the last page missing
from the library book—
late autumn evening
Frogpond 41.2 Spring/Summer 2018, p. 27
72/100 #The100DayProject #100daysnewthings
I am filling out the form with a trembling hand. I am gripping the pen a bit harder than usual and the letters look tense and angular. Why? I am opting out of organ donation. As simple as that. I am not donating my eyes to anyone. And when it comes to my heart, I want to have a say in who receives it.
aboard the last boat
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
Pleased to see a very positive review of my latest book of haibun Of This World appear in Frogpond, the Journal of The Haiku Society of America (Spring/Summer 2017, v. 40:2, pp. 115-116). Grateful to Randy Brooks for his review and generous comments:
Stella Pierides is an accomplished fiction writer as well as poet, which is evident from the careful crafting of narrators’ voices throughout Of This World: 48 Haibun. Some haibun writers load their prose with dense imagery such that it resembles a prose poem, followed by a prosaic haiku. However, in Pierides’ haibun, each haiku extends, not merely repeats, what has already been expressed in the prose. I also like the layout of this collection, with all haibun presented in the recto pages, and the verso pages blank.This layout gives the reader space and time to settle in with one haibun at time. With a variety of approaches and topics, it is clear that Of This World is not a collection of haibun “about me” but rather a collection that asks us to consider, ponder, reflect, and see things in a new light. It is a collection of narrator voices, positioning us to see the human condition, and allowing us to enter into each perspective. Her varyous narrators let us establish a relationship with each unique voice, and depending on the voice and topic, this allows us to construct our own imaginary closeness and distance. One of my favorite haibun is “Replacement Child,” which starts with the refrain, “If you are a replacement child, you are born to parents hoping to heal the loss of a child who died earlier” and ends with the haiku old photos / the dust / never settles. This is an outstanding collection of haibun worthy of study and imitation by those seeking to better understand this literary art.
taking another look
at the moon
Frogpond, 38:3 2015
my thin layer
Frogpond 2015, 38 : 2, p.11
re: falling leaves
he says he still
In Frogpond, 2015, Vol. 38:1, p. 10
Over at the The Haiku foundation site, there is talk of naked haiku! Haiku, that is, taken away from a haibun, standing out on its own without the prose it was meant to accompany.
I shared one of my own as a comment on the THF November Per Diem blog post. Here it is:
the snowflakes taste
(This haiku was originally part of the haibun “Parcels”, published this year in Frogpond, 2013, 36:2)
Feeding the Doves
31 Short and Very Short Stories, and Haibun
Greece has been in the headlines for a very long time. Since ancient times, her philosophers, historians, mathematicians, shipbuilders, traders, and artisans have been making the news – and, indeed, history. So, amidst the country’s most difficult years in recent times, many people believe that they know Greece and the Greeks.
Against this backdrop, the stories – short and very short – collected in “Feeding the Doves” explore recurrent elements of the Greek psyche, tracing them back to challenges posed by the country’s history and environment. The widow, the old loner, the refugee, the immigrant, the writer, the expatriate tell us their stories, touching upon themes at the heart of Greek being, as well as our common humanity: love and l loss, war, civil war, immigration and diaspora, emigration, poverty, religion, history, and above all, the will to survive.
Rob Ward, Freelance Animator
Fruit Dove Press
[The title story “Feeding the Doves” and the cover image were inspired by a photo taken by Robert Geiss, titled “Feeding Doves” and posted on his (sadly, no longer active) blog “Daily Athens Photo.”]
Delighted to see the new issue of Frogpond, the Journal of the Haiku Society of America, 36-1, Spring 2013, in my letterbox. Among great haiku, senryu, haibun, essays and reviews a nice surprise: in the section “Briefly Reviewed” a positive note on my own book “In the Garden of Absence”!
The review can be read by clicking here (please scroll down)
the slow unravelling
In Notes from the Gean 15: January 2013
In Frogpond, 35:3, Autumn 2012