in any language. Participants born or residing on the island of Ireland can submit poems in both categories; however they must choose a category in which they submit each particular piece.
2. A haiku/senryu written in Irish (Gaelic), or in a foreign language, should be submitted accompanied by an English translation of the haiku on the same list. These translations cannot be made by the adjudicator of the competition or edited by him.
3. Haiku by members of the IHS are eligible for the competition. Haiku by the members of the Board of the IHS are not eligible.
4. Each haiku must be accompanied by a fee of ? 3 or ?2.50 sterling or ? 500, or USA $4. Or with each seven haiku: ? 20 or?15 sterling or ? 3000 or $25. Methods of payment: personal cheques, International Bank Drafts or postal/money orders in Euro, or U.K Sterling, or US Dollars only, are acceptable and should be made payable to The Irish Haiku Society. No other cheques/ International Bank Drafts/ postal/money orders can be accepted. Entrants in Canada, Australia, New Zealand and other countries should send Euro, US, Sterling or Yen banknotes, unless they have an Ireland-, US- or UK-based bank account. Please do not send coins.
5. Haiku/senryu of 17 syllables or fewer are eligible for the competition. All haiku must be the original work of a living author. They must not have been previously published, self-published, published on an edited or unedited website, or have won a prize, or Honourable Mention, at a haiku contest.
6. The poems must be typed or very clearly written on one side of the paper only. Each haiku must be submitted on a separate sheet of paper. Please mark the category (A or B) on each sheet.
7. The haiku and payment should be firmly attached to the entry form/covering letter. The name of the entrant must not appear on the poems themselves.
8. Contestants are asked to provide a covering letter with their name, address, Phone Number, E-mail address, Date of Birth, Nationality, Occupation, any Haiku group affiliation, the first lines of their poems, and in which category they are submitted. The name of the translator(s), if any, must also appear in the covering letter but not on the poems themselves.
9. No alterations can be made to the haiku once it has been submitted, and it is regretted that no entries can be returned.
10. Haiku cannot be submitted via the adjudicator of the competition. Any attempt to contact the adjudicator of the competition in relation to it will result in immediate disqualification.
11. The judge's decisions are final and no correspondence can be entered into regarding those decisions.

Submission of haiku implies the competitor's acceptance of the conditions set out above.

The prize-winners will be announced and awarded in late November 2010. A list of the prize-winners will be posted up on the IHS website at as soon as they are announced.

Copyright will remain with the competitors, but the Irish Haiku Society reserves the right to arrange first publication or broadcast of selected haiku as it sees fit.


Anthony Anatoly Kudryavitsky is the editor of Shamrock Haiku Journal and the current President of the Irish Haiku Society. His own collections include Shadow of Time (2005) and Morning at Mount Ring (2007), the latter being a book of haiku and senryu. His haiku have received awards in Ireland, Japan, USA, Italy, Croatia, Romania and Canada, and were published in the main haiku magazines.

More information here:

September 12, 2010

New President and Secretary for HaikuOz

I am delighted to announce the appointment of

Jo McInerney as president, and

Greg Piko as secretary

of the Australian Haiku Society (HaikuOz)

After four years in office, both Graham Nunn and I are stepping down and I would like to thank Graham warmly for
his splendid and sustained efforts as secretary over this period.

Both Jo and Greg are established and respected poets on the national and international haiku scene and will sustain and develop this poetic genre in Australia.

For general news about Haiku in Australia 2010 please see my report posted directly below this one.

Beverley George
president: The Australian Haiku Society 2006-2010

September 11, 2010

2010 Francine Porad Award for Haiku

Haiku Northwest is pleased to announce the seventh annual Porad Haiku Contest, cosponsored by Haiku Northwest and the Washington Poets Association. The contest is named for Francine Porad, founder (in 1988) of Haiku Northwest, former president of the Haiku Society of America, and editor for eight years of Brussels Sprout, an international journal of haiku and art. We welcome your haiku submissions!

Deadline: Received by October 4, 2010 (late entries may be accepted, but only at the discretion of the contest organizers).

Prizes: Cash prizes $100 for first prize, $50 for second prize, and $25 for third prize. Poems will also be published on the Washington Poets Association website. Winners will be announced at Haiku Northwest’s annual Seabeck Haiku Getaway, to be held November 4–7, 2010.

Adjudication: Our 2010 judge will be Penny Harter, coauthor of The Haiku Handbook with her late husband, William J. Higginson; past-president of the Haiku Society of America; and author of 21 published collections of poems, six featuring haiku.

Fees: $1 per poem (unlimited entries), payable in cash or by check or money order in U.S. funds to “Haiku Northwest.”
Submissions: Please submit your previously unpublished poems on 8.5x11-inch or A4 paper (multiple poems on one sheet is preferred, more than one sheet is acceptable; do not use other sizes of paper or index cards). Please submit one copy of each sheet with your name, address, and email address and another copy without author identification for anonymous judging. Submit your entries with payment to “Haiku Northwest” to be received by October 4, 2010 to:
Porad Haiku Contest
c/o Nancy Dahlberg
1757 NW 59th St. #301
Seattle, WA 98107 USA

Haiku in Australia 2010

Now seems like a good time to report briefly on the state of haiku in Australia. There is much to say that is positive.

The Australian Haiku Society (HaikuOz) is web-based and made up of many components. Its leadership comprises a patron, president, secretary, web manager and a small committee. Most input to the site comes from the leaders of the various small Australian haiku groups and from outside sources who send news of publication and competition opportunities.

Haiku groups
As in Japan, small groups are at the heart and soul of Australian haiku writing. These are poems of observation, so it is fitting the groups are regionally based, allowing members to share urban or rural landscape.

These groups include Cloudcatchers (Northern NSW, led by Quendryth Young); Bindii Haiku Group (Adelaide, led by Lynette Arden); Mari Warabiny (Perth, led by Maureeen Sexton) Red Dragonflies (Sydney, led by Vanessa Proctor); Watersmeet (Hobart, led by Lyn Reeves) and Ozku (Sydney, led by Dawn Bruce.) The ‘paper wasp’ group (Brisbane led by Katherine Samuelowicz) is currently not meeting regularly but it is hoped that this will resume soon. It is not unusual for groups to go a little quiet and then reinvent themselves.
In Melbourne, Myron Lysenko conducts haiku walks ‘Ginko with Lysenko’ four times a year.

Activity and reporting on the Australian Haiku web-site is usually local rather than state led. However in South Australia Lynette reports for Friendly Street Poets, and for the Salisbury Festival and other events conducted by Martina Taeker, as well as for the Bindii Haiku Group. Western Australia is remarkable for its breadth of poetic activities which include public readings and displays of haiku, regularly reported by Maureen Sexton, and in Tasmania Lyn Reeves is an ambassador for haiku on many levels of involvement, while Ron Moss’s artwork takes Australian images to the world.

Recognising this, we have expanded our State headings under Regional on the web-site so that any general news can appear under a State’s initials but the reports for groups can appear under specific subheadings for the name of that group.

In this vast country of ours it would be wonderful to see more haiku groups spring up in Benalla or Alice Springs, Oodnadatta or Cairns. Groups do not need to be big to be successful.

Writing on Australian themes
Several years ago, it was seen to be a problem that many Australians felt reluctant, because of the Japanese tradition and the preponderance of haiku writers in the northern hemisphere, to write on Australian themes.

John Bird’s work with Haiku Dreaming Australia has done much to dispel this reluctance and to encourage the richness of Australian idiom and imagery in haiku.

The work of individual poets has also made a major contribution. Haiku that is true to Australian culture and themes finds ready publishing outlets overseas. Quendryth Young’s collection of haiku ‘The Whole Body Singing’ came second in 2008 in the Mildred Kanterman Award in the USA. In 2009, Lorin Ford’s ‘A Wattle Seedpod’ earned first place in the same award. Lorin now edits haiku for ‘Notes from the Gean’. While it is good to see the work of many Australian poets published overseas, it is hoped they will also support those Australian outlets that exist.

One might reflect, too, that if we expect our bilbies and eucalypts and the Melbourne Cup to be accepted overseas, perhaps we should be ready to accept squirrels, Savannah and the Grand Canyon in our Australian-based international publications.

Between 1997-2006 Yellow Moon published haiku, haibun, tanka and related genres as well as western poetry genres. During my time as publisher and editor for issues 9-20, 2000-2006, Janice Bostok was the senior adviser for haiku and related genres, and judges for haiku included John Bird, Janice Bostok, Ron Moss, Vanessa Proctor and Jacqui Murray, all of whom encouraged writing on Australian themes.

A recent major contribution to international awareness and understanding of Australian haiku was the 4th Haiku Pacific Rim Conference, Terrigal, September 2009, which I convened and which was attended by 57 full-time delegates from 7 countries, a high proportion of whom are haiku or tanka editors. A substantial number of day delegates also attended on each of the three days.

Delegate, Greg Piko, who also co-edited the anthology, wrote of the conference.

I think that the haiku/tanka historians will come to see 4th Haiku Pacific Rim Conference as a landmark event.

If you think of our writing as a "niche" activity, then you can see why Janice Bostok had difficulty running an Aussie journal in the early days and why it would have been difficult to draw together a critical mass of haiku writers in the 1970s and 1980s.

Arguably, it was really only with the advent of the Internet that this dispersed collection of people was able to communicate, organise themselves, interact with others overseas and function in a sustained way. But we were still dispersed. Gathering together on that first evening at 4th Haiku Pacific Rim Conference, most of us were familiar with the names of others in the room but not the faces that went with them.

Which is why I think 4th Haiku Pacific Rim Conference was so important. 4HPR was the event that finally brought all these people together to create a community. Now, for the first time, we have a group of writers who actually know each other. I think this is a great thing and will make us stronger in the future.

... I am sure the Aussie haiku historians will come to count 4th Haiku Pacific Rim Conference as the event at which the Australasian haiku/tanka community came of age!

Australian Publishing
Unfortunately there are not currently many dedicated Australian publications for haiku.

‘paper wasp’ continues its long contribution to the haiku scene, and ‘Famous Reporter’ offers its stable haiku section. and ‘Stylus’ at the time of writing, is experiencing some production problems but we hope will continue to offer opportunities for writers of Japanese poetic genres. Of note are the haiku pages in the general poetry magazine FreeXpresSion, edited first by Quendryth Young and currently by Cynthia Rowe because, in the main, these haiku articles and poems reach a different audience than do those in other haiku publications.

Haiku Dreaming Australia is a web-based collection, stringently peer reviewed. Its editor, John Bird, writes, “My contribution is to provide a perpetual showcase where the best of Australian haiku can be sympathetically displayed and honoured: The Dreaming Collection.

Walking with Haiku
A number of people believe one of the best ways of writing haiku to go for a walk (ginko) in the company of friends, observing the detail of what lies around you.

The Cloudcatchers group has a ginko-based structure for members who walk, write, feast and workshop in northern NSW, and the Red Dragonflies group in Sydney enjoys an occasional ginko at a park or beach. In Adelaide the Bindii Haiku Group enjoy the diversity and beauty of the Botanical Gardens as have Watersmeet in Hobart. No doubt other groups have done much the same elsewhere.

Ginko With Lysenko is a series of about four haiku walks per year in various places around Melbourne. The ginko, led by Myron Lysenko, have taken place in locations such as cemeteries, the beach, botanical gardens, The Shrine of Remembrance and the Yarra River.
Poets pay to attend and the aim of these events is to encourage the writing of haiku and then to work on them so that they become suitable for publication. Anybody is welcome to attend. Poets who have participated include Kevin Brophy, Emily Zoe Baker, Matt Hetherington, Di Cousens, Maria Leopoldo and Rob Scott.

At the 4th Haiku Pacific Rim Conference two of the events were ginko-based, one at Edogawa Gardens, Gosford, and one in the arboretum at Pearl Beach. The poems were pasted up and peer-judged in a kukai, and we also included a people’s choice for the additional day delegates who came to listen rather than write. An unheralded red dust storm provoked a further batch of haiku written in real time in response to natural phenomena!

In 2009, I was walking with two friends on the 5 Lands Walk which traverses five beaches and some rocky coastline, when these friends spontaneously wrote their first several haiku. I think brief haiku writing interludes are to be encouraged as well as more regular group meetings or events. I remember that John Bird often wrote haiku with his mother, haiku poet Alma E Bird in a local park and I think it is also possible to ginko around your own garden. The possiblities are endless.

Haiku and OtherArts

I think many of us have experienced the reading of haiku in galleries in response to work of arts. A wonderful idea. And one that has been explored in northern NSW using some of Janice Bostok’s sumi-e.

For something slightly different I was invited by a local art society to explore the idea that if writing a haiku is a moment captured, perhaps a quick painting or sketch in response to hearing a haiku read was possible. The artists could use whichever media they preferred and many found conte crayon easiest for their first attempt.

In 2008 I was invited at short notice by the Gosford City Council Sister Cities Association to conduct a haiku reading for about 100 people in Edogawa Gardens. I quickly gathered half a dozen helpful haiku friends and two family members and we read a selection of traditional and modern outdoors in this beautiful setting. This reminds me that for three years Ynes Sanz conducted haiku readings in a series called Words and Water Dragons in Brisbane. This always sounded like a very enjoyable event.

Music and haiku reading has a natural synergy too as those if you who listened to the haiku readings on Poetica in 2008, repeated in 2010, will testify. The professional sound engineering enhanced the poems which were read by talented actors.

At live readings, shakuhachi or bansuri and a range of percussion instruments, including bells, can be subtly interwoven with readings to provide appropriate pauses. I have been privileged to read bilingually with visiting poet Mariko Kitakubo on two occasions in Australia and will again in Tokyo in November 2010. Mariko often uses a gentle percussion instrument called a hamon. Its maker, Teppei Saito from Fujisawa, writes of it, ‘I named it “hamon” because this sound carries endlessly like that of a ripple in water’. It is interesting to conjecture the range of accompanying sounds that might be extended and particularly appropriate for Australian themed haiku.

I think the art of reading haiku well in English is a skill many of us could further develop and no doubt a number of you have ideas of how this might be achieved. This would make a good topic for haiku musings.

Keeping the hai in haiku
In our search for excellence, and meeting publication and competition deadlines, we can sometimes forget to simply enjoy writing haiku. This is why beginners or children sometimes write the most beguiling haiku.

If we have forgotten to enjoy our haiku writing it is time to slow down, stroll, and smell the eucalypt ... er roses.

A Personal Perspective
I have enjoyed my time as president of the Australian Haiku Society but time has slipped by and it is now more than 4 years since I was appointed. It’s time to step down.

Highlights have included the conferences I have attended during this period: as a speaker at the 3rd Haiku Pacific Rim Conference, Matsuyama, Japan April 2007 and at the 6th International Tanka Festival, Tokyo, Japan, October 2009; as a delegate to Haiku Aotearoa, Christchurch 2008 and as convenor of the 4th Haiku Pacific Rim Conference, Terrigal, Australia September 2009. The conferences have allowed the privilege of meeting many Australian and overseas haiku poets.

Also significant has been the coming together of poets to mark significant national events such as the Victorian bushfires. The poems published on the web-site triggered an interview on ABC Hobart and the further publication of some of the poems in a medical newsletter.

In November 2010 I will travel with friends in The Footsteps of Bashō: following his trail on the Narrow Road to the Deep North.

Appointment of a new president and of a new secretary. September 2010
With the agreement of the patron and committee I have great pleasure in announcing the appointment of Jo McInerney as President and of Greg Piko as secretary. They are from Victoria and ACT respectively.

Both are established haiku poets whose work has won recognition in Australia and overseas and for the last two years Jo has been the haiku moderator of the online Japanese form poetry forum AHA.

Graham Nunn has chosen to stand down after a noteworthy contribution as secretary for the past several years. Grateful thanks to Graham for his good cheer, efficiency and support.

My gratitude always to Janice Bostok and John Bird who guided my haiku path, to the vice-presidents during my term, Lyn Reeves and Dawn Bruce and to all those who have contributed information to the web-site. Particular thanks in this regard to Quendryth Young, Lynette Arden, Maureen Sexton, and also to Lorin Ford and Vanessa Proctor. My thanks to web manager, Robyn Smith, not only for maintaining the Australian Haiku Society web-site but also for providing a web base for 4th Haiku Pacific Rim Conference information and updating it over the extended period leading up to the event.

Beverley George
President: The Australian Haiku Society May 2006 – September 2010

September 09, 2010

Atlas Poetica - 25 Australian Tanka

To view these poems visit and select Special Features.
Thank you to Atlas Poetica's publisher and editor, M. Kei, for the invitation to participate and to Technical Director Alex von Vaupel for design and presentation.

The full press release from Atlas Poetica follows:

6 September 2010 — Perryville, Maryland, USA

*Atlas Poetica : A Journal of Poetry of Place in Contemporary Tanka*is
proud to announce '25 Australian Tanka Poets,' the fourth installment
of the ‘Special Features’ section of its website. Edited by Beverley George,
the well-known editor of *Eucalypt*, twenty-five Australian tanka poets each
wrote a new tanka representing the diverse landscapes of their country. By
bringing together poets from communities around the world, *Atlas Poetica's
*Special Features allows different tanka traditions to be appreciated
for themselves as well as offering the opportunity to compare and
contrast them with other traditions. The Special Features can be viewed for
free online at <>.

*Atlas Poetica* is an international tanka journal that publishes
tanka literature in many languages. However, it can be difficult for
readers and poets to find venues to enjoy tanka featuring different
languages and cultures. Therefore, *Atlas Poetica* has established the
Special Features section to focus on different aspects of the
international tanka community while leading up to a special edition of the
journal itself. ATPO 7 (Autumn, 2010) will feature tanka in translation
from around the world.

Designed by Alex von Vaupel, Technical Director for *Atlas
Poetica,*the website hosts information about the journal, submission
guidelines, ordering information and sample issues. Previous Special
Features have already appeared, including ‘25 Romanian Tanka Poets,' ’25
Canadian Tanka Poets in French and English,' and '25 New Zealand Tanka
Poets.' Two more special features are slated for presentation on an
irregular schedule, including ‘25 Tanka for Children’ edited by M. Kei, and
‘25 Tanka on Lesbian, Gay, Bisexual, and Transgender Themes,’ edited by
Alex von Vaupel. Both are expected in the autumn/winter of 2010.

Anyone interested in being a Guest Editor for a Special Feature at the *Atlas
Poetica* website will find guidelines on the Special Features home page
below the Atlas butterfly that is the symbol of the journal.
Anyone interested in being a Guest Editor should familiarize themselves
with the project by reading the Special Features section and also
sample issues of the journal archived on the site.

About Keibooks:
Keibooks is a micropress located in Perryville, Maryland, USA, founded by M.
Kei, a poet and tall ship sailor. Keibooks publishes select projects
reflecting his interest in tanka poetry and the sea. Using print-on-demand
technology, Keibooks is able to publish high quality literature in
attractive, affordable editions.

Keibooks is home to *Atlas Poetica : A Journal of Poetry of Place
in Contemporary Tanka,* and previously published *Fire Pearls :
Short Masterpieces of the Human Heart, *a classic anthology of tanka love
poems, as well as several other titles. It will soon publish *Catzilla! Tanka,
Kyoka, and Gogyohka About Cats.*

For more information, visit: <>.

M. Kei, publisher and editor
P O Box 516,
Perryville, MD, 21903, USA.
Email: Keibooks (at)

September 08, 2010

Simply Haiku

Simply Haiku calls for submissions
Submissions for the Autumn issue accepted from July 15 through September 15.
Accepting Quality Traditional English Language Haiku, Tanka, Haibun, Haiga, Renga, book reviews, interviews and feature articles.
Please read carefully the Submission Guidelines before submitting.

Haiku to Robert D. Wilson:

Tanka to Amelia Fielden:

Haibun to Kala Ramesh:

Haiga to Silvija Butkovic:

Renga, Book reviews, interviews, feature articles to Robert D. Wilson and Sasa Vazic: and

Robert D. Wilson & Sasa Vazic
Co-Owners, Co-Publishers, Co-Editors in Chief

September 07, 2010

Haibun Today (September 2010) now online

The autumn quarterly issue of *Haibun Today* is
now online for your reading pleasure at

Contributors to the current issue include Dan Allawat, Roberta Beary,
Nathalie Boisard-Beudin, Marjorie A. Buettner, Glenn G. Coats, Tish Davis,
Cherie Hunter Day, Albert DeGenova, Phuoc-Tan Diep, Lynn Edge, Jeffrey
Harpeng, Maureen Scott Harris, Michele L. Harvey, Ed Higgins, Ruth Holzer,
Gerry Jacobson, Gary LeBel, Chen-ou Liu, Victor Maddalena, Francis Masat,
Robert Moyer, Ralph Murre, Eduardo N. del Valle, Stanley Pelter, Dru
Philippou, Patricia Prime, Ray Rasmussen, Mark Ritchie, Bruce Ross, Cynthia
Rowe, Adelaide B. Shaw, Mark Smith, Richard Straw, Linda Jeannette Ward,
Theresa Williams and Jeffrey Winke.

This issue also features an in-depth interview with Ruth Holzer by Patricia
Prime, an article on "The Ghost in Haibun" by Jeffrey Harpeng and book
reviews by Tish Davis, Dru Philippou and Mark Smith.

Writers are now invited to submit haibun, tanka prose and articles for
consideration in the December 2010 issue of *Haibun
Consult our Submission Guidelines at *Haibun
Forward any submissions by email to Jeffrey Woodward, Editor, at


Canberra based independent press, Blemish Books, is launching the inaugural
issue of a new, annual poetry anthology, Triptych Poets.

The Queensland launch of Triptych Poets: Issue One will be on Saturday 16
October 2010 at the Albany Creek Library from 10:30 am. The event will be
hosted by Triptych Poets contributor and Brisbane poet Mary Mageau, and will
include guest MC Councillor Mike Charlton of the Moreton Bay Regional

"The concept behind Triptych Poets is simple - three poets: one book,"
explains Blemish Books Editor-in-chief, Greg Gould. "Each volume of the
series is a showcase of three suites of poems by three Australian poets that
highlight the contrasting and often complementary nature of contemporary
Australian poetry."

Issue One of the series features the work of three of Australia's best
poets: Ray Liversidge (Victoria), Hilaire (UK based) and Mary Mageau

Prominent Australian poet, Geoff Page, describes the collection:

"Triptych Poets presents three vividly different ways of looking at the
world. Ray Liversidge's Things to (and not to) do culminates with his
sequence, "The Divorce Papers", still resonant years later with pain and
unanswered questions. Things Mended, by Hilaire, evokes whole-heartedly the
quotidian of family life - and the small shames of childhood, recollected
later. Mary Mageau's, Moments in a Journey, is a free-associating collection
of haibun, tanka and haiku ranging poignantly and musically across an
interesting variety of human landscapes. As in a painter's triptych, these
three chapbooks discover continuities that combine to considerable effect."

Triptych Poets will retail for $15. Copies will be available at the launch
or through the Blemish Books website ( and leading
independent bookstores from 3 October 2010.

Haiku Xpressions

Haiku Xpressions – the haiku pages of FreeXpresSion magazine

Cynthia Rowe - Haiku Editor

FreeXpresSion – print magazine published monthly

Any writer whose work is published receives a complimentary copy of FreeXpresSion magazine

Submissions: preferably by email to

haiku (maximum 10 previously unpublished haiku not on offer elsewhere)
haiga (smaller than 1 A4 page)
haiku sequences (up to 10 haiku per sequence)

FreeXpresSion annual haiku contest

Call for Submissions to the Touchstone Distinguished Book Awards for 2010

Call for Submissions to the Touchstone Distinguished Book Awards for 2010

The Award

The Haiku Foundation announces the creation of the Touchstone Awards Series, beginning with the Touchstone Distinguished Book Awards for 2010. The Touchstone Awards Series is a family of awards designed to recognize and reward excellence in the field of haiku.

The Touchstone Distinguished Book Awards will be bestowed annually on published collections of poems, or works of scholarship that present a noteworthy contribution to English-language haiku in the estimation of a distinguished panel of poets, editors and scholars. Any English-language book or other production that is of or about haiku (and related forms) is eligible for the Award. The 2010 Award is open to books published between October 1, 2009 and September 30, 2010. Each author of an award-winning book will receive an engraved stone with their name and title of their book on it, emblematic of his or her contribution to the foundations of English-language haiku.

The Panel

The panel for our inaugural awards consists of Charles P. Trumbull, editor of Modern Haiku; Ruth Yarrow, haiku poet, judge, teacher for 35 years; Lorin Ford, haiku editor for Notes From the Gean; Professor Philip Rowland, editor of Noon: Journal of the Short Poem; and Barbara Louise Ungar, winner of the Gival Press Poetry Prize in 2006.

What Books Are Eligible?

Any individual or publisher whose book has been published within the given time frame may submit their work for consideration. There is no reading fee. If there is some question about your book’s eligibility, please contact the Foundation at the address below for clarification.

How to Submit

To qualify for the Touchstone Distinguished Books Award, each poet must initially submit two copies of the book nominated no later that October 15, 2010 (postmark). One copy will be assigned to one of the panelists, the other will become a permanent inclusion in The Haiku Foundation’s permanent hard copy library. Each submitter will be recognized as a donor to the Foundation and cited on the Donation Page of the website. Should your submission be recommended for the short list, we will at that time request four additional copies so the entire panel may consider it. Short list entries and award winners will be cited on The Haiku Foundation website. Nominated volumes should be sent to:

The Haiku Foundation
Touchstone Distinguished Books Award
PO Box 2461
Winchester VA
22604-1661 USA

Enquiries may be directed to this address, or to

Beverley George wins the 2010 Saigyo Award

Congratulations to Beverley for taking out the 2010 Saigyo award. You can read the poem and judges report here:

Ozku Haiku Group

Ozku has had seven very successful meetings this year. We are delighted to say most of our group have haiku published in a variety of journals.Our next meeting will be in October.
Dawn Bruce

paper wasp

paper wasp - print magazine + a website 4 times per year
submissions: preferably by email to

haiku (maximum 15)
tanka (maximum 10)
haibun (preferably no longer that 1 A5 page)
haika/tanka sequences (preferably no longer than 1 A5 page).

jack stamm annual halku contest

Vale Peggy Willis Lyles 1939-2010

Australian haiku poets will be saddened by the death of haiku poet, Peggy Willis Lyles.
Peggy's gracious, gentle responses in her role as editor for The Heron's Nest were well respected by many Australians, and she will be sorely missed.
Personally, 'To hear the rain' remains one of my favourite collections and I treasure the hand-penned note inside it, from when Peggy gifted it to me.
On behalf of The Australian Haiku Society (HaikuOz) may I offer condolences to Peggy's family, and to her haiku colleagues and friends. -- Beverley George President: The Australian Haiku Society

The announcement below is from John Stevenson: Managing Editor of The Heron's Nest

Dear Friends,

With great sadness, The Heron's Nest must advise its readers of the loss of our beloved friend Peggy Willis Lyles. Peggy passed peacefully, in the presence of her loving family, at about 6:30 in the evening on Friday, September 3.

In very many ways, Peggy was the heart of The Heron's Nest. It will be a long time before some of us are able to find the words to express our grief for this loss or our gratitude for the gift of knowing this special woman. The Lyles family and several members of the haiku community will be looking for ways to honor the poet, editor, teacher, friend, and shining example of humanity that was Peggy Willis Lyles. This will take a sustained effort over months and perhaps years. More immediately, The Heron's Nest will publish memorials in the December 2010 issue.

Please submit your memorial poems and brief tributes to Managing Editor, John Stevenson:

Those who wish to convey their appreciation for Peggy to her family should write to:

Bill Lyles
2408 Woodcreek Court
Tucker, GA 30084

The Heron's Nest

September 06, 2010

BINDII MEETING 4 September 2010

Present: Marilyn Linn, Lyn Arden, Susan Kay, Alex Ask.
Apologies: Athena Zaknic, Dianne Hill, Pam Brow, Margaret Dingle (Fensom), Maeve Archibald, Dawn Colsey.
Meeting on a wild and windy day in Adelaide, we were glad of our sheltered place in the Box Factory.
We held a kukai, followed by discussion of some haiku that members wished to workshop and then looked at the renku form, including a renku currently being composed by three members of the group via email.
October Meeting: we decided to make this a ginko (haiku walk) at the Himeji Gardens in South Terrace. Meet at the Himeji Garden and bring lunch.
Lynette Arden 4 Sept 2010

September 04, 2010

BINDII MEETING 4 September 2010

Present: Marilyn Linn, Lyn Arden, Susan Kay, Alex Ask.
Apologies: Athena Zaknic, Dianne Hill, Pam Brow, Margaret Dingle (Fensom), Maeve Archibald, Dawn Colsey.
Meeting on a wild and windy day in Adelaide, we were glad of our sheltered place in the Box Factory.
We held a kukai, followed by discussion of some haiku that members wished to workshop and then looked at the renku form, including a renku currently being composed by three members of the group via email.
October Meeting: we decided to make this a ginko (haiku walk) at the Himeji Gardens in South Terrace. Meet at the Himeji Garden and bring lunch.
Lynette Arden 4 Sept 2010

September 03, 2010

Harbourside Poets

Harbourside Poets, U3A Harbourside North
McMahons Point Community Centre

All twelve members of the Harbourside Poets, U3A Harbourside North area, were present for Bev George’s tanka presentation on 24th August.
Bev gave us a relaxed but highly professional talk about the history of tanka and the different styles used today. There was much interaction and the learning process proceeded at a high level. We enjoyed a coffee break after an hour and here Bev was able to chat personally to members and this time also allowed members to browse through her wide display of haiku and tanka books.
We then settled to reading and work shopping prepared tanka written by each member.
Here we were so fortunate to have Bev’s invaluable skill of honing our work to move from the ordinary to highly polished gems … such an easy way to learn the intricacies of the beautiful form of tanka. Every member was delighted with the learned input and the sensitive manner in which it was executed by Bev.
Many thanks for an exquisite two hours Bev!
Dawn Bruce

Harbourside Poets, U3A Harbourside North

Harbourside Poets, U3A Harbourside NorthMcMahons Point Community Centre

All twelve members of the Harbourside Poets, U3A Harbourside North area, were present for Bev George’s tanka presentation on 24th August.
Bev gave us a relaxed but highly professional talk about the history of tanka and the different styles used today. There was much interaction and the learning process proceeded at a high level. We enjoyed a coffee break after an hour and here Bev was able to chat personally to members and this time also allowed members to browse through her wide display of haiku and tanka books.
We then settled to reading and work shopping prepared tanka written by each member.
Here we were so fortunate to have Bev’s invaluable skill of honing our work to move from the ordinary to highly polished gems … such an easy way to learn the intricacies of the beautiful form of tanka. Every member was delighted with the learned input and the sensitive manner in which it was executed by Bev.
Many thanks for an exquisite two hours Bev!
Dawn Bruce

Haiku on the Death of One's Beloved

Please visit this site for details

World Haiku Review August 2010

Congratulations to Barbara A Taylor and Lynette Arden who have won 1st and 3rd prizes respectively in the haiku section

September 01, 2010

Notes From the Gean, September 2010

Notes From the Gean, September 2010

The September issue of ‘Notes From the Gean’ is now online.

Beginning with this issue, ‘Notes From the Gean’ has the additional feature of a renga/ renku section, edited by Alan Summers of the U.K. Alan’s haiku beginnings were in Australia back in the 1990s, so give him a warm and enthusiastic welcome with your renku submissions.

Submissions of haiku, tanka, haiga, haibun and renga/ renku are invited for the December issue of ‘Notes From the Gean’. The deadline for the December issue is September 30th. Please see the submissions page for full details of how to submit your work.

- Lorin Ford

haiku editor, ‘Notes From the Gean’