Tag Archives: published

Poem in ‘Dust Devils’ the Red Moon Anthology

Great news! A poem of mine, ‘typos’,  has been selected to be included in “Dust Devils”, The Red Moon Anthology of English-Language Haiku 2017, now on its 20th year.

The Red Moon Anthology of English Language Haiku, published annually in February, is “a collection of the best haiku published in English around the world”. The poems are voted in by an editorial panel. It’s an honour to be included in this anthology.

My poem was first published in Right Hand Painting, issue 95, 2016.

Dust Devils will be published on February 1st by Red Moon Press. I can’t wait! Can you?

In A New Resonance 10!

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.

‘Being Remembered’ in Haibun Today

Being Remembered

Salting is one of the oldest methods of preserving food. Fish, meats, cheeses, cabbage, olives have been cured, brined, pickled to protect them from fungi, bacteria, and other harmful organisms, and thus keep them fresh for longer. Still, it comes as a surprise to read of one more entity to be preserved in salt: memory.

A project titled Memory of Mankind aims to preserve humankind’s most precious milestones by engraving them on special ceramic tablets, and then storing them in salt-lined vaults deep in the Austrian mountains. Small tokens engraved with a map pointing to the archive’s location, and other information helping our descendants decipher the tablets, will be strategically buried around the globe. And what will future generations find to define us? The article suggests sacred texts, treatises, classics, scientific articles, images of buildings, paintings, musical scores. And individual histories, family albums, recipes.

My list would include my daughters’ photos and paintings, multiple drafts of a haibun, favorite poems, a pin cushion and thimble, an amber komboloi, an oil lamp, a pot of basil; my grandmother’s piece of the Holy Cross, the sound of the sea . . ..

family supper
the same joke for
the umpteenth time

.

In Haibun Today Volume 10, Number 4, December 2016

Memory of Mankind website

 

 

 

 

The Path

The Path

Painting,The Path,haibun,Maria Pierides,haiku,Port Isaac,Amorgos,

 

 

At the top of the stairway snaking up the hill, a white-washed chapel and an olive tree. Blinding sunlight. Some way to go yet. The stony stairs are narrow, a couple of hands-width before the cliff falls steeply into the sea.

Slow down, there’s no hurry. Take a deep breath. Feel the rough warmth of the rock. The wind beating against it raises the fragrance of sage, of thyme and marjoram to the skies, erases the silence.

marble wings—
in the distance
windmill ruins

Feel the salt on your lips, the urgent wind tussling your hair.

This history book under your arm, so well-thumbed, leave it here, against that rock, someone coming after you might linger, take a look.

pillars of salt—
propping her foot
on a stone

And the pebble from Amorgos you kept in your pocket all those years, add it to the cairn over there, where the path widens. Let it go. The trail is moments like this, following the light, teetering on the edge of your desires, of your sorrows.

That bench at the top, see it now, under the olive tree? This is your goal. You can rest there. Wise, gentle Persephone will hold your hand.

embalming my tongue
I rest in the shadow
of the silver-leaved olive

Author’s commentary:

stella-pieridesHaving left Greece in my youth, I keep returning to it in my writing, visiting and revisiting the landmarks and landscapes of the country.

Time has a different texture in and about Greece. Sculptures solidifying the past appear at every corner, at every museum: looming, teasing, reminding. Accompanying us into the future. There’s no escaping the sculptures, the poets know it:

“… I woke with this marble head in my hands;
it exhausts my elbow and I don’t know where to put it down.”

Seferis, Mythistorema 

and

Ritsos approaches the sculptures from different, mythical angles, turning the people and landscape into eternal presences:

“…Nowadays, we don’t think much
about Theseus, the Minotaur, Ariadne on the beach
at Naxos, staring out at the coming years.
But people still dance that dance: just common folk,
those criss-cross steps that no one had to teach,
at weddings and wakes, in bars or parks,
as if hope and heart could meet, as if they might
even now, somehow, dance themselves out of the dark.”

Ritsos, The Crane Dance

In The Path, honoring these roots, I try to present this aspect of my Greek inheritance. I fail, of course, but proud to be trying.

Painting “Golden Light, Port Isaac” by Maria Pierides

In Blue Fifth Review, Broadside #44 Fall 2016

The Haiku Foundation re:Virals 31 and my Commentary

This week, a terrific haiku by Melissa Allen was up for discussion at The Haiku Foundation  re:Virals. Interesting commentaries looking at the poem from different perspectives. You can read the whole post with the poem and all the commentaries  here. I am pleased to say mine was this week’s winner. I copy it below:
.
Melissa’s poem:

radiation leak moonlight on the fuel rods

          — Melissa Allen, Haiku in English: The First Hundred Years (2013)

And my take:

In current usage, the word leak refers to a variety of situations: from leaking a document and bringing into the light a secret, to taking a leak, to a wasteful dripping of water, to seepage of radiation. This poem, with its radiation leak, immediately opens up a danger zone. Step in at your peril into an image that gives rise to paralyzing fears, to the dead zones of Chernobyl, Fukushima; to the forbidden zones. Anything could happen here.

From a leak to a fireball, from the atom to the apocalyptic mushroom cloud, you could be walking into a minefield of the results of unbridled ambition and unscrupulous greed, a Faustian deal . . . Whether the leak is from a technological or scientific project, where man sees himself tirelessly bent on expanding knowledge and power over nature, finding solutions to the human problems of illness, poverty, and environmental degradation; whether hubris or dedication to the common good, here is a consequence: the spewing of poisonous material, the fall into a dark, man-made Hell.

But now the poet brings moonlight on the scene. Like a benevolent, all-seeing Eye of God, moonlight bathes the fuel rods in light we associate with understanding, with cool logic, in forgiveness. I am reminded of the Greek poet Yiannis Ritsos’ Moonlight Sonata, where moonlight hides smaller-scale follies such as showing white hair as golden, at the same time relentlessly intensifying shadows. In Allen’s poem too, moonlight is both kind and cooling, as well as relentless and permanent, not allowing the fuel rods to hide in the shadows. An image burned into the mind.

Note that the fuel rods are not spent. The young man in Ritsos’ poem too, is present all through the poem, at the end leaving full of energy, bursting into laughter as he walks away. Life continues in its boundless energy, in its perpetual flow, beyond leaks, beyond the night, beyond our human follies, beyond life itself.

 

‘reed ears’

The book of the Fifth Haiku Contest, Sharpening the Green Pencil, is out. An awe-inspiring two hundred and fifty poets from forty five countries took part. Great contributions. Congratulations to the winners!

I am honoured that my own haiku,  translated into Romanian by Ana Drobot, was featured in the book (p.191).

reed ears —
not hearing what the doctor
tells me

 

“Joining the Dots” in Haibun Today

Joining the Dots

From the compensation for the demolition of his house to make way for a new road, he bought two tiny apartments, a four-poster bed, an amber komboloi, and a pendulum clock. As a child, I considered the wall-mounted, cherry wood, chiming clock to be my granddad’s most striking acquisition. I checked it continuously, comparing its time to the watch my dad had given me before going away to sea.

approaching wind knots matter

But it was the sound of it chiming the hour that stayed with me the longest. Half a century later, I can feel the deep resonance of that chime opening doors to the past.

let’s say the map shrinks afterwards

In Haibun Today, 10: 1, 2017

Pandora’s Box

Pandora’s Box

I step inside a second-hand store in downtown Athens. A musty odor envelops me. A yellow handbag, by the entrance, has pride of place. Plastic dolls of varying sizes, unclothed but for the price tag, line a shelf. Rows of scaffed shoes, and shoes never worn, line the skirting board. Shirts, trousers, blouses, and skirts hang from circular rails. Moths dance in the sunlight. I run my hand across the clothes and continue to the back of the shop, to the books: Fiction, Poetry, Classics, Biography, Bibles. I duck to avoid a doll in military dress.
A glass-topped drawer catches my eye. Sparkling pair after pair of earrings: pearl, gemstone, silver, gold, diamond. I didn’t expect such quality.
The owner, dressed in a beige cotton tunic, approaches. “The Junta General’s wife,” she tells me. “After the trials she could not wear them. Brought them here. In all these years, nobody will touch them, although they come and look.”
A shadow of suspicion crosses her face. She looks me up and down, then relaxes. “Pity. She loved poetry,” she says, fanning herself.

bitter olives . . .
sound of a key turning
in the lock
.

In Haibun Today vol.9, 4, 2015

‘typos’ in RHP 95

typos
in the book of the dead—-
water lilies

In Right Hand Pointing 95, the special, and wonderful, Haiku issue  guest-edited by Eric Burke

RHP, Right Hand Pointing Interesting introduction by Dale Wisely, founder and editor of RHP, who refused to include haiku in the journal for twelve whole years! Well, at long last, Dale!

Read Dale Wisely’s introduction here

KYSO Flash Anthology of Haibun and Tanka Forms 2015

Clare MacQueen just announced the publication of the KYSO Flash Anthology, featuring prize-winning haibun and tanka. My own haibun “Time,” which received an Honorable Mention (in November 2015), is included.

KYSO Flash 2015

This is how KYSO Flash describes the release:

We’re pleased to announce the release of a little book with a mouthful of a name: the KYSO Flash Anthology of Haibun and Tanka Forms 2015. Contributor copies are now on their way to folks.

This is an international collection of 25 poetic hybrid works by 14 authors (plus images by three artists). Works were judged by Roberta Beary, award-winning poet and haibun editor of Modern Haiku, for the first annual KYSO Flash “Best Of” contest. Cash prizes were awarded to seven artists for First, Second, and Third Place, and Honorable Mentions. The judge also selected 19 finalists to appear in this anthology.

The book is available from Amazon.com

‘Intertextuality’ in Sonic Boom 4

Pleased to see my ‘Intertextuality,’ a haibun diptych, in issue 4 of Sonic Boom, published under ‘Fiction.’

Issue 4, is an anniversary issue. Happy Birthday to Sonic Boom, many happy returns!

Intertexuality
(a diptych)
I
A reader asks for help with a patch of garlic plants forgotten and left to overgrow in their garden. Well, I say, dear reader, we are caught between a rock and a hard place. Garlic doesn’t like to be transplanted. And this text is not the right place to ask, or answer such a question. But I can’t resist. It is spring, after all, and I am stuck for ideas. So, to your garlic clump: Let it be. Let it grow, and when it is ripe and ready, when the tips of the green shoots start to brown, dig the plants out. They will be pungent, crisp, and juicy, the plant oils moistening your tongue. Then plant a few individual cloves for next year’s crop. Enjoy the rest.

writer’s block
the school of life
full of lessons

II

Spelt flour, baking powder, butter, milk, and salt. Mix, pat down, shape into rolls, and bake. Serve with olive oil, and garlic from another haibun to dip the bread into. Enjoy!

a frog jumps in—
intertextuality
for beginners

diptych, haibun,

Afterlife

Do you sometimes wonder what happens after the gravediggers return to their workstations and the grieving relatives go home? boat, lake view, resting in peaceWhat is it of the self or soul that’s left inside the box or urn, or floating in the air?  Do you think there may be life after death, a life after this life, an afterlife? Do you fret over reincarnation, heaven, or hell? Poets do.

resting in peace
her mobile phone
keeps ringing

Robert Epstein, a licensed psychologist, and haiku poet, has just edited Beyond The Grave: Contemporary Afterlife Haiku (Middle Island Press, 2015), an anthology of poets’ haiku on the life beyond. Thoughtful, sensitive, measured and moving, as well as studded with moments of humour, and brilliance, the anthology proves an invaluable companion for thinking about the limits (and beyond) of existence.

lilies the meaning of life after death

Leafing through poems on life after death, I let myself be led along lines of uncertainty, of hope, as well as humour, of the ineffable, of mysteries, without the certainties that dispose of thought.

afterlife
that turn of phrase
in her haiku
.
(Poems included in the anthology)

Taubenfüttern at the 56. Münchner Bücherschau (19. November – 6. Dezember 2015)

Good news! The German edition of Feeding the Doves, 31 Short Stories and Haibun, Taubenfüttern, is ready for the 56th Munich Book Show 2015. I have already delivered copies of my books to the organisers of the event, which will be taking place at the Gasteig, Munich, from the 19th of November to the 6th of December 2015. Drop by if you get the chance.
Taubenfuettern,Feeding the Doves,book,haibun,short stories,
Pünktlich zur 56. Münchner Bücherschau (19. November – 6. Dezember 2015) erscheint die Kurzgeschichtensammlung „Taubenfüttern“ der in Athen geborenen und heute in Neusäß und in London lebenden Schriftstellerin und Dichterin Stella Pierides. Taubenfüttern ist die Übersetzung des englischen Originaltitels „Feeding the Doves“ (Fruit Dove Press, 2013), der international bestens rezensiert wurde.

Aus dem Vorwort: Die Kurzgeschichten in Taubenfüttern „erkunden wiederkehrende Motive der griechischen Psyche und verfolgen diese zurück auf die besondere Geschichte und Position des Landes. Die Witwe, der alte Einzelgänger, der Immigrant, der Schriftsteller, der Grieche in der Diaspora: Sie alle erzählen uns ihre Geschichte. Die Geschichte des Griechischseins, des Menschseins. Sie sprechen von Liebe und Verlust, Krieg und Bürgerkrieg, Immigration und Diaspora, Emigration, Armut, Religion und Geschichte und vor allem vom Willen zum Überleben. Eins ist ihnen dabei allen gemeinsam: Sie suchen einen Weg aus der Ausweglosigkeit, aus dem Konflikt eines Volkes an der außergewöhnlichen Wegkreuzung dreier Kontinente und verschiedenster Kulturen, aus einer Vergangenheit, die ihren Schultern eine gewaltige Last aufbürdet.“

Neben Taubenfüttern und Feeding the Doves wird der Neusässer Verlag Fruit Dove Press wird mit folgenden weiteren Titeln von Stella Pierides auf der 56. Münchner Bücherschau vertreten sein: In the Garden of Absence (Mikropoesie und Haiku, 2012; ausgezeichnet mit dem Mildred Kanterman Memorial Award 2013, 3. Preis, der Haiku Society of America für 2012 erschienene Bücher) und The Heart and Its Reasons (Kurzgeschichten, 2014).

Amazon.de: http://amzn.to/1WaqAWO

‘Dear Yannnis’

Delighted that my epistolary poem ‘Dear Yannis’ (Ritsos) is given another airing on RE  /  VERSE, the online journal.

‘Little Eagle Press presents poems previously published. Well worth another look, we think,’ they say. Thank you to Ralph Murre for giving my poem a second chance, and for the photo art image he created that accompanies the poem. Take a look by clicking here