This Month’s Featured Essay
Twisting Point: The evolution of haiku in the climate crisis by Dr Jasmin Kirkbride
On Reading & Writing Haiku & Senryu
A Challenge to try Fixed-form Haiku by J Zimmerman
A Disarmingly Simple Challenge: The Buson One Hundred by J Zimmerman & Gregory Longnecker
A Haiku Habit by Tom Clausen
A Haiku from Scratch: from conception to publication by Ferris Gilli
A Sampling of Cultural Haiku by Michael Dylan Welch
Advice for Those New to Haiku by Brad Bennett
Becoming a Haiku Poet by Michael Dylan Welch
Becoming a Practical Poet: Editing your haiku by Michael Dylan Welch
Being Specific and Vague by Susumu Takiguchi
Beyond the Haiku Moment: Basho, Buson & Modern Haiku Myths by Haruo Shirane
Beyond Rejection in Haiku by Robert Epstein
Blue Sharks: The avant-garde in haiku by Scott Metz
Building an Excellent Birdcage by Jane Reichhold
Clarity in the Unsaid by Aubrie Cox
Continuity and haiku by Owen Bullock
Copying to Create: The role of imitation and emulation in developing haiku craft by Michele Root-Bernstein
Cracks in the Pavement: Urban haiku by Sandra Simpson
Disordering Haiku by Peter Yovu
Dissection of the Haiku Tradition: Flower & Plant kigo by Fay Aoyagi
Dissection of the Haiku Tradition: Moon kigo by Fay Aoyagi
Do Something Different by Peter Yovu
Editing Haiku by Owen Bullock
Emotion in Haiku by Dee Evetts
English Haiku: A Composite View by David Cobb
English-language Death Awareness Haiku by Robert Epstein
The Essence of Haiku by Bruce Ross
Experimentation with One-word Haiku by Pravat Kumar Padhy
Feathering the Moment by Christopher Herold
Fragment and Phrase Theory by Jane Reichhold
Going Organic: Line break in free-form haiku by Lynne Rees
Go Tell It on the Mountain – The Personal in Haiku by Roberta Beary
Guidelines for Editing Haiku by Lee Gurga
Haiku & the Art of Forest Bathing by Michael Dylan Welch
Haiku & Haiku by Martin Lucas
Haiku & Human Flourishing by Scott Mason
Haiku & Parkinson’s Disease: A practice by Tim Roberts
Haiku and the Personal by Vanessa Proctor
Haiku and its Relationship to Space by Tracey Koretsky
Haiku Rhythm and the Arches of Makudo by Sean O’Connor
Haiku and the Seasons by Beverley George
Haiku & Western Poetry by Peggy Willis Lyles
Haiku and Zen by Richard von Sturmer
Haiku: A poetry of absence or an absence of poetry? by Lynne Reese
Haiku Content by Jim Kacian
Haiku Diction: The use of words in haiku by Charles Trumbull
Haiku Form by Jim Kacian
The Haiku Habit by Jeanne Emrich
The Haiku Moment & Beyond by Ray Rasmussen
Haiku as Poetic Spell by Martin Lucas
Haiku Poetics: Objective, subjective, transactional & literary theories by Dr Randy Brooks
Haiku for Recovery: An immersive workshop by Owen Bullock
Haiku Silence by Angelee Deodhar
Haiku: The art of emptiness by Gabriel Rosenstock
Haiku: The state of wonder by Scott Mason
Haiku Technique by Jim Kacian
Haiku Techniques by Jane Reichhold
Haiku Toolbox: Dangling Participles (or Happy Participle Accidents) by Paul Miller
Haiku Toolbox: Some thoughts on cutting by Paul Miller
haiku uncut by Lynne Rees
Hands Up: Who likes one liners? by Janice M Bostok
Hippopotomonstrosesquipedaliophobia by Brad Bennett
How to Now: Listening to Haiku Poets by Tracey Koretsky
How to Write Haiku by Jim Kacian
Humour in Haiku by David Cobb
I am Only Responsible for What I Say, Not for What You Understand: A brief historical, if not somewhat hysterical, view of senryu by Anita Virgil
The Importance of a Sense of Humour in Haiku by Susumu Takiguchi
In the Eye of the Beholder: Haiku Interpretation by Michael Dylan Welch
Jewel in the Crown: How form deepens meaning in English-language haiku by Patricia Machmiller
Kigo: A poetic device in English too by Patricia Machmiller
Kigo and Seasonal Reference: Cross-cultural Issues in Anglo-American Haiku by Richard Gilbert
Let Rhyme Be by Cyril Childs
Letting White Space In compiled by Sandra Simpson
Link & Shift: The Leap in our Understanding by Kala Ramesh
Literary Devices in English Haiku by Megan Arkenberg
Magic–Mystery–Music: The Persistence of 5–7–5 in Haiku by Charles Trumbull
Modern Senryu by Alan Pizzarelli
More than one fold in the paper: Kire, kigo, and the vertical axis of meaning in haiku by Alan Summers
New Directions in English-language Haiku: An overview and assessment by Philip Rowland
Parkinson’s Toolbox: The Case for Haiku by Stella Pierides
The Power of Juxtaposition by Ferris Gilli
Presence, Not Practice, in Haiku by Robert Epstein
The Reader as Second Verse by Alan Summers
Rhythm in Haiku by Elizabeth St Jacques
Saying Less to Mean More by Lew Watts
Seasonality: English-language haiku in search of its vertical by Charles Trumbull
Seasoning Your Haiku by Ferris Gilli
Senryu: New wine from old by Anita Virgil
The Secret of Writing Haiku by paul m
The Shape of Things to Come by Jim Kacian
Should Senryu be Part of English-language Haiku? by Jane Reichhold
Sincerity and the Future of Haiku by Bruce Ross
The Slip-Realism Perception Challenge by Alan Summers
Some Autumnal Reflections by Sandra Simpson
Some Philosophy and Personal Notes on Haiku by Paul MacNeil
Templates, Ticking Boxes and Factories Have No Place in Haiku-writing by Susumu Takiguchi
The Territory of Haiku by Michael Dylan Welch
Thirteen Ways of Reading Haiku by Michael Dylan Welch
Thoughts on Juxtaposition by Carmen Sterba
To Laugh or to Cry by Janice M Bostok
Toward an Aesthetic for English-Language Haiku by Lee Gurga
Tracks in the Sand: Sand fleas (or sand crabs) by George Swede
The Transcendent Function of Haiku by Robert Epstein
12 Haiku Resolutions for the New Year by Alyson Whipple
Understanding the Larger Pond: Raising awareness and spreading haiku literacy by Deborah P Kolodji
Understanding Modern English-language Haiku by Tracey Koretsky
The Unsaid in Haiku & Senryu by Owen Bullock
The Use of Language in Haiku by Jim Kacian
The Value of Iconic Place Names in Western Haiku by David Cobb
Verbless Haiku: A lesson by Ferris Gilli
The Way of One by Jim Kacian
Western Death Haiku by George Swede
whatever you dream by Melissa Allen
Why Haiku Matters by Matt Morden
Women’s Voice: Senryu has its place by Susan Galletti Campion
Word Choice in English-language Haiku: The uses of roots by David Grayson
World Economy in Word Economy by Ruth Yarrow
Writing Haiku in English by Lee Gurga
Tanka
A Definition of the Ideal Form of Traditional Tanka Written in English by Amelia Fielden, Denis Garrison, and Robert D. Wilson
Introduction to Tanka by Patricia Prime
Notes on Form, Techniques & Subject Matter in Modern English Tanka by Michael McClintock
Reading Tanka by Owen Bullock
The Road Ahead for Tanka in English by Jeffrey Woodward
The Seed of the Human Heart: Writing Tanka by Michael Dylan Welch
Sensing Tanka: Perceiving life beyond the ordinary by David Terelinck
The Structure of Tanka by Beverley George
Tanka as a Diary by Amelia Fielden
Tanka Intrigue by Owen Bullock
A Tanka Repair Kit by Jeanne Emrich
Tanka: ‘the myriad leaves of words’ by Beverley George
Teika’s Ten Tanka Techniques by Jane Reichhold
Prose Plus
Haibun
A Haibun Editor Suggests by Ken Jones
A Title Is A Title Is A Title, or Is It? The Unexplored Role in Haibun by Ray Rasmussen
A Voyage into Haibun by Beverley George
Characteristics of Contemporary English-Language Haibun by Ray Rasmussen
Form in Haibun: An outline by Jeffrey Woodward
Haibun: Aims & Problems by Michael Dylan Welch
Issa’s Humanity and Humour: A haibun passage from his travel journal Oraga Haru by Ray Rasmussen
Language as Vehicle: Theme & meaning in haibun by Lynne Rees
More than the Sum of its Parts: Explorations in Contemporary English-language Haibun by Rich Youmans
Must Haibun Contain a Haiku? by Janice M Bostok
Plaiting Poem & Prose: The art of braided haibun by Rich Youmans
Narratives of the Heart: Haibun by Bruce Ross
Seven Ways of Looking at Haibun by Melissa Allen
Some Personal Ideas About Writing Haibun by David Cobb
The Jazz of Pilgrimage by Jeffrey Harpeng
Two Favourite Haibun: Travel, the Senses, and the Unfamilar by Matthew Caretti
What are we Writers up to, Really? by Ray Rasmussen
What English-Language Haibun Poets Can Learn From Japanese Practices: The mysteries of an almost-heard birdsong first autumn abroad by J Zimmerman
What Haibun Poets Can Learn From Non-haikai Western Poetry Practices: The Valentine’s Day skywriter spells out his own name by J Zimmerman
Writing Reality: Fictional haibun stories by Ken Jones
Tanka Prose
Irresistible Constructions: Tanka prose by Patricia Prime
The Segue in Tanka Prose by Jeffrey Woodward
Twenty-five Examples of Tanka Prose & an Editor’s Thoughts about Tanka Prose by Bob Lucky
Linked Verse
Introduction to Renku by John Carley
Renku: A snippet of snails by John Carley
Do Metrics Matter? by John Carley
Supple Stanzas by John Carley
A Beginner’s Solo Renku by Karen Cesar
Rengay: Another way to write linked verse by Garry Gay
History/Travelogue
A Bowl of Rice: An introduction to the haiku of Taneda Santoka by Stanford M. Forrester
A Contrarian View on Basho’s Frog Haiku by Susumu Takiguchi
Basho and his Translators by John Carley
Basho Tells How to Make Haiku: 19 statements from his letters and spoken word by Jeff Robbins
Bashō: The Poet as Journalist as Poet by Tom Sleigh
The Edo Years: From Tosei to Basho by Sandra Simpson
The Floating World of the Yoshiwara by Bruce Boynton
Further Glimpses: Lafcadio Hearn by Sandra Simpson
Lost in Translation by Danny Blackwell & Clayton Beach
Masaoka Shiki: The Misunderstood Reformer, Critic and Poet by Carmen Sterba
My Mother and her Hundred-year-old Tree by Hillary Stace
One Morning in Tokyo by Barbara Strang
Scent Mapping by Laurence Fearnley
Snapshots: Haiku in the Great War by Sandra Simpson
Visiting Shiki’s House by Susumu Takiguchi
Wild Geese: A Cultural Exchange by Sandra Simpson
William Maxwell Bickerton: A New Zealand Footnote to the History of Haiku in English by Sandra Simpson
Haiku Gatherings
Haiku Festival Aotearoa 2008 (Christchurch)
Haiku Pacific Rim Conference 2009 (Terrigal, NSW, Australia)
Haiku Festival Aotearoa 2012 (Tauranga)
Haiku North America 2013 (Long Beach, California)
haiku newz 