Tuesday, September 29, 2015

thin twilight
along the shoreline
leaving behind
the silent reflections
of scattered seashells

Cattails, September Issue, 2015 (Ed. an’ya)

http://unitedhaikuandtankasociety.com/tanka153=5.html

Thursday, September 3, 2015

the rainbow
slowly disappears
into the sky
the stain of  separation
drenches me with tears

A Hundred Gourds, 4:4 September 2015 (Ed. Susan Constable)

Portrayed as traditional haiga by Ron Moss
http://www.ahundredgourds.com/ahg44/tanka09.html
flat palm--
so many cross-roads
to the destination

Wild Plum, Issue 1:2, 2015 (Eds. Amanda McCabe and Gabriel Sawicki)

*****

sunset--
the stone rests
at bottom

Wild Plum, Issue 1:2, 2015 (Eds. Amanda McCabe and Gabriel Sawicki)

https://wildplumhaiku.wordpress.com/


*****

Tuesday, September 1, 2015

thick clouds--
a gap takes me
to the ocean

Modern Haiku, Volume 46:2, Summer 2015 (Ed. Paul Miller)

http://www.modernhaiku.org/issue46-2/index.html

Friday, August 21, 2015

Haiku Reality, Vol. 12, No 20, Summer 2015
Ed. and Art Work: Robert D. Wilson               
BEST OF ISSUE (Second Choice)
Najbolji haiku broja (drugoplasirani)

Pravat Kumar Padhy, India (Indija)

milky way –
lightening splits
the darkness

mlečni put -
munja rascepila
mrak

tr. Sasa Vazic
Pravat Kumar Padhy from India has composed an evocative, action-biased (koto, objective) hokku using the the Milky Way Galaxy as its focus. The Milky Way, called Amanogawa by the Japanese, meaning, River of Heaven, can be interpreted in this poem concretely and metaphorically, depending on one's cultural memory, experience, and subjective conceptualization. Is it really a flow of milk? Is it an actual river with fish and  water?

Padhy makes good use of juxtaposition in contrasting line one with lines 2-3. Does he really see the galaxy as lightening splitting the darkness, or does the lightening splitting the darkness represent something appearing in the night-time sky at the same time the poet is viewing the Milky Way, which somehow, calls to mind his conceptualization of the galaxy? The intricacy and beauty of a true hokku in the tradition of Basho, Buson, Doho, Chiyo-ni, or Issa, is its ability to say more using an economy of words via the usage of Japanese aesthetics prior to the Westernization of hokku by Shiki, who renamed his concept, haiku, a failed experiment that is without a universally-accepted definition, thus negating it as a genre.

Pravat Kumar Padhy iz Indije je napisao snažan hoku zasnova na radnji (koto, objektivan) u čijem fokusu je galaksija Mlačni put. Mlečni put, koji Japanci zovu Amanogawa, što znači Nebeska reka, može se u ovoj pesmi tumačiti i bukvalno i metaforički, zavisno od naše kulturne memorije, iskustva i načina poimanja sveta. Radi li se stvarno o mleku koje teče? Da li je on zaista reka sa ribama i vodom?

Padhy dobro koristi jukstapoziciju suprotstavljajući prvi stih sa druga dva. Da li on stvarno vidi galaksiju kao munju koja cepa mrak ili ta munja predstavlja nešto što se javlja na noćnom nebu u trenutku kada pesnik posmatra Mlečni put, što na neki način ukazuje na način na koji on pojmi galaksiju? Složenost i lepota pravog hokua u tradiciji Bašoa, Busona, Dohoa, Čio-ni ili Ise je njegova sposobnost da kaže mnogo sa malo reči korišćenjem japanske estetike pre nego što ga je Šiki vesternizovao i promenio mu ime u haiku, propali eksperiment bez opšteprihvaćene definicije, što ga čini nevažećim žanrom poezije.

tr. Sasa Vazic