Helen Buckingham’s Wafer

church bells versus
the ice cream van
a wafer each way

© Helen Buckingham (UK)
(Presence, 54, 2016)

The image at first reading draws an amused smile, thinking of this van whose call is contrasted by church bells and which at the bottom presents its ice creams in wafers similar to the host. But, a reflection immediately arises. The ice cream van is so earthly, a bearer of carnal pleasure, compared to the bells that for centuries have been calling for moments of spirituality. It is, therefore, to be thought that the van is practically reduced to silence. It makes one think of the Middle Ages, of the centuries in which every frivolous pleasure was branded as a mirror of evil… and, in the present moment, to the heavy hand that every religion continues to have, openly or more subtly, towards its believers. This poem leaves a lot of food for thought, that delves deep into reality, and keeps a sense of lightness, which is the merit of a successful haiku.

Margherita Petriccione (Italy)

As I perceive this, there is an element of conflict between divine duty and human desires. The haijin is trying to keep both in balance but keeps humor alive. There are irony and humor in this and I feel this haiku has the Japanese aesthetic of karumi.

Pragya Vishnoi (India)

I can see both the materialistic and spiritual sides of life in this beautiful haiku.

Church bells are a call for prayer to gather the blessings of life and also indicate the awakening of the inner self by focusing on spiritual energy. This aspect takes us closer to the self that we usually ignore due to different activities of life. The bells repeatedly toll to remind us to take a break from worldly chaos and the fast pace of life. On the other hand, we always rush to complete our daily activities and to-do lists so that we can find ways to stay in competition or do work well.

The ice cream van indicates our cravings that build up from different flavours and tastes of life which pull us towards them. But, they melt down fast like ice cream and we strive for the next flavor or taste of life. This endless cycle goes on, where we share mixed feelings and collect precious memories as well.

The word ‘versus’ in the first line shows that we are oscillating between two ends, one that leads us deep inside–a sort of spiritual journey. The other one is worldly desires that pull us daily to enjoy the bounties and blessings of life that surround us. In both ways, there is a wafer that may come as blessings, happiness, joys, or self-fulfillment only if we keep a balance between both ends, which can bring harmony in our lives and give us real satisfaction in life. I love the simplicity and choice of words in this haiku that metaphorically hide the image of the entirety of life and give us a lesson about enjoying every aspect of life by keeping balance.

Hifsa Ashraf (Pakistan)

A lot is going on here. While an ice cream van can represent the season of summer as a kigo, to me this reads more of a senryu than a haiku.

I like the clash between the sound of church bells and the notorious melody an ice cream van makes at the same time.

I can picture people outside the church being tempted by a passing ice cream truck perhaps because of the outdoor heat while struggling to make it to church on time because that’s the purpose of church bells, which is to gather people of faith together, while an ice cream van gathers people for profit.

The struggle between what’s holy and the worldly is strong in this senryu. What makes it strong to me is the power of God over something trivial as ice cream or vice versa if you’re an atheist.

Then, the poet adds on the last line “a wafer each way” which makes me, the reader, wonder if it is a communion wafer or an ice cream wafer? Perhaps a person who’s taking a communion wafer is thinking of ice cream at the same time or it could be the other way around.

This poem is a great example of ‘show, don’t tell’ through sensory images. Mixing the images lets the reader visualize or interpret what is happening when two things happen at once.

Fractled (USA)

I enjoy the comedic nature of this haiku/senryu. “a wafer each way” instantly makes me chuckle. However, there is a deeper layer behind the comedy. The temptation of eating ice cream, something earthly, is summoned by the ice cream van’s music, while the church bells bring out a sense of faith and duty in us. This mix causes a person to choose between what is most important to him or her. In a way, life is about making choices, and those choices determine who we are.

I like the sound of “van” and “versus,” “wafer” and “way,” “church” and “cream.” It brings out the playful sense in which this poem was written. The lack of punctuation and the pacing of the poem also suggest that it leans more towards a senryu.

An enjoyably deep senryu.

Nicholas Klacsanzky (USA)

Did you enjoy this poem and the commentary? Let us know in the comments.

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– Saint Andrey’s Church in Kyiv, Ukraine

Panagiotis Kentikelenis’ Kin

closed casket kin gather after a long time

© Panagiotis Kentikelenis (Greece)

A heartfelt senryu that reflects human miseries and departures. “closed casket” may symbolize death, annihilation, and endless miseries where a person exists but does not live life fully. In this case, I can see the departure of a lone person who was abandoned by his family and/or having prolonged illness. The only misery here is that people wait for the death of such relatives, who become a hassle for the family—especially when one has to visit them every day. These days, people rarely visit their relatives because of busy lives. So, only the departure of someone makes an extended family come together in order to attend the funeral, and that visit is just a formality in most cases. So, the closed casket also symbolizes the death of values, sympathy, and the human factor that is missing these days.

Hifsa Ashraf (Pakistan)

I was impressed by this strong juxtaposition around the topic of accepting death. By reading this poem, i tumbled into one of the myths i most love: Orpheus and Eurydice. Famous is the unforgivable mistake the lover commits by coming back from the realm of the dead, the Persephone’s, the underworld. According to Phaedrus in Plato’s Symposium, the infernal deities only “presented an apparition” of Eurydice to him. Plato’s representation of Orpheus is in fact that of a coward; instead of choosing to die in order to be with his love, he mocked the deities in an attempt to visit Hades, to get her back alive. As his love was not “true”—meaning that he was not willing to die for it—he was punished by the deities, first by giving him only the apparition of his former wife in the underworld and then by having him killed.

Coming back to the words of the poem, “kin gather after a long time” gives the idea of escapement and a sad reason to meet each other. It is the consequence of the increasing loss of family bounds in contemporary society, no more interested in developing emotional ties among blood relatives as in the past….

This poem is a chilling warning to live life generously by sharing our emotions and experiences rather than to be lonely and self centered.

Lucia Fontana (Italy)

Senryu often exhibit a dark irony, and this poem is a fine example of this case. A family comes together to see a loved one at a funeral that has not seen each other for an extended period of time, but they do not even have a chance to see this relative due to the closed casket. It reminds me of when certain relatives at a particular funeral I attended gave many flowers, but they rarely gave flowers to this person during the time she was alive. As Hifsa said, family gatherings, even funerals, are now becoming increasingly detached from emotion and connection. The irony in this senryu points to this societal conundrum well without stating it.

I also enjoyed the economy of this senryu, as in only eight words, it carries a lot of meaning and implications. This is even more evident in the fact that it is a one-liner. By being a monoku, it can be read in several ways: “closed casket/kin gather after a long time,” “closed casket kin/ gather after a long time,” and “closed casket kin gather after a long time.” This allows the reader to find more nuances in this seemingly simple verse.

Sonically, the first three words begin with a “k” sound. This lends to the starkness of the moment. In addition, the long “o”s of “closed” and “long” adds to the melancholy.

A succinct one-line senryu that creates pointed commentary on the nature of our modern familial relationships—especially its disconnection.

Nicholas Klacsanzky (Ukraine)

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– Art by Ron Frazier

Did you enjoy this poem and commentary? Let us know in the comments.

Tony Quagliano’s Night

the night nurse
stays to talk
her blue mascara

© Tony Quagliano (USA) (1941–2007)

This haiku has two main aspects: professional and personal. Night duty may be either over a certain time or night shifts themselves. In both cases, it is a tough duty, where a nurse has to be vigilant for any type of emergency.

“The” indicates a specific person who is doing her job. I think she is exhausted and alone. That’s why she is looking for someone who can give her company. It’s a sharing of personal feelings that may be not good in this case. As a nurse, she is supposed to console patients—especially ones who have lost hope or are passing through a critical condition. So in that case, she is more like an active listener who not only consoles patients, but also helps them speak their hearts.

“blue mascara” symbolizes the deep feelings she might be feeling: sadness, loneliness, or frustration. The color blue can also indicate depression or sickness. So, I can see this sequence in it: night – talk – blue, all in one—sharing or listening to painful feelings and relating one’s own feelings to others’ emotions.

Hifsa Ashraf (Pakistan)

This poem is subtly captivating: the author in three lines sketches the profile of a caregiver, a night nurse. The detail he gives, “her blue mascara,” makes me imagine that he exactly is the one she is staying to talk with, since a person should be very close to notice the colored shadow on one’s eyes…

It seems the night calls off the rules of nurse and patient: for a while they are only two human beings talking together. Again, the detail of the blue mascara causes me to imagine also a quite intimate conversation… A nurse, and maybe more, a “night nurse,” can be set free in the male collective image of sensual feelings. She is probably young, since blue mascara isn’t so commonly used as the black one each woman, at any age, would use. Also, “stays to talk” suggests to me that she became available when she shouldn’t have been … As if her emotions would bring her out of the professional code to keep a certain distance from the patient …

I can also imagine the “blue” among the lashes as tears, symbolized by the color of water, and think the night nurse is sad for some reason, maybe she is so emphatically enthralled that she can’t control her emotions or she is mirroring someone else’s pain: again, for not being trained enough in managing the right distance because of her young age… In any case, I’m intrigued by the reasons, the untold feelings, and the unrevealed wishes that are moving within the conversation between them …

Lucia Fontana (Italy)

Blue mascara is usually dark, it seems. Maybe the mascara could be matching the color of a coming dusk or the night sky. However, I would go with Lucia’s and Hifsa’s interpretation that the color could be a representation of her mood and the atmosphere of the hospital. It is as if she is embodying the hospital itself, and loses her identity in it.

The sense of sound in this senryu makes it melodic. With “night nurse,” “talk and “blue,” “her” and “nurse,” and “stays” and “talks,” there are many sonic connections. Also, with three words per line, the poem is compact and to the point. However, the poem could avoid referring to the protagonist twice by:

blue mascara
the night nurse
stays to talk

But the original is strong as it is without this adjustment, and this change would be more or less arbitrary. It’s a moody senryu that evokes much in its small space.

Nicholas Klacsanzky (Ukraine)

If you enjoy this senryu and commentary, please leave us a comment. 

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– art by Suzy Hazelwood