How I tackled Alan Summers’ prompts at NaHaiWriMo last May
Here’s a week of responses to Alan Summers’ prompts at the NaHaiWriMo (National Haiku Writing MOnth, which Michael Dylan Welch created at Facebook three years ago). YES, definitely, a daily challenge to write haiku has cranked up my mind or better yet, like a fit body, oiled it to resiliency. Writing with a group on cyberspace without the politics of bodily presence and its complications of commitments, has also made me fearless about risking my inadequacies–this turned out to be the secret to finding out who I am as a haiku poet as my lines do reveal. But who this is, until now, I can’t put it in a word…perhaps you can! Here then for you to enjoy, I hope.
#05/07/13 (green/gold/gone )
lunar eclipse—
his eyes on her frayed
jeans front
shattered eye what’s left of her mirror
gold leaf saint—
his indifferent stare
#05/06/13 (found as implied)
petal gust–
the street flutist’s
scrambled notes
under her hat…
the missing stubbles
tunnel spigot …the broken loo
fan tail on second thought
pointed fingers his guilt in black nails
#05/05/13 (echo)
weaving
through a cross stitch
of their argument…
her echo
spring echo–
the baby confronts
a Buddha
echo–
he smiles to his own smile
his other smile
#05/04/13 (den)
behind
the den mother’s back…
murmuring cubs
den of iniquity he finds his own sky
reeking of prey the fox’s den
#05/03/13 (curve)
the curve in her thighs wind chart
Lothario–
the river curves
out by rote
curved furrows a worried moon
05/02/13 (blue)
blue dawn…
the rain’s last phrase
on a glass pane
05/01/13 (asperity)
next I look…
the staccato scratching
of his rake
tea rings in my cup the grumbling darkness
on gravel
a day moon’s
sniffle
‘on pointed toes’, ‘haze’ (my two tanka in LYNX Oct 2012)
1
on pointed toes
like ripples, why not?
if floating
the way we do in void
we find what matters
2
haze
like the opaqueness we dread
a crust
the guise soft hearts
take on to survive
LYNX October 2012
Robert Frost’s stone house in Shaftsbury, Vermont
He had bought this house to try his hand at farming but quite unsuccessfully, yet he kept it, visiting it intermittently while he taught in and around the state. The house is now a modest museum with sparse furniture but paneled with text, chronicling his life and poetry. It’s here in a room facing south of what is now a field of wild flowers that he wrote his most anthologized and quoted poem, “Stopping by Woods on a Snowy Evening” one June morning following the winter he went horse riding. The room is dedicated to the poem, including how he wrote it—as a whole in one sweep—controversies regarding a comma, discussions and debates on what he meant by his most quoted stanza, as well as critics’ attempts at drawing out from him more than what he wrote. They agree on the ‘ulteriority’ of his poetry as he insisted there is no hidden meaning in his lines. He simply meant ‘it was getting late and I had to go home.’ But debates rage on…
“…The woods are lovely, dark and deep.
But I have promises to keep
And miles to go before I sleep,
And miles to go before I sleep.”
As a lover of his poetry, having been introduced to ‘his woods’ in my youth in a faraway tropical country, visiting his house has meant, for me, finding fulfillment of a yet another vague dream.
Alegria Imperialtxt/Eleanor Angelespix
‘pine strand’ one of 365 haiku on your mobile phone
Read a haiku-a-day on your mobile phone. Yes, simply access your haiku app and anyone of the 365 haiku would show up as you click or shake your screen. You might read mine:
pine strand
flailing in night sky—
the first low star
Alegria Imperial
Lynx XXIII (2008)
The Haiku Foundation Haiku app Data Base 2012
‘some nights’ & ‘come feel’, 2 more tanka from GUSTS Spring/Summer 2012
some nights
the moon hides its face
for healing
like our other side
that needs to be unseen
come feel
this frozen bud
let’s learn
from its tight lips
the secret of roses
GUSTS 15 Spring/Summer 2012, Tanka Canada
five haiku, my offering for National Haiku Poetry Day
moon flitting
from staccato dawn
an owl hoots
swigging in the pine copse raccoon eyes
is the fox a man in his dream?
snow melt
a zebra
snorts
at jet stream
moonset
ivy wall
its shadowed side
sunlit sighs
my bilingual haiku, tanka and free verse for National Poetry of the Month guest post at haikudoodle
Excerpts from Margaret Dornaus’ blog today
http://haikudoodle.wordpress.com/2012/04/09/national-poetry-month-guest-post-6-alegria-imperial/
(or click on haikudoodle on my blogroll)
haiku
(Iluko with English translations by the author)
batbato iti
kapanagan
sabsabong ti sardam
stones
on the riverbank
dawn flowers…
LYNX XXIV: February 2009
tanka (Iluko with English translations by the author)
ayuyang-limdo
diay aripit ballasiw
ditoy a sumken
sinit a nalidliduan
nagtinnag nga anem-em
a haunt for sadness
the dried creek at the crossroad
here they recur
those untended flushes
turned chronic fevers…
LYNX XXV (June): 2, 2010
agsapa (in Iluko with translations by the author)
by Alegria Imperial
naimayeng
dagiti bituen idi mangngegda
ti as-asug
dagiti bulong iti sipnget
narba
dagiti pinatanor ti lawag
iti danarudor
dagiti agam-ammangaw
Bannawag, the Ilocano vernacular magazine of the Ilocos region in northern Philippines, May 16, 2009
dawn
(a loose translation with some nuances substituted as in some verbs, which in Iluko already imply a subject, and nouns that need no adjectives)
startled,
stars fell in the dark
among leaves
pining over lost suns–
loves
that light birthed
drowned in the roar of the
faithless….
http://haikudoodle.wordpress.com/2012/04/09/national-poetry-month-guest-post-6-alegria-imperial/
bay mouth (haiku–random post for National Poetry Writing Month)
Random post for National Poetry Writing Month
bay mouth
the strangeness
of first meetings
Notes from the Gean 3:4 March 2012
About
autumn wind
wondering about lilies
in a mountain pond
Tell me a writer who really gets a satisfying jornal, in Spanish a daily wage or its equivalent, and I’ll bare a spirit in constant bouts of doubtfulness. Does a writer earn more because of what he writes and how he does it? Or is a writer paid more or less because of who he is? Is it money or honor he expects to receive?
Ahhh … but money as wage, and praise or honor as reward would be too predictable, too common as Job lamented in the Book of Job. It is in these lines that read: “Is not man’s life on earth nothing more than pressed service, his times no better than hired drudgery? Like the slave, sighing for the shade, or the workman with no thought but his wages, months of delusion I have assigned to me, nothing for my own but nights of grief. Lying in bed I wonder, ‘When will it be day?’ Risen I think, ‘How slowly evening comes!’
Restlessly I fret till twilight falls. Swifter than a weaver’s shuttle my days have passed, and vanished, leaving no hope behind. Remember that my life is but a breath, and that my eyes will never again see joy.”
Not money but joy is the ultimate wage as the passage implies. And joy is not hard to earn for it is in everyday life if we have eyes to see, a nose to smell, fingers to touch, ears to hear–a heart beating. This to me, is how a writer earns a daily wage. His wages then take the guise of treasures his heart can transfigure into a universe of thought that taps into other hearts, that causes a swirl in the depth of other souls, or that makes wings to sprout on leaden heels.
Sometimes not joy but rueful, poignant moments are my pick. Take what I earned once: On my walk home in my neighborhood, I caught two clumps of snowdrops–such tiny blossoms smaller than fingertips that do not look up but shyly droop close to black patches on the ground winter has frozen. That afternoon in the frosty wind, they trembled as if ready to turn away and run but how could they? For that poignant moment on seeing the wintry rain beat on the fragile snowdrop–as if pushing it to go home now, go to sleep–I earned my jornal, my daily wage.
Once on summer walk, the crackle of dried leaves just hit me both like the laughter of children and sobs long suppressed. Neither one of them would resolve the dryness, but I recalled how each does bring tears: laughter for joy, sobs for healing that comes with the release of a dammed-up pain. My jornal that day came as two haiku.
Fall has since shortened the day and the heart begins to crave for lost space that it doesn’t even recall which or where. I feel that most treasures have turned into mush so much so I wouldn’t be able to sift them off the ground. Yet I caught the dying day yesterday–so glorious in the gold of autumn it opened a flip side of serene heaven. Blades of grass coated in diadems of rain that carpet the lawns render royal walks poor by imitation. A burst of red maple against an inky blue sky humbled me, a soul bragging about her skill to recreate beauty in words.
I suppose I’m taking Job’s reflections to heart. I’d rather not gloss over each day and look beyond what’s there, right before me, or else fragile as is my breath one day “my eyes may never again see joy” to write. With what then will I compare the eternal joy, the ultimate wage I await?
Yet for now, as other eyes hanker to make the invisible visible, I put a tag on some moments of joy. Like on seeing the snowdrops, I paid myself $200 as my jornal.
What could have been yours?
Recent Comments
haikutec on What is ‘zoka’? (P… alee9 on What is ‘zoka’? (P… haikutec on What is ‘zoka’? (P… alee9 on What is ‘zoka’? (P… haikutec on What is ‘zoka’? (P…
