Grateful to be included in ‘Echoes 2,’ the yearbook of the New Resonance Community and its 170 poets, celebrating the 20th anniversary of the New Resonance series!
37/100 #The100DayProject #100daysnewthings
You can read the whole PDF in The Haiku Foundation Digital Library
or you may wish to order print copies of the book (for $8 a copy) from createspace
my digital legacy
in the cloud
Gratitude! Originally included in Robert Epstein’s Beyond The Grave: Contemporary Afterlife Haiku, 2015, this haiku
has been translated into Chinese by Chen-ou Liu, 劉鎮歐 and included in Butterfly Dream!
Chinese Translation (Traditional)
Chinese Translation (Simplified)
In Ephemerae vol. 1, A, 2018
26/100 #The100DayProject #100daysnewthings
what they fled from
where they’re going
Haiku in Ephemerae, vol.1, A, 2018 24/100
My video ‘Lake Constance,’ filmed on location, with haiku by yours truly, and edited by Rob Ward, is now featured as part of The Haiku Foundation HaikuLife FilmFest 2018! (with the sound of waves and wind)
It’s at its loudest in the early morning hours. Before light dissolves darkness, before the neighbour leaves for work, before the birds start singing, his laboured breathing comes over the baby monitor whispering, gurgling, rattling, spluttering…
I lie awake listening to the crack of thunder, the roaring waterfall, the sounds of the sea emitted from his chest. A car starting, the exhaust backfiring, the train leaving station. The boat reversing in the harbour. Light rain. A soft mieow. His breathing renders a whole world. In this soundscape, I make out the stories he told me when years ago he put me to bed.
Soon, light dispels the apparitions, and his breath comes over the monitor soft, steady, regular, lulling me to sleep.
music of the spheres
how we became
In the inaugural issue of Wales Haiku Journal, Spring 2018
Honoured to be included in ‘old song,’ The Red Moon Anthology of English-Language Haiku 2017, edited by Jim Kacian and the Red Moon Press Editorial Staff:
The Red Moon Anthology of English-Language Haiku assembles each year the finest haiku and related forms published around the world in English into a single book. old song, the twenty-second volume in the most honored series in the history of English-Language haiku, includes 151 poems (haiku & senryu), 17 linked forms (haibun, renku, rengay and sequences), and 5 critical pieces on the reading, writing and study of the genre.
folding and unfolding
his paper boat
(This poem had received First Prize in the Sharpening The Green Pencil Haiku Contest 2017)
Delighted to have two poems featured on Jennifer Hambrick’s blog Inner Voices, for a second year hosting the International Women’s Haiku Festival 2018! This is how Jennifer introduces them in her blog:
Two laser-sharp senryu by poet Stella Pierides explore women’s age dynamics and the eternal question of women’s dress and sexuality.
dressed to kill
if I’m retired
Well. Why not just ask about her final wishes? The picture is this senryu is crystal clear: a younger woman, in full heat of professional and/or personal ambition and wearing the clothes to prove it, asks the poetic speaker, whom I read to be an older woman, if she’s retired – read: no longer competition, no longer someone to be concerned with. To be charitable, maybe it’s just an observation: the older woman looks older, looks perhaps comfortable in her own skin, and the younger woman just doesn’t get a) that retired doesn’t equal out to pasture, and b) that remarking, even obliquely, on someone’s age is at best insensitive. And what if the poetic speaker actually is retired? Picasso said it best: “It takes a very long time to become young.”
of her rebellion
This little senryu is situated perfectly between the rock and the hard place that, eventually, every woman encounters. Look sexy, be sexy, the world instructs. But not too sexy. In this poem, rebellion against the social expectations that a girl or woman be prim and proper results in a shorter skirt. But rebellion against social expectations doesn’t necessarily eliminate the expectations. There is potentially a price to pay – the demise of one’s reputation – for breaking the rules, hence the “extent of her rebellion” is defined by the knees. It could be fear from social pressure that keeps everything north of the knees covered, or it could just be the poem subject’s authentic assessment of her own comfort.
Many thanks to Jennifer Hambrick for including my poems!
I am very much looking forward to reading and enjoying the rest of the month’s contributions with Jennifer’s insightful commentaries.
all wars fought
alpha centauri. . .
reaching for a cup
no matter what
the cosmic dust particles
on my roof
In Scifaikuest (print version only), February 2018, p.13 (ed. t.santitoro)
We die alone. We disembark on the Isle of the Dead with our heads filled with illusions. Vague memories of loves and hurts, envy and resentments. Perhaps holding hands with those who still can bear us, but alone with our regrets. Turning around for a last look, our eyes, swimming with sadness, rest on the ramshackle boats we leave behind.
white light beyond the crucible
In Modern Haiku, 49:1, 2018