I’ve been reading and writing a lot of haiku and haibun in recent months, so I was pleased to place haiku in two very different online magazines. Wales Haiku Journal accepted one of my stranger pieces for its Autumn 2018 issue:
the “tear-drop-shaped microconidia”
of my jock itch
It was great to be in such good company. (Helen Buckingham, Wally Swist, Chen-ou Liu…)
And tiny words accepted two of my personal favorites for its Issue 18.2 which is still unfolding at the rate of a haiku a day—one of the reasons I like that magazine so much. Its editors have always embraced the web’s unique features such as easy serialization and comment threads, where readers are encouraged to respond to haiku with haiku of their own. This seems like such a natural fit for the conviviality of haiku culture, which has foregrounded group composition and collaboration since the 17th century.
I’ve been enjoying the famed translator Hiroaki Sato’s new essay collection, On Haiku, but I continue to find that his insistence on translating traditional hokku and haiku as one-line poems in English, while sometimes appropriate, fails to acknowledge the importance of line breaks in slowing modern readers down and drawing attention to the possibility of multiple readings. I fancy that the second of my haiku in tiny words is a good illustration of this:
we take turns touching
the electric fence