Francesco Palladino’s Flat Sea

On March 23, 2018May 24, 2018 By Nicholas KlacsanzkyIn Haiku8 Comments

flat sea—
the sail swollen
with light

What I enjoy most about this haiku is the mixture of serenity and awe one feels while reading it. With the first line, we have a calm sea (emphasized by the dash). Seeing a calm sea, or a flat sea, is one of the most tranquil things to witness. It puts us into an instant state of meditation.

With the second line, we get a contrast with a sail of a ship being swollen. It is a great use of the word “swollen” and provides alliteration, making the haiku more musical (having a sense of karumi or lightness as well). In addition, the “l” sounds coursing through the haiku make this poem cadenced, much like how a ship goes through the sea. In terms of sound and construction, the poem could be said to illustrate the principle of karumi in its simplicity, grace, and immediacy.

In the third line, we get a surprise that the sail is swollen with light, which gives a fine, awe-inspiring image. The contrast between the calm sea and the epicness of a sail swollen with light gives us a sense of human endeavors among nature’s balance and the ambition of people. Many interpretations can be made, but this is what I feel. Interpretations need not be made in haiku, as well. It also can be seen as a wondrous image that puts us in the moment of the author, thereby providing us with a sense of presence. Often, we forget about the simple joys of perception.

– Nicholas Klacsanzky (Ukraine)

Do you enjoy this haiku? If so, please leave a comment.

Elizabeth Searle Lamb’s White Chrysanthemums

On March 14, 2018May 24, 2018 By Nicholas KlacsanzkyIn Haiku1 Comment

pausing
halfway up the stair—
white chrysanthemums

The first thing that caught my eye about this haiku is how the juxtaposition between the two parts of the poem can create different meanings. For instance, we don’t know if the white chrysanthemums are pausing, or the narrator pausing. In any case, the dash is used to make the reader feel the pause. It is also interesting to note that the word “pausing” is a single line to allow for more of an interval for the reader.

Another aspect of this haiku that drew me in is the state of meditation it could be possibly pointing to. The narrator could be so entranced with the white chrysanthemums that she has got into a state of meditation where no thought is disturbing her mind. She is simply admiring the beauty of the flowers. Though the chrysanthemum is sometimes referred to as a seasonal reference for autumn, I don’t feel it has any significance for this haiku in particular. However, I can say that the white chrysanthemum could be a representation of the state the author is in: a blank mind, peaceful in its emptiness.

The “a” and “s” sounds in this haiku create further serenity and starkness. The long “a” sounds make for slower, meditative reading. The “s” sounds pop to make this haiku more stark. Also, looking at this poem technically, there is the right amount of words to convey the moment and mood, especially with the formatting of the lines. As I mentioned earlier, even the punctuation helps to express the meaning and atmosphere of the poem.

An entrancing haiku from the “First Lady of American Haiku.” To learn more about Elizabeth Searle Lamb and to read more of her work, visit: https://livinghaikuanthology.com/index-of-poets/livinglegacies/5938-lamb,-elizabeth-searle.html

– Nicholas Klacsanzky (Ukraine)

What do you think or feel about this haiku? Let us know in the comments.

Tia Haynes’ Hands

On March 10, 2018May 24, 2018 By Nicholas KlacsanzkyIn Senryu2 Comments

support group
I never know
where to put my hands

This senryu has a significant breadth of meaning. On one hand, it brings about a feeling of mystery, where one does not know where the narrator’s hands will go. This type of mystery can put the reader in a state of pure consciousness, as thought cannot comprehend it. Another interpretation is that it is expressing the nervousness we feel in group environments, even groups that are aimed at support (we have all felt this nervousness within groups, and therefore this makes this senryu highly relatable). Lastly, it could be about how people need support equally, and to know who to give aid to is difficult to determine. This could also relate to self-help and collective help. Sometimes, it is hard to decide if we should give support to ourselves or others first.

I think the lack of punctuation works well, as a clear separation between the parts are made between line 1 and line 2 (though traditionally, senryu didn’t use kireji). Also, intuitively, the structure works better with “support group” as line 1 rather than as line 3. Making “support group” line 3 would have made the lines more normal in the short/long/short structure; however, this senryu has more impact and sounds better in the form it is now. At times, you have to use your gut when formatting a senryu or haiku.

Looking at the sound of this senryu, the most prominent sonic features are the letter “o” and “p.” The letter “o” gives an emphasis on the emotion behind the senryu, and perhaps the letter “p” adds importance to the action within the poem. Whatever the interpretation, the author has made this an aesthetic senryu through the use of sound.

A poignant, introspective senryu.

– Nicholas Klacsanzky (Ukraine)

Do you enjoy this senryu? You can tell us why in the comment section.