On its 50th anniversary, the Museum received a gift towards establishing a Collection of Lost Words. The three curators entrusted with this project, feeling an overwhelming sense of responsibility and apprehension, set about their work immediately. At their first meeting, the youngest of the three suggested they might place an ad in the national press, or even tweet about it asking for submissions. The oldest suggested they go on a retreat together with hand-picked etymologists, philosophers, and linguists, in other words experts, to brain-storm. The woman on the team suggested they search online catalogues for words no longer in use. Words written on tablets and papyri, words from extinct languages. For weeks they discussed the relationship between words and the worlds they described; words and the worlds they gave rise to. Forbidden words, or overused words that lost their meaning. As a result of intense deliberations, a special linguistic search engine was built capable of scouring for lost words. It didn’t take long for results to start coming in. The first word to be returned was ‘love’.
last year’s seedling
yet to sprout
Frogpond 40:3, p.63, 2017
small mercies of
the quiet life
My entry to the EUROPEAN QUARTERLY KUKAI #20 – Winter 2017 Edition received 9 pts.
Congratulations to the winners and a big thank you to the organizers!
Happy New Year 2018 everyone!
squares with circles –
listening to the colours
After the painting Color Study. Squares with Concentric Circles, 1913, by Wassily Kandinsky.
Poem appears on p. 51 of Ekphrasis, The British Haiku Society Members’ Anthology 2017.
One of Kandinsky’s favourite descriptions of his work had been ‘making the colours sing.’ It is said that Kandinsky’s synesthesia — a condition in which one sense such as vision, triggers another, for instance, hearing — allowed him to hear the colours he worked with and . . . make them sing. In this poem, I admit hearing them!
Photo: copied from FB image posted by Shrikaanth Murthy.
I feel the pumpkin
for soft spots
the process of becoming
besides poetry the weight of the now
In Blithe Spirit, vol 27, no 4
The handwritten letter is long, the paper creased, stained. The stamps on the envelope, though, are glued perfectly straight, indicating help with the posting. It takes me time to decipher the spidery handwriting infested with blank spaces, as if the sender had taken breaks in between. I stumble repeatedly, especially after the first couple of sentences, when the handwriting grows smaller.
What are you trying to say, I want to ask him. Why didn’t you phone me? I reach for the phone, then stop myself. He wanted me to read this letter. I take off my glasses and bring the paper close to my face. I see better now, and I can smell the paper. A sweet fragrance mixed with acetone.
at the hospice . . .
Her glasses are on the night table. Propped up on two cushions, she is asleep, her mouth half-open, a bubble of saliva shifting on her lip with every breath. The ceiling fan purrs. A quiet room, otherwise. Tiptoeing near her bed I see a tiny fly approach her face. As if sensing it, she raises her arm, brushing against her forehead. I stop breathing. But she continues in her sleep, as if she is on a journey and this moment that just passed was but a momentary stop, a blip, a slight distraction.
in the mirror
night of ghosts
In Gnarled Oak 30 November 2017
the last leaf now
on top of the pile
In NaHaiWriMo anthology Jumble Box (ed. Michael Dylan Welch, artwork Ron C. Moss, Press Here, 2017)
I’d stopped writing haibun for a while. It was that moment thing. Every time I tried to write in the moment I found it difficult—nay, impossible—to stay in it. All sorts of ideas bubbled up: memories, associations, judgments; my need to appear clever. I wrote about the past, about objects, about regrets that sat in the heart like stones. Too much luggage, too much heaviness, too much of this world. Weighed down I stopped. I hoped for a prompt, a muse who would give me the push I needed.
Then one day, in Finsbury Park, sharing a bench with a woman talking to herself, my wish was granted. Dishevelled, wild-eyed, looking at all directions at once, thin as if she never ate, muscle fibers moving all at once, mumbling continuously. She turned and took a quick look at me, fell silent for what must have been a whole minute, and then started again. I tried to make out what she was saying. I realized she was reciting Homer’s Odyssey. In ancient Greek! I tried to follow. I could not make out whole passages, got lost in translation then caught up with her again. The holes in the recitation made by my absences did not matter. I sat with her for a long time. Darkness fell without me realising. A chill crept up from the soil. The sounds of the city surrounding the Park changed to an indeterminate, persistent buzz. Dark figures approached and slank away. Every now and then she wiped her nose, rubbed her forehead, played with her earring. I followed her recital long into the night. Long after the guards locked the Park gates and the full moon bathed us in silver.
deeper than the wine-dark sea urchins
Haibun Today, Volume 11, Number 3, September 2017
My poem ‘refugee child’ (paper boat) on ‘Neverending Story: Butterfly Dream,’ the First English-Chinese Bilingual Haiku and Tanka Blog, today, translated into Chinese! Honoured and grateful to the editor Chen-ou Liu.
Please visit the site to read the comments: Butterfly Dream
fading of the portable conscience
In Bones: a Journal for Contemporary Haiku 2017, 13, p. 79
how blossom turns
my long way home
the knotted branch
in the shredder
Blithe Spirit, 2017, vol. 27:2
the many colours
Incense Dreams journal issue 1, May 2017, p.49
The EarthRise Rolling Collaborative Haiku 2017, the world’s longest poem, on the theme of Reconciliation, is now collated and ready to treasure! You can find it in The Haiku Foundation site by clicking here
Many, many wonderful haiku.
I copy below my own contributions to the poem:
a pressing need
and who would hear
the sound of the sea…
letting the wild garlic
a stork pair picking
revving up the engine
despite the rain
because of it
First appeared in Haibun Today Volume 11, Number 1, March 2017
folding and unfolding
his paper boat
First prize, Sharpening the Green Pencil, 2017
a pen and a feeding spoon –
the baby’s laughter
First appeared in Inner Voices, International Women’s Festival, 2017
The simulation hypothesis is not new. The idea that we are being held inside a complete, self-sustaining simulated biosphere, observed, and made to believe it is real has precedents in earlier times. Tweaking the basic idea here and there, we can trace it to Plato’s Allegory of the Cave: chained prisoners presented with mere shadows of the real world take them to be the real thing and refuse to believe otherwise. Plato sowed the seed of doubt in the world of experience. Can we ever go beyond the chains of our existence and into the light of the sun? And at what price? Is our existence woven with elements of both, sun and shadows, reason and fantasy, fact and fiction?
Millennia later, we are still wondering. But here, now, with the Church tower bell ringing the hours, sunlight throwing the olives on the table into relief, and grilled sardines scenting the air, the question whether this is the real world can wait.
the ebb and flow
KYSO Flash Issue 7: Spring 2017
Delighted to learn that my poem “refugee child” received first prize in the Romanian contest “Sharpening the Green Pencil, 2017.”
Thank you to the judges, and especially Cezar Florin Ciobiza for his thoughtful commentary. And congrats to all participants!
folding and unfolding
his paper boat
A print book with all the poems entered is available from the contest organizers..
Please find the poem and commentary included in the (online) book of the contest, p. 13, here
What does it mean to wake up facing a fist pressing hard against your window?
How does one cope with such a threat, day in, day out?
The morning presses
its hot fist against the window:
the fight starts.
— Bart Mesotten, Haikoe-boek (self-published, 1986; translation by Max Verhart)
Pleased to share that my take on Bart Mesotten’s excellent poem is featured in this week’s re:Virals, The Haiku Foundation’s haiku commentary feature.
Take a look here
And try your hand at writing a commentary on the poem I chose (as this week’s winner) to be discussed next: LeRoy Gorman’s “the good soldier.”
A week ago, I mentioned in this blog a second paper, addressing the haiku community, Haiku and the Brain: an Exploratory Study, in Juxtapositions: The Journal of Haiku Research and Scholarship. Well, it is now online over at The Haiku Foundation. Do visit and check it out along with the other papers.
I am looking forward to reading the other contributions. And to receiving my own print copy of the Journal! Judging from the previous issues, it is a joy to hold and leaf through. And a collector’s item. You don’t want to miss it! More information on how to obtain a copy, see here
Meanwhile, here is the Abstract for this paper.
This paper presents the first results of an interdisciplinary project, bringing together haiku poets and neuro-/cognitive scientists, to investigate the reading of English-language haiku (ELH) as a potentially paradigmatic material for studying the reception of poetic texts. Our pilot study was based on the ‘eye-mind assumption’, that where and for how long we gaze at sections of text reflects processes of information harvesting for meaning construction. The results indicate that the interactive process between the poem and the reader gives rise to characteristic patterns of eye movements (saccades and fixations) across the text from which (i) the position of the cut (after line 1 vs. after line 2) and (ii) the type of haiku (context-action vs. juxtaposition) can be discerned. Finding (i) is of special importance: it provides evidence that the effect intended by the poet can indeed be traced in oculomotor behavior and that, thus, the cut is indeed a potent poetic/stylistic device with a specific effect in the reader. Moreover, readers’ recognition memory was found to be associated with more explicit, conscious-recollective experience of having read a particular haiku if the poem was self-rated to be understood. This suggests that the realization of the haiku’s ‘meaning gestalt’ in the reader’s mind, which may be associated with an ‘aha’ experience, is important for memory consolidation and remembering. Albeit tentative, these findings and conclusions open up interesting lines for future, interdisciplinary research.
Delighted to have two of my haiku: “juggling” and “hermit crab,” appear on Jennifer Hambrick‘s Inner Voices as part of the International Women’s Haiku Festival. And I love Jennifer’s commentary! Check it out here
Photo from the piece: Vanessa Pike-Russell/Creative Commons/Flickr
the Home visitors
letting go of
In Blithe Spirit, Journal of The British Haiku Society, vol. 27, n.1, Feb. 2017
The relationship between poetry and science has been a long-standing fascination of mine. I am happy to report that for the last couple of years I have been involved in a study spanning the two, using haiku to understand how the brain receives, analyses, and constructs meaning. The first exploratory study has been written up and discussed in 3 papers, one of which can be found in the Journal of Eye Movement Research here
Mueller, H., Geyer, T., Günther, F., Kacian, J., & Pierides, S. (2017). Reading English-Language Haiku: Processes of Meaning Construction Revealed by Eye Movements. Journal Of Eye Movement Research, 10(1). doi:http://dx.doi.org/10.16910/10.1.4
This paper is the more detailed, scientifically oriented description of the exploratory study.
A more compact version of the same work, addressing the poetry community, is included in the forthcoming JUXTA 3.1: Pierides, S., Müller, H., Kacian, J., Günther, F., Geyer, T. (2017). Haiku and the brain: an exploratory study. Juxtapositions: A Journal of Haiku Research and Scholarship 3(1). Due out mid March 2017!
Out of This World
In the deepest of dark nights, the idea that we may be living in a computer simulation created by a higher intelligence appeals to me. I muse over the possibility that we may be simulated beings living in a ghost world without realising it!
What if the simulation hypothesis were true? What if we really lived in a version of Plato’s Cave: unable to see beyond the projections on the wall of our senses, we became captives of our perceptions. How would we ever be free? Would there be a way out? Even if a wise philosopher, daring scientist, or escaped prisoner were to tell us of the real world outside our cave generating the projections, we wouldn’t believe them.
Assuming there’d be some way out of the simulation, in those sleepless nights I think of possible glitches in the system, devise tests. This is my latest: try watching pools fill with rain, the noon slide towards evening, the inexhaustible torment of the sea: if you can bear their beauty, be well. If you can’t, you are sure to be out of this world.
revving up the engine
despite the rain
because of it
In Haibun Today Volume 11, Number 1, March 2017
returning to earth sunburnt
In right hand pointing winter haiku 2017
issue 107 low sky
dust devils: The Red Moon Anthology of English-Language Haiku 2016, edited by Jim Kacian & the Red Moon Editorial Staff is now out and available to purchase.
From their website:
The Red Moon Anthology of English-Language Haiku enters its third decade of gathering the finest haiku and related forms published around the world in English into a single book, the longest run of any book dedicated to ELH. dust devils includes 173 poems (haiku & senryu), 8 linked forms (haibun, renku, rengay and sequences), and 5 critical pieces on the reading, writing and study of the genre.
Honoured to be included!
Don’t delay, order it and enjoy!
I am delighted to share that my work will be included in A New Resonance 10: Emerging Voices in English-Language Haiku, along with the work of 16 other wonderful poets.
A New Resonance is a much valued and award-winning series, sensitively appreciating each featured poet’s work. The New Resonance Poets community, numbering more than a hundred-fifty poets, is a virtual who’s who of English-language haiku poets. I am honoured to be included in this group.
Thank you to the editors Jim Kacian and Dee Evetts and also a big thank you to the New Resonance community for nominating me!
The book (by Red Moon Press) will be available in May 2017.