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)
colours melt into
15/100 #The100DayProject #100daysnewthings
slowly the trees shed
14/100 Photo from the garden of the Residenz, Würzburg, Lower Franconia, Bavaria, Germany.
the Book of Genesis…
The Descent of Man
13/100 #The100DayProject #100daysnewthings
Statue of a Satyr in the garden of the Residenz, Würzburg, Lower Franconia, Bavaria, Germany
where angels rest their weary wings
12/100 #The100DayProject #100daysnewthings
messages from beyond
the scent of white
#The100DayProject #100daysnewthings #poetsofinstagram
#followme #poetry #poems #haiku #stories #dailycreativity
birdsong spilling out
#The100DayProject #100daysnewthings #poetsofinstagram
#followme #poetry #poems #haiku #stories #dailycreativity #tomato
let there be rain
let there be green
the pair of swans
just left the frame
2/100 of #the100DayProject #100daysnewthings #haiku #haiga #Weitmannsee Lake.
Watermill am Brunnenlech is my 1/100 #100daysnewthings
city of water
floating on your
Augsburg is applying to be included in the UNESCO World Heritage list, aiming to secure its unique water management system for the future and make it visible to the whole world.
It says, “Canal landscapes and water towers, waterworks and water power characterize Augsburg. In the interplay of innovative spirit and technical mastery, the city had a system of water management unique in Europe for 500 years. Artistically designed magnificent wells and buildings of world renown to this day of the appreciation of Augsburg water art.”
Best wishes to #Augsburg for their application!
#the100DayProject #Unesco #water #haiku #haiga
Having read Dorothee Lang’s blog post on the #The100DayProject, I am tempted to take part. I will have to choose a theme and create something daily, for 100 days on it, posting the result on Instagram.
A couple of problems: I didn’t want to join yet another social media channel, and have only a few days to find a theme to focus on for the project starting on the 3 of April. And how could I possibly find the time? For these reasons, and many more, I decided to . . . give it a go.
I am settling on 100 days of finding new, to me, things. Of opening up to new ideas, other ways of thinking, other people; expanding my horizons! And I’ve just signed up on #Instagram. I will be using my iPad to post. Daily hashtags: #The100DayProject #100daysnewthings #poetsofinstagram
Each day, I’ll be searching for, finding and posting something new to me. It may not be new to you, but to me, it may be an epiphany. ‘It’ may be an interesting quotation, a piece of information, a discovery or re-discovery, a haiku or other poem or text I discover in me, a photo of something I hadn’t noticed before…you get the gist.
Thank you Dorothee for the inspiration and encouragement!
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
cherry blossom —
from flowering to fall
our short lives
Congratulations to the winners! The results of the British Haiku Society Awards 2017 are out!
I am honoured to have been asked to serve as a judge in the ‘Ken and Noragh Jones Haibun Awards.’ And very much enjoyed reading all the wonderful entries.
The results and reports by all sections’ judges can be viewed at the Society’s website (for haibun, please scroll down), and will also be published in Blithe Spirit, the Society’s Journal.
A big thank you to the Society for entrusting me with this task, and to all those who sent in their entries.
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.
Monoku ‘white light’ appeared as part of my haibun
Modern Haiku, 49:1, 2018
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)
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
Happy to be included in the Haiku Eurotop once again!
Grateful to Krzysztof Kokot for including me in his annual list of ‘The European Top 100 haiku authors in 2017!’
Congratulations to all my fellow haiku poets selected.
A Happy and Creative New Year 2018 everyone!
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
Looking back on 2017 I am very pleased with these two books: ‘Of This World: 48 Haibun’ (Red Moon Press, 2017), and ‘Ekphrasis: Between Image and Word’ in collaboration with Maria Pierides (Fruit Dove Press, 2017).
If you have liked any of the books please think of adding a review or a few stars on Amazon.
If you haven’t read them and you’d like to purchase a copy, please contact me via the contact form here, or Fruit Dove Press for ‘Ekphrasis’.
For copies ‘Of This World’: Amazon UK
USA: Red Moon Press
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)
Thank you all for coming to the private view of ‘Ekphrasis: Between Image and Word,’ an exciting show of new paintings by Maria Pierides, with a response to each of those paintings with haiku by yours truly! We were delighted and grateful for your warm and appreciative presence at the show’s launch.
(Photos from the King Street Gallery Facebook post)
The exhibition runs in the Chate Room, King Street Gallery, Carmarthen for your viewing pleasure until 15th Nov – don’t miss it! Copies of the exhibition book, postcards, and of course, paintings, are available for purchase from the Gallery, and from firstname.lastname@example.org