Bereft of birdsong . . . (a tanka)

What a nice surprise to find one of my tanka included in this beautiful exhibition at the Bristol Museum & Art Gallery in the UK.

“In autumn 2019, poets from around the world responded to a call for haiku, a form of short Japanese poetry, based on Japanese prints in the collection at Bristol Museum & Art Gallery. People sent in more than 800 beautiful, thought-provoking poems from thirty countries worldwide. See the selection below.

Many poems were inspired by woodblock prints in our popular 2018-2019 exhibition series, Masters of Japanese Prints.

The project was arranged by haiku poets Alan Summers and Karen Hoy of creative writing consultancy Call of the Page.” (Quoted from the Bristol Museum & Art Gallery website)

 

Bristol Museum & Art Gallery, Bristol, UK

 

winter woodland
bereft of birdsong
with your passing
even clear days
are shadowed

 

My thanks to Alan Summers and Karen Hoy who oversaw this project. Over 800 poems were submitted. Congratulations to all who were chosen to be part of this exhibition.

 

Link to the exhibition: https://exhibitions.bristolmuseums.org.uk/japanese-prints/haikus/

Note: You have to click on all the small pictures in order to open many of the prints and poems. Read them all and enjoy!

 

 

 

Widowhood

 

Published in FROGPOND, Volume 43:1, Winter 2020:

 

 

 

 

widowhood

day blurs into evening

into night . . .

 

 

 

 

This poem is dedicated to my dear sister-in-law, Paulett Brylinski, who lost her beloved husband, Jimmy, in December 2017. Watching her learn to cope and live with grief has taught me so much about courage and love.

 

Woods Hole, MA – 3/30/14

 

 

 

Two (winning) haiga

I don’t enter many poetry contests, but I do love to see what entries win or place in contests/competitions I enjoy and admire. There is always so much to learn from other writers, of course, and it is always an inspiration to see what others produce.

One competition I really wanted to enter was the Fourth Annual Jane Reichhold Memorial Haiga  Competition, which is co-hosted by Failed Haiku and Prune Juice, two of the very finest Senryu journals around. It is divided into two groups: the Traditional (i.e., with original drawn art) Category (judged by Ron C. Moss) and the Photographic/Mixed Media Category (judged by Steve Hodge). My two entries were in the second category using photographs I had taken. One was left untouched and the other was embellished by some art programs I enjoy using on my iPad.

Imagine my surprise when I found out one of my entries won First Place in the Photographic/Mixed Media Category and the other one got an Honorable Mention! Yes, I was over the moon. It’s a double honor indeed. All the other entries selected in both categories were wonderful. I really can’t imagine how an editor selects one over another, but they do. My thanks to editor, Steve Hodge for selecting both of my haiga in this competition. I am deeply honored. Thanks also to Mike Rehling and Brent Goodman who edit Failed Haiku and Prune Juice.

I’ve included the comments of the editor because it’s always great to hear someone else’s interpretation and response to a poem.

 

 

 

 

The voice I’d lost . . . (tanka)

 

 

it took sixty years
to find the voice I’d lost–
that day
blue dragonflies
alighted at water’s edge

 

 

 

Moonbathing, a Journal of Women’s Tanka, Fall/Winter 2019.      
Edited by Pamela A. Babusci

Life

Two tanka were published in

 

Eucalypt Issue 27, 2019

 

 

miscarriage—
the very word
betrays
the promise
of hope

 

 

 

 

persimmon sun
dips low and sets –
moonlight on the bed
where I was born
& where my father died

 

 

 

Dove photo by Merlune