This week in poetry class we’ve been doing American haiku and perhaps the less well known form of tanka. For many years I wrote many tanka, few haiku, and then a few years ago it shifted. Both forms are exquisite, but tanka takes me straight to Akiko Yosano, the Japanese feminist.
Disregarding right and wrong,
The next world,
We face each other
Loving and loved.
(From TANGLED HAIR by Akiko Yosano– published in l901. Translated by Sanford Goldstein and Seishi Shinoda, Cheng & Tsui 2002.)
You have yet to touch
This soft flesh,
This throbbing blood –
Are you not lonely,
Expounder of the Way?
(yawahada no atsuki chishio ni furemomide sabishikarazuya michiwo toku kimi)
snow on the mountain
late this year
to tell myself
my drought has ended.
still yellow leaves,
where will this sculpture
of a Navajo woman
be in a thousand years?
She also wrote less structured free verse. I had hoped to publish this in a more festive mood with different election results, but it is still one of my favorite poems.
The mountain moving day is coming
I say so, yet others doubt.
Only a while the mountain sleeps.
In the past
All mountains moved in fire
Yet you may not believe it.
Oh man this alone believe,
All sleeping women
Now will awake and move.
Call for Contributions: Exemplary Tanka of Our Time (article)
I am working on an article for a future issue of Atlas Poetica : A Journal of World Tanka on the topic of ‘Exemplary Tanka of Our Time.’ I am seeking contributions from readers regarding tanka poems they find exemplary and were written and published during our lifetimes. These tanka cannot be your own work, but must be the work of another poet. You must include the poet’s name and a proper citation for where you found the poem. (MLA format preferred.)
Contributions must be accompanied by commentary explaining why you find the poem exemplary. You may focus on a particular detail, such as alliteration, or a more general approach, such as discussing how the imagery evokes a particular mood, but the goal is to provide information that helps readers and poets better understand the craft. In other words, the sort of constructive feedback given in a workshop, not mere compliments, is what is sought here.
For those who are concerned about copyright, US copyright law permits “fair use” and fair use is explicitly defined to include discussion and analysis of literary works, which is exactly what we are doing.
You may submit up to three tanka/kyoka/gogyoshi/gogyohka with commentary not to exceed 300 words. Comments may be used in whole or in part. Your commentary, if accepted, will include a byline. All poems will be credited to their poets and previous place of publication.
I’m not sure what kind of response I will receive, so I don’t know how many I will be accepting. “Enough to make an article” is the best I can say. Deadline is December 15, 2015.
Send submissions to: AtlasPoetica (at) gmail (dot) com with the subject line “Example: your name”. This will help me sort them from the usual submissions to the journal.
Editor, Atlas Poetica : A Journal of World Tanka
We have had several very short tanka prose accepted for issue 23 of Atlas Poetica, so we’d like to do a focus on it for the issue. Please send very short tanka prose for ATPO 23. We are also interested in articles relating to very short tanka prose.
Atlas Poetica 23 will publish this autumn.
For those who have asked, ATPO 22 will publish in the final week of August.
Editor, Atlas Poetica
A Journal of Poetry of Place in Contemporary Tanka
JUST A QUESTION from Miriam’s Well. Does anyone know much about very short tanka prose? Is it like one line haibun? Would you use only one tanka, or more?