Vision

The Haiku Pea Podcast started small in 2017. I thought I would more or less be talking to myself, but reckoned without the power of haiku, and the word spread. Now here at Poetry Pea there are a number of ways to celebrate haiku with lots and lots of like minded haiku poets.

In 2021 the Haiku Pea podcast will be offering two podcasts a month on the 1st and 3rd Mondays of the month, the first to explore haiku topics and the second to hear the haiku and senryu that you have been writing.

Listening options:

You can listen here on the website or you can find us on a number of podcasting platforms: iTunes, stitcher, spotify, amazon, google, player and tunein radio not forgetting YouTube.

Please subscribe to the podcast where ever you chose to listen and the latest episode will be delivered to your feed, and if you have a moment leave a review. Alternatively, you can sign up for our mailing and you’ll get information about every new release and all the latest news.

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Hello, from me Patricia in a very snowy Switzerland and welcome to the haiku pea podcast. It only seems like two minutes since I was welcoming you to the last episode and now here I am, welcoming you to the final episode of this series, number 24.

This year has been universally awful but there have been highlights for me; the first hug I was able to give my children, a little bit of travel, and all that we’ve achieved together this year here at Poetry Pea. Our Journal, PEA TV Moments, (keep the videos and haiku coming), more voices being heard on the podcast and a huge increase in the number of people submitting. I was recently sent a mail telling me that we are the number 19 poetry podcast worldwide. I can be terribly competitive, how about we aim for top ten next year? Spread the word.

Thank you all for being there this year.

Next year some changes, but I’ll go over them in the next podcast. One thing to remember though, the new submission period is 1-20th of the month and the next one, will be humourous haiku and senryu. Don’t forget to listen to episode 23 or watch Roger Watson on the Poetry Pea youtube channel for help and advice on humourous haiku. The submission period for spring and autumn kigo is now closed.

You were really kind with the coffees last month. I was able to buy Stephen King’s “on writing” and also Richard Gilbert’s “the disjunctive dragonfly”. I expect you will hear more about that in the coming months. Thank you so much for the coffees, they do help to keep the podcast going and pay for those little incidentals like my reading materials for research, the website and soundcloud.

To those of you who are on the mailing list thank you for your responses on the topic of Imagery. You gave me so much to read and I have added to that reading list myself. I will give you some feedback in a later podcast. Currently I am deeply embedded in a book of Ezra Pound’s essays. If you are not on the mailing please sign up on the website to make sure you get all the latest discussions and news, like the Journal being released.

There was a great response to the Autumn Journal, thank you to everyone who bought a print or kindle copy. I’ve had good feedback so I hope you are all enjoying it. If you could, I’d be very grateful if you would go to Amazon and leave our Journal a review.

Now this time I asked you to write haiku and senryu with no verbs. Very many of you told me how hard you found it, but equally many of you found it to be a very satisfying technique to use. We had a lot of submissions and my thanks goes to Robert Horrobin this month for reading them all and choosing the verses for the podcast and Journal. Cheers Robert.

I was recently at a zoom haiku event where Lee Gurga said “a verbless fragment and phrase. Something we see in the best haiku”. I may not go that far myself, there is room for many techniques in haiku writing, but I do find them very satisfying to read and write. Please do go to the Poetry Pea website and read this selection at your leisure and enjoy them again. Maybe pick a few favourites and analyse what you like about them. Do they have anything in common? Can they help you improve your own work? If you come to any conclusions don’t forget to email me and let me know.

So let’s get started with some fantastic poetry. First I’ll give you some work that has been published and then we’ll hear brand spanking new work by you. I’ll read the poem first and then tell you who wrote it and along the way I’ll have some comments.

Don’t forget to let me know what you think, I love getting emails from you.

Now I’m going to start with a very famous poem by one of the imagist poets. I did not come across William Carlos Williams until I saw the film Paterson, but I’ve made up for my ignorance since then.

Published

so much depends
upon

a red wheel
barrow

glazed with rain
water

beside the white
chickens

William Carlos Williams

Now in this present guise I don’t think it is a haiku but if we take out the first line, do you think it qualifies to be designated as a haiku?

a red wheel
barrow

glazed with rain
water

beside the white
chickens

After the party
empty chairs in the lawn:
new moon and I

Prof R K Singh
Tiny Word 15 April 2002

percheron
sixteen hands full
of stars

Debbie Strange
Commended
New Zealand Poetry Society International Poetry Competition, 2018

And now, to your work. Thanks to all of you who sent me your submissions:

In this first part there are many verse which would have worked well in any of the Kigo episodes we’ll be writing this year, but here, without verbs some seasonal works:

winter storm –
the shape of the wind
in the bend of trees

Máire Morrissey-Cummins

winter waterfall
the sound
of cold

Pat Davis

brief seasons
first snowflakes on my shoulders
mother’s funeral.

**Achingliu Kamei

winter frost
bent grasses
all the same

Samo Kreutz

frosty evening
my pen on the last page
of my diary

Maya Daneva

spring evening
piano music in the air
a song-bird chorus

**Seretta Martin

summer picnic
sandwiches
with ants

Giddy Nielsen Sweep

sunshine
blue sky
and golden leaves

**Harry Massey

summer heat
the first blueberry
a little sour

Kristen Lindquist

lightning
in the sky
swallows

**Lola Scollard

fall persimmon
fruit even more brilliant
than its foliage

Doug Lanzo

umber sycamore
kaleidoscope pattern leaves
this autumn’s old cloak

**Lucie Payne

autumn sorrows
the hillside
naked again

Anna Maria Domburg-Sancristoforo

moonlit night
the coiled autumn snake
in a wood pile

Christina Chin

a kingfisher
only
the splash

Roger Watson

daybreak
amidst the echoes
stillness

**Cyril Ioutsen

long engagement
a glimpse of moon
behind thick clouds

Ronald K Craig

Is it just me, or do you feel a certain sensuousness in that verse?

moon’s serenity
chaotic-less
rejuvenation

RJ Tungsten

new inspiration
kaleidoscope of pendulums
on the dusty ground

Sarah Mahina Calvello

rain
mountain lake river sea
rain

James Young

Many of you will listen to James’s poem and think, but Patricia rejected my verse and it was all nouns, and you would be right. Why then did I accept James’s? Because of the cycle it speaks of. Rain at the beginning and end creates that circle of watery life, doesn’t it?

the wrinkles
between us
on the picnic blanket

Sari Grandstaff

gothic mist –
at my feet a leaf
skeleton

Dorothy Burrows

on the fence pole
a snow owl
sedate philosopher

**Ibrar Hussain

dawn frost
on every bench
a sleeping bag

Carrie Ann Thunell

pink dawn—
in a dewdrop
the moon

Neena Singh

cardinals
and sycamore sky
triadic wheel

EL Blizzard

in my plantain farm
noisy metallic music
rainy season now

S Narayanan

red wagon
full of leaves
no child in sight

Kathleen Tice

.
pitch black
honks in surround sound
Orion’s Belt

Erin Castaldi

crimson cloud shards –
the last sharp remnants
of the set sun

Rob McKinnon

glacier ice…
the depths
of blue light

Angela Terry

the red sun
between the brow of two hills –
Sanskrit chants

**Kala Ramesh

landscape
rule of thirds
empty sky, endless water

**Sharon Mahany

Stoic cranes –
statues
in the wintry rain

**Mary Harwell Sayler

on a still lake
a reflection –
one crane,
now two

Christopher Peys

We don’t often have 4 line haiku on here, but actually I don’t think it could be anything but a 4 line verse, unless you cut the second line.

near sunset
half moon in the sky
coexistence

Riham El-Ashry

most days
a collection of leaves
today this poem

**Paula J Lambert

forest clearing
the sudden relief
of blue sky

Srinivas S

I wander through the woods by foot or on my bike. I know most of the woodland paths round here but sometimes I take the track less taken and I did that recently and got lost. Coming across a clearing was somehow a little reassuring, even if I didn’t know where I was. Still, I got a signal on my phone…

red alert
the amaryllis
in full glory

Valentina Ranaldi-Adams

open field:
yellow butterflies
yellow flower

Bob Carlton

Did you notice how this verse narrows its focus. It’s a topic that we’ll be using in 2021. In line 1 we have the open field, then we can see yellow butterflies, which to me is a smaller image than the wide open field, though admittedly that might have something to do with my eyesight, and then finally we home in on a yellow flower, just one.

sunlight shaft
from beneath the door
a mouse’s tail

Arvinder Kaur

thick white duvet sky,
nature’s prescription of bed
rest for this poor world.

**Charlotte Oliver

gentle breeze
… over a canopy
of cicadas

Willie R Bongcaron

deep sun
a football’s
echo

eddy lee

thirsty hummingbirds
gathered around the feeder
happy hour

Richard Bailly

at the foot of
the smallest gravestone –
a song thrush

Peter Draper

majestic wingspan
over the quiet pond
a mirrored twin

Barbara Carlson

a small twig
in the way
of a traveller

Lovette Carter

stillness
of a cat
in a rocking chair

Matt Synder

a picket fence
white
in washed fog

Lori Becherer

Not only do you have what is possibly a pivot line in L2, white could apply to the picket fence and to the fog, but there is a juxtaposition of image, between the fence and the fog and there is a change of rhythm between the first line and the next two, which I think is created by the w sounds.

chai dukan …
aromas heavy with
gossips

**Cherry A

thoughts on thoughts –
too many layers for today’s
virtual world

Ian Speed

my hermitage
inside my mind
so many storms

Michael Feil

arugula
such a tender word
in my salad

**Eve Castle

emotions
on a platter
all raw

Anjali Warhadpande

alone in a room;
outside the calls of ravens…
too soon the darkness

Pat Geyer

mum’s old ring
too small for my finger
her golden silence

Kim Russell

laid off
the last bag of birdseed
in the cupboard

Bruce H Feingold

Does this verse ignite any emotion in you? It does for me. It’s very sad, yet the poet hasn’t written any emotive words, has he? It’s a very clear concise poem, we know someone has been laid off, they have no work, so we naturally feel sad for them, but the killer, at least for me, is the phrase. All done without flowery language, without emotion but don’t we feel it?

Likewise in this verse:

big bill from the vet
no pet food this week

Robin Rich

brittle bones …
the season
of curled leaves

**Isabella Mori

funeral service
ululations from the storm
with your name

David J Kelly

the lone witness
to our quarrel
living room figurine

Richa Sharma

hot climate –
the incandescent tone
of your silence

**Luisa Santoro

past five autumns
mother’s loneliness
in the dark

**Lakshmi Iyer

Red and yellow beets,
spicy cloves from Zanzibar—
Ah, grandma Mimi!

Karla Linn Merrifield

night rain…
in her handbag
parma violets

Marilyn Ward

layered clouds—
the substance of
maternal love

m shane pruett

November
your sister’s first
silver hairs

Doris Lynch

no mention of
the burnt taste
mother’s recipe

Debbi Antebi

chalk dust
in sunlit beams
a leather strap

Mike Gallagher

Buchenwald survivor
dad’s ashes
finally free

Jay Friedenberg

the monogram
on Mother’s locket
baby teeth

Joan Barrett

our car never nearer the shimmer of black water on the desert road

Richard Tice

Did you hear the effect of the r sounds in that monoku?

under the leaves everything

Roberta Beach Jacobson

before dark pastel clouds and dresses

Elancharan Gunasekaran

black and white wherever and wherever clean and clear

**Nani Mariani

tree pose   autumn colours outside

Maeve O’Sullivan

toadspawn in chains ourselves

Alan Summers

I thought this monoku had a very contemporary feel to it. It talked to me about Covid and expressed how I sometimes feel. I asked Alan about it and his technique when writing it and he sent me a great deal of information which you might like to read through. Thanks for such a comprehensive answer Alan.

“I incorporate my own types of technique when writing haiku, and perhaps they are even better suited to single line haiku aka one line haiku.

There is my method of “A rêverie observation” which is a term I coined for Slip Realism methods.

rêverie observation” is a new aspect of Slip-Realism but one where versions of memory from our earlier life or lives are captured.”

When I approach single line haiku poems I look at the tension of the line, and as a poetic line. I might take something from my past, a rich reservoir, and meld that memory experience with something currently happening or something that I realise has been happening for a very long time.

As a British kid, the activity of studying frogs and collecting tadpoles was part of our childhood culture. With little money and not even an awareness of sparse finances, we had simple and natural hobbies that were outside in nature and freely available. Toads are different from frogs, where their spawn are wrapped in chains for protection and a chance at life.

And then there is covid-19 which has opened our eyes to many inequalities and evil injustices past and present, and chains is an image both metaphorical and literal at the same time, and horribly real for those people made into slaves.

As haiku is now the errant grandson of hokku and other pre-1890s haikai verse it will still on occasion entertain the link and shift of renga and renku, and the turn which is the feature of the non-haikai verse called tanka which of itself is a cousin of waka. We are all rooted in the past, shackled for good or for bad. There are many kinds of shackles and we carefully or carelessly use the terms shackles and chains in our vocal and written currency.

Technique?
We have toadspawn, they are in a term called chains.

So there is toadspawn in chains which is a natural history term.
And then the realisation that ‘in chains’ we also put ourselves under restrictions before and now during covid-19. And even worse we have both placed ourselves under invisible chains, and in the past we have also put actual physical chains on our fellow humans.

We are in chains ourselves, and covid-19 is an opportunity to change. From toadspawn young to adults so we are still in that jelly stage as humanity on many levels, and can try to turn for the better, just as this verse turned from toadspawn to a realisation that humans are little different in “acts of potential”.

fugue writing?
I touch upon that in “Interview with Alan Summers”
It’s the opposite of the ‘writer’s block’ which will be part of a project I’m working on for 2021:

segue writing?
That’s a mixture of parallelism where I think and write in two streams concurrently, at the same time, to produce a poem that has the haiku moment wrapped up in the past, present and future, and still remain something in the ‘now’. A bit like parallel universes.”

anger management deep chinks in the blade

Vandana Parashar

dusk a cityscape in the woodland shadows

Christine Wenk-Harrison

in a fog bank         white space

Linda L Ludwig

There are many forms in haiku. Would you think it fair of me to say that fragment phrase haiku are prevalent in the haiku we read today?

I recently read a journal in which I was surprised by the number of one image haiku. You don’t really see many three image haiku but I have some for you today.

When I spoke to Elaine about the next verse being a three image one, she said it was not written with that in mind.

broken strings
a twisted bridge
songs of yesterday

Elaine Patricia Morris

Elaine was writing about a broken guitar. Yet I saw three fragments to it, the strings, the bridge and the songs. What do you think?

crossword solutions
autumn colours in the park
the story of us

Sarah Bint Yusuf

marble gravestone…
fresh rose petals –
a saint’s fragrance

Neera Kashyap

burned out hollow house
charred bed linens cast-off clothes
yellow police tape

**Ron Tobey

rain on the roof
aroma of onions in the skillet
long table set

**David Watts

cold coffee pot
cold cinders
cowboy kitche

Robert Quezada

casino
the irrelevance
of windows

Lorraine A Padden

distant silent screams
from the infinite blackness
astronaut

Richard Hargreaves

satin moon
the softness of her skin
next to mine

Nika

forty days
and forty nights …
dandelion fluff

Natalia Kuznetsova

singsong voice
his only method of math
multiplication

wendy c bialek

watermelon seeds
additions and subtractions
with my son

Daniela Misso

aromatherapy…
shalimar on
her wrist

Elaine Wilburt

ill
a butterfly pinned
to the mattress

Mark Gilbert

twenty twenty
year not over yet
why not

Lekha Desai Morrison

hot sake –
easy on the tongue
the flow of words

Paul Callus

warm hug
ginger and cardamom
in the aroma lamp

Nadejda Kostadinova

rainbow marriage
a slice of
equal opportunity

Bona M Santos

fallen lemons
the sour look
on his face

Jackie Chou

a shadow
by the broken window
november sunset

Zahra Mughis

dry fountain
the blue tongue
of a gargoyle

Debbie Strange

small flakes
scent of base flowers
in a cup of tea

Eva Drobná

for no apparent reason
over the Savannah river
fireworks show

David Oates

Finally my thanks to our last two poets for a little bit of Christmas one a very contemporary idea of Christmas and one more in the spirit of normality

advent calendar
all those empty spaces
behind my door

Tracy Davidson

before sunrise
Christmas lights –
in winter frost.

Laura Driscoll

Thank you to all of you who have taken part in today’s podcast. Thanks to Robert for being our editor this month and reading all the work that was submitted, it was a huge task. To all of you who are listening, thanks, for coming along, if you haven’t submitted yet, well next year is a new year. Make it one of your resolutions perhaps? You’re too late for the kigo episode but do you have anything humourous? Remember emails only please and your submission period is the 1 -20th January.

Once again my thanks to all of you for taking the edge off the awfulness of the year. May I wish you all the very happiest 2021.

Until next year, keep writing….

If I’ve messed anything up, or missed something off the shownotes, please email me….

Ciao

**Poets new to the podcast

Series 3 Episode 24: No Verbs

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