Mankh on Haiku and Carragon Haiku Publication News

Hello Poets and Friends,

More Haiku news from The Weekly Avocet and Bear Creek Haiku

The Weekly Avocet, November 18th, 2015–Special Haiku Edition Honoring my Haiku buddy, Mankh (Walter E. Harris III):

From Charles Portolano, editor and publisher of The Avocet:
    I had the pleasure of meeting Mankh (Walter E. Harris III) from Selden, NY, at our get-together of Avocet poets on Long Island this September.  He read his haikus and a few of his students read their wonderful haikus, too.   I have greatly enjoyed reading his book Haiku One Breaths. 
     I started playing with haikus when I became editor of The Avocet.  I love writing them now,    hard to write a great one, but, then, that is what makes it so much fun.
    At the end of this issue are wonderful haiku by haiku master Yosa Buson. Wonderful work!!!
Haiku Primer by Mankh (Walter E. Harris III), Selden, NY –
Though its roots go back at least 2600 years, haiku as a literary form began to flourish with Matsuo Bashô in 17th century Japan. The individual hokku (what would become haiku) was extracted fromhaikai-no-renga (linked verse).
Nearly all modern haiku poets agree that the 5-7-5 syllable structure is not necessary, as Japanese is a picture language and does not have syllables, rather onji (sound-symbols, what the 5-7-5 refers to). If the poem happens to be 17 syllables (or occasionally longer), fine, but in general, 10 to 14 syllables more aptly convey what a haiku in Japanese sounds and feels like. One guide-line: whatever works best!
Typically there’s a kigo (season-word), e.g. “cherry blossom” indicates spring so you don’t need to write ‘in spring the cherry blossoms…’ Remember that haiku is a minimalist art; less is more. A haiku also has a kireji or pause, typically after the first or second line. For example, Kobayashi Issa’s classic: Don’t worry spiders / I keep house / casually; the pause is after “spiders.”
The first two lines of a haiku often create a tension/conflict/contrast which the third line resolves or somehow takes to another level, rather than repeating what’s already been stated. While some poets experiment with one long line or four lines, the principle remains the same.
If having trouble writing a haiku, ask yourself: What is it that stirs me to put this experience or observation into words? Try to translate that experience (it may take some editing) so as to allow for the exact words, so as to allow the reader/listener to experience what you experienced. So if I saw an amazing sunrise, more important than that I saw it, would be trying to convey the feeling itself.
Senryu have a similar structure but highlight human nature and are typically humorous, ironic, or poignant . . . though it can be challenging to tell the difference, so haiku often becomes the generic term for both. A haibun is a short prose piece typically followed by a haiku, and often used in travel journals, the most well-known being Bashô’s Narrow Road to the Interior. Art combined with a haikuis traditionally called haiga.
My pocket-sized book is part how-to write haiku and part anthology with poems by 24 people. It’s titled Haiku One Breaths because it’s said that the length of a haiku is what can be uttered in one breath. The subtitle is, a voice through a tangle because these little poems help to illuminate the present moment, or as Alan Watts wrote, from a Buddhist perspective, in his book The Way of Zen(p.44): “Therefore the practical discipline of the way of liberation is a progressive disentanglement of one’s Self from every identification.”
Thus, each moment gives us the opportunity to be awake . . .  and haiku can help remind us of this consciousness, along with keeping us connected with the flowing movement of the seasons.
One way to learn about haiku is simply to read them and notice what you appreciate.
To purchase Haiku One Breaths, here’s the link to my website and scroll to “sale $7” which includes mailing.
must be good friends,
three sparrows gathering
     on a lilac branch
   Mankh (Walter E. Harris III)
   Selden, NY
all the sunflowers
bowing to the earth,
autumn rain
   Mankh (Walter E. Harris III)
   Selden, NY
October trying to memorize
marigold scent
on my fingers
   Mankh (Walter E. Harris III)
   Selden, NY
see that tree,
standing tall in the freezing cold —
what’s your story?
    Mankh (Walter E. Harris III)
sunrise songs
birds drinking
the light
  Mankh (Walter E. Harris III)
  Selden, NY
Mankh (Walter E. Harris III) writes haiku and other kinds of poems, also essays, much of whichis at where he is resident poet, and his website www.allbook-books.comHe teaches haiku, brush calligraphy, and balancing East-West traditions. He enjoys music, meditation, munchies, and more. 
Here are my contributions:
ghostly calicos
toms the color of midnight
catnip bewitches
Patricia Carragon
Brooklyn, NY
sleepless in Brooklyn
restless like rain’s persistence
against the window
Patricia Carragon
Brooklyn, NY
baby ginkgo fan
wears the color
of life and death

Patricia Carragon
Brooklyn, NY
unlike red maples
oaks and honeylocusts
turn blond or brunet

Patricia Carragon
Brooklyn, NY
broken olive branch
nursing home garden in bloom
Mommy . . . I’m sorry!
Patricia Carragon
Brooklyn, NY

Other Haiku Avocet writers: Joan Higuchi, Chris Valentine, Art Elser, Theresa A. Cancro, Charles Portolano, Judy Wucherer, Narges Rothermel, Indy Quillen

Bear Creek Haiku, Issue #130, November 12, 2015
Sam, the Brownstone Poets Mascot and friend of Linda Lerner, is a guest of honor on the Bear Creek Blog
in the bear creek haiku issue #130:
sharon anderson   hopwood  pennsylvania
heitor almeida araujo   villa mon logis  france
                           translated by teresinka pereira
patricia carragon   brooklyn  new york
alan catlin   schenectady  new york
lysa collins   white rock  british columbia
lone crow   fort collins  colorado
nancy l dahl   ypsilanti  michigan
robert edwards   kirkland  washington
chase and chris faiers   marmora  ontario
joanna haymart  (10 years old)   cottontown  tennessee
                                      granddaughter of james b peters
stephanie hiteshew   ellicott city  maryland
kitsuné   somewhere in nepal
dorothy mclaughlin   somerset  new jersey
charlie mehrhoff   oakland  maine
karla linn merrifield   brockport  new york
karen o’leary   west fargo  north dakota
syed liaquath peeran   bangalore (bangaluru)  india
andré peragallo   vernevil  france
                                   translated by teresinka pereira
teresinka pereira   toledo  ohio
james b peters   cottontown  tennessee
dennis rhodes   naples  florida
toma rosen   mt baldy zen center  california
dennis saleh   seaside  california
g a scheinoha   eden  wisconsin
rex sexton   philadelphia  pennsylvania
vivian bolland schroeder   humble  texas
t kilgore splake   calumet  michigan
brian k turner   fullerton  california
p l wick   empire  colorado
yates young   palm coast  florida
paula yup   spokane  washington
ajsa zahirovic   sarajevo  bosnia and herzegovina
Very pleased to have one of my haiku featured on this blog, as well as the cover page: 
Zen on a park bench
I am no different than
the trees or bushes
(first published in First Literary Review-East November 2013—Cindy Hochman has good taste! 😀 )
My two other haiku in this issue are:
he throws out
the garbage
before Zen enters
Kerouac kitty
poems unravel
like toilet paper
(first published in First Literary Review-East January 2013—Cindy Hochman has good taste! 😀 )

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