Triptych Haiku

2007-06-03T12:50:00.000+01:00

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2006-11-29T21:42:00.000Z

Deborah P Kolodji is the President of the Science Fiction Poetry Association and a member of the Haiku Society of America and the Southern California Haiku Study Group. Her work has appeared in Modern Haiku, Strange Horizons, Frogpond, Simply Haiku, The Heron's Nest, Scifaikuest, Dreams and Nightmares, Abyss and Apex, Lone Star Stories, Tales of the Talisman, and many other places both on and off the web. She has published four chapbooks of poetry, including two speculative poetry collections.

Deborah P Kolodji - http://dkolodji.livejournal.com
Science Fiction Poetry Association - http://www.sfpoetry.com
Haiku Society of America - http://www.hsa-haiku.org
Southern California Haiku Study Group - http://www.socalhaiku.org

Modern Haiku - http://www.modernhaiku.org
Strange Horizons - http://www.strangehorizons.com
Frogpond - http://www.hsa-haiku.org/frogpond.htm
Simply Haiku - http://www.simplyhaiku.com
The Heron's Nest - http://www.theheronsnest.com
Scifaikuest - http://www.samsdotpublishing.com/scifaikuest/cover.htm
Dreams and Nightmares - http://www.genremall.com/dreamsandnightmares.htm
Abyss and Apex - http://www.abyssandapex.com
Lone Star Stories - http://literary.erictmarin.com
Tales of the Talisman - http://www.zianet.com/hadrosaur

21

2006-11-29T21:35:00.000Z

fantasy ku

poltergeist --
the neat freak bites
her nails

clouds at sunset
a three-headed troll
argues with himself

dragon breath --
a medieval village
of broken spears

Deborah P Kolodji

20

2006-11-16T20:12:00.000Z

Jaey Peele is a poet and artist living in Westlake village California. He spends hours daily in MySpace as Doctor Evolution.

20

2006-11-16T19:59:00.000Z

Submission (a meta-haiku)

My friend's like, "Google goes 'experimental journal...haiga, hokku, tanka, renku, haikai, gembun..." and I'm all 'haikoid'?

...'Haikuistical'?
Triptych Haiku in MySpace...
"Might like the weird ones.

Not MySpace, Blogger
More a scifaiku -- non'zine
But, like from Yahoo!"

...Look; I do 'High' -- 'Coo'!
Do they not publish haiku?
"Yes! All kinds and styles."

Rock-troll by river
Hungering for roadrunners
While bunnies hop by?

"Don't get your hopes up.
I'm just saying, submit some.
They might see daylight."

Haiku's a long shot,
Modern readers love lyrics.
"Better send your best."

So that's why I'm here.
My friend Tor says, "What's to lose?
Pride? An hour or two?"

Skin off my nose. Trust.
jaeypeele@yahoo.com
A massive renku...

P.S. I count eight 17-beat true haiku, this last line makes nine!

Jaey Peele

19

2006-11-13T21:34:00.000Z

Sheila E. Murphy is the author of numerous books of poetry, most recently Continuations, a collaborative volume with Canadian poet Douglas Barbour,
just released by The University of Alberta Press.

Her home is in Phoenix, Arizona.

19

2006-11-13T21:28:00.000Z

American Haibun

A Fleck of Speech

Rusticity’s cement on soft location. Do you read me? Arts and letters come to life amid sightseeing journeys to the upper echelons of spirit with a color in the eyes that lights the land. Some time tomorrow, every city will be made invisible. The access codes will rhyme with here. When nervous, one’s skin mentions things. Fear informs unhappiness. To have invested in despair entails a less-than-generous star tip in the sky. Living in full view of the sparklets means a copter will arrange to pin a prior dampness. To think is to have failed to act. To act requires a fleck of speech. The only silence disconcerts a universal play. Points made in isolation sound like dreams. The pavement is a sheet of likely steps to walk. The signature amends this cold and snow, elicits grace from weather. If location is in hand, we are another of its weathervanes.

Tin recipient of tiny hammer tones delivered in Morse Code

Genmai Tea and Food for Three

Minnows take attention from the glitter fish that industry attracts. Camouflage fails to embellish or bequeath signs on a being. One may liken water to the color mud. One may prefer eye blue with bottom stones to crystallize. True anything might possess too many syllables. Your sense of hearing goes abstract. Against my better judgment, liability’s incurred. The music coming out of cable in the living room mismatches keys on the computer. Genmai tea and food for three, salmon, rice, and beans, and squash. Rice pudding pie, no sugar added, silver rain white tea. Snow on stones gray as though chip seal. Recurring theme request. One knows nothing has been right. Embargo, sallow cheeks in waves pass through diminuendo. Latch connects to hinge, midnight removes a key card from possession. Posses venture north, or trespass. Accolades begin to smart for the beheld who lingers. Indebtedness accounts for fact’s dead weight.

Threads of together, mind in motion, a patched craft

Early Speech

Come sit beneath the sun. When winter situates, a place is laid. To classify, to shield, to shy away, amounts to story shaken from its incubation. Early speech becomes a blunt field of engagement. Reveals a list of saints one is not on, slurred speech enduring limelight. Peaceful indication touches on the southern seam of mid-light frost. Against the backdrop of this slow infusion of a lifetime, cinders come. Individuals are here, where random ventures will accrue to fortify mythology. Consider granularity of what is felt, relayed, embraced. The situation pressed into a way of thinking.

Debut of minutia, even stuttering, building the known

Cups of Sand

Patronyms collide. A merger of green grapes and harbor scent. The white fish, plus elaborate sand systems. Cups of sand make sturdy parts. I like to wash art. Usual pronouncements serve the population twice. A furlong is how deep? The unit as a whole crosses some boundaries. How few of these are led? Is quiet true? Curves in the road unequal to the road. Variety sometimes lacks spice, although redemption severs ancient links. Design creates produce. Continues growth, defeating red tape. Channeled lives ingest ego-involvement of the lurk and hover piece. If I love you it is still my style. Divinity incorporates this lying low. Authority brings slice-at-a-time commitment. Seasons in reverse amend indifference. Slowly, lazily the store is minded, measured, stolen, sieved. Where anyone is brittle, others then can cope.

Root systems gathering beneath inspection, indifference in a lazy time

Sheila E. Murphy

18

2006-11-10T16:24:00.000Z

Natalia L. Rudychev is a PhD candidate in Philosophy at Duquesne University. Natalia's poetry, prose and art are published and forthcoming in Presence, Heron's Nest, Haiku Harvest, Simply Haiku, bottle rockets, paper wasp, red lights, Ribbons, Fish in Love, Frogpond, Green Leaf, Clouds Peak, lexicon, SP Quill, Haigaonline, American Open Mike, Aporetika, PEN, Vestnik, American Tanka, WHA Haiga Contest, Quill & Parchment, Asahi, Wisteria, TSA Anthology, Eucalypt, Modern English Tanka, Modern Haiku, Contemporary Haibun Online, RuBriCa, and International Studies in Philosophy.

18

2006-11-10T16:21:00.000Z

equinox –-
crab apples
half red/half rotten

Natalia L. Rudychev

17

2006-11-10T15:50:00.000Z

Noel Sloboda is a writer and teacher living in Pennsylvania. His work has appeared in a number of places, including Waterways, FRiGG, and Tipton Poetry Journal. Sloboda serves as dramaturg for the Harrisburg Shakespeare Festival.

17

2006-11-10T15:47:00.000Z

gembun

hanged.
                    eyes without a home
                    look all around from the floor
                    for a wanting skull

Noel Sloboda

16

2006-11-10T15:39:00.000Z

Sean Kilpatrick is a professional kisser residing in Detroit. His poetry has appeared or is forthcoming in magazines such as: Red China Magazine, Wicked Alice, Juked, Exquisite Corpse, Melancholia's Tremulous Dreadlocks, alice blue, elimae, Kulture Vulture, wire sandwich, Arsenic Lobster, Erosha, Action Yes, Stirring, NOÖ Journal, Zygote in my Coffee, and Southern Gothic. Tickets available for The Anorexic Museum: http://anorexicchlorinesextoymuseum.blogspot.com

16

2006-11-10T15:24:00.000Z

haikoid

the anal numchuck
review form letter tangos
my nut skin purple

placenta barnyard
ginseng rape promenade tea
eight o' clock be there

irony machine
kept saying the word mother –-
broke it into soup

from Gangrene:

My mother was apologetic
for failing to abort me.
You can tell by the way I climb stairs.

My parents divorced me
with used dildos
the night I bombed the chandelier.

"Doesn't that thing between your legs
feel like an incomplete masterpiece,"
my father was fond of saying.

He baked the shit of assassins
into my heart. Yes,
I wallow in the filth of assassins.

Sean Kilpatrick

15

2006-10-28T23:37:00.000+01:00

Hugh Fulham typed this himself. He doesn't usually speak in the third person as that would be just weird.

15

2006-10-28T23:33:00.000+01:00

gembun

bad habit.

                             a cadaver steams
                             and asks
                             for a cigarette

Hugh Fulham

14

2006-09-10T00:01:00.000+01:00

Rich Magahiz is a former Californian, former scientist, current entrepreneur, current blogger, future mystic, future recollection. His work appears online and in print at World Haiku Review, Autumn Leaves, Amaze, iscifistory, tinywords, Abyss & Apex, clouds peak, and Tales from the Moonlit Path. Poems of his will be in forthcoming issues of Scifaikuest and The Sword Review. His website is at http://magahiz.com:8080/frabjous/index.html.

brick scifaiku

2006-09-06T15:16:00.000+01:00

A brick is a four-line scifaiku poem consisting of one line of two syllables, one of four syllables, two of three syllables, in any order. The emphasis is on compression of expression, so if each line is also a single word, one gains the visual advantage of a monolith devoid of whitespace. Aurally, the play between between the one long and the short line is important for balance.

The brick takes its name and its shape from the virologists' description of the smallpox virion. Other images which are helpful are those of a message burst, a data packet, a cargo of valuable freight, a chromosome, a collapsed star.

The first brick was written in 2002.

14

2006-09-06T15:05:00.000+01:00

brick scifaiku

Final meals

unforseen
condiment
airborne
variola

Having all sweetness

fraction
micropore
transubstantial
telekiss

Purple heart-shaped

post-traumatic
psychotrope
semper
fidelis

It was their eyes

photic
decrepitude
beckoning
pseudopods

Divided by zero

colony
starship
explosive
decompression

prions
remultiplied
sightlessness
pandemic

myopic
dispatch
idempotent
encounter

Rich Magahiz

2006-06-19T21:50:00.000+01:00

Scifabulaiku

2006-06-19T16:18:00.000+01:00

Scifabulaiku: Notes towards a new speculative vanguard haiku by John W. Sexton

A scifabulaiku is a one-line haiku expressing science fictional and fabulistic elements. The themes and subject matter being all those elements common to the literature of science fantasy, from alternate history to alternate worlds to future visions to sociological satire, all encompassing the general impingement of the fantastic into the logical universe. Scifabulaiku are a one-line form separate to contrails and one-breaths.

The distinguishing feature between scifabulaiku and scifaiku is that scifabulaiku are more self-consciously poetic. This is not to imply in any way that three-line scifaiku are unpoetic, but simply that scifabulaiku have the poetic principle explicitly stated in their blueprint. As well as containing concept there must be rhythm, style of expression, an attempt at virtuosity of language. Although stressed internal rhyme is not routinely recommended, other more subtle rhyme techniques are: assonance, consonance, sibilance, any of the more sophisticated relationships in sound between one word and another. Scifabulaiku must engage the audio senses as well as the intellect. There is no claim here for the invention of a new form, merely an attempt to name a form that is separate. Or, perhaps more precisely, to rescue a form that up until now has mainly been the remit of renga and scifaiku-string linking. And of course, many scifabulaiku and fabulaiku have been published in the past but have been labelled under the general heading of one-line scifaiku.

Scifabulaiku should be composed in one line, with absolutely no punctuation whatsoever, no capitals, no interspacial breath-units (spaces to denote caesura), and no other such devices. The only intrusive device acceptable is the hyphen or possessive apostrophe, and only where appropriate as in normal usage. (The only other exception would be in the employment of capitals in linked forms like scifabulenga where the other participants are not avowed scifabulaikists, but pertains to the use of capitals only.) Scifabulaiku should contain nothing that attempts to "design" the line. Caesuras, whenever they occur in poetry, are immediately obvious and do not need to be pointed out to readers. The reading experience of the one-line poem should be one of discovery for the reader. The words should be left to themselves to account for themselves.

There is no intention here to put one form above the other. Scifaiku and scifabulaiku are simply two different haiku forms that treat of the same subject. The difference is in delivery and register.

Scifabulaiku should contain a discernable narrative or fantastic "situation". No less than its cousin, the fictional story, its scientific concept or premise should be encapsulated in a compressed "plot". The aim here should be to approximate what the Guatemalan writer Augusto Monterroso was attempting in his celebrated one-sentence short stories.

Techniques found in general haiku composition should be employed as much as possible, but the scifabulaiku is as much an example of the French mono-stitch (modernist one-line poem) as it is an example of haiku, the both forms of which it is a hybrid. In traditional haiku the desired attainment or attitude is "ordinary mind", but in scifabulaiku it is "extraordinary mind" that is sought. And unlike traditional haiku, scifabulaiku seeks to intellectualise, is self-conscious in its cleverness.

Fabulaiku, a closely related form, are one-line mono-stitch haiku that pertain to the fabulous environment of fantasy, dream and folktale, without the added rationale of science. In some cases individual fabulaiku may even stand comfortably on the borders of mainstream one-line haiku.

2006-06-19T14:33:00.000+01:00

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Root and Tree, by ameliapeel

Cover image: Harvest, from Cortona Series, by Serena Perrone

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Serena Perrone

2006-06-14T12:58:00.000+01:00

Serena Perrone is a painter/printmaker from St. Louis who now lives in Providence, Rhode Island where she is finishing her Masters’ degree at Rhode Island School of Design. She grew up between St. Louis and a small village in Sicily where her father’s family lives. Elements of both American and Italian cultures appear frequently in her work. She has also researched natural history, the culture of freaks and sideshows, and the history of medicine and physical abnormalities for imagery that she uses both literally and symbolically to discuss the external/physical and the internal/emotional metamorphosis that is a constant within the life of each individual.

http://www.serenaperrone.30art.com

Contributor Profile: Helen Ruggieri

2006-06-13T00:21:00.000+01:00

I live in Olean, New York (south, thank god, of Buffalo) where the average growing season is 90 days from frost to frost. That leaves a long time with nothing to do but write senryu. I also write haibun and you can read them in World Haiku Review, Contemporary Haibun Online and Simply Haiku (all online). A short book of haibun from a visit to Japan, “The Character for Woman,” is available from www.foothillspublishing.com. The second volume, “The Character for Spirit,” should be out this year. Volume three, “The Character for Place,” is ready to go to market. Answeringmachineku are from a book of senryu in progress called tentatively, Zapku: The American Way of Haiku.

View Helen's poetry in:

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Contributor Profile: dustin neal

2006-06-13T00:17:00.000+01:00

dustin neal is currently studying and writing haiku on a daily basis. he loves to spend his free time reading issa and modern haiku poets via the internet. he is taking a semester off from university life to a life of cleaning toilets and mopping floors. dustin neal works at a church as a custodian where most of his time is spent looking out a window, waiting for haiku to fall into his lap. he has been published in denis garrison’s haiku harvest, shadow poetry’s white lotus, the heron’s nest, and moonset.

View dustin's poetry in:

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10

2006-06-13T00:15:00.000+01:00

I am 31 years old and have been writing since I was 15. I enjoy creating unique imagery in my work. I have been previously published in such magazines as: “Word Salad”, “Snow Monkey”, “Now and Forever” and have recently published a book of poetry called: “The Death of Equal Handshakes”.