tangerine antho

tangerine antho an ongoing anthology of short verse deriving from the haiku and tanka tradition See page: 2 ; 2 3 ; 4 ; 5 ; ? ; Copyright 2002 by Winfred Press Winfred@crocker.com <<ANNOUNCING>> Blue Smoke: by sheila windsor & Larry Kimmel & Larry Kimmel - Collected Poems Online: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in tangerine antho. Winfred Press and its associates do not assume responsibility for views of contributors whose work appear in tangerine, nor for research errors, infringements of copyrights, or failure to make proper acknowledgments. All art work not otherwise specified is the property of Winfred Press. Search for other haikai related short forms: haiku; tanka; tanbun; gembun; cherita; tanrenga & tanku, both on-line and on the following Winfred Press webpages.

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Tanku, Tanbun, Tanka-Bun: New Forms Based on Tanka Michael Dylan Welch's commentary in Volume II, No. 2 Tanka Society of America newsletter invited comments from members regarding English-lang- uage tanka, including the issue of ex- perimental forms. I would like to respond to his request by sharing with other tanka poets a discussion Larry Kimmel and I had on combining tanka with either prose and/or haiku. I hope our informal exchange of ideas will prompt other readers and writers of tanka to contribute their thoughts on this type of experimentation, as well as sharing other examples that we might have missed. Perhaps the most familiar and least ex- perimental link is to intersperse tanka with poetic prose, sometimes with haiku, sometimes not. A precedent for this practice can be found in classic Japanese forms, most notably The Tale of Genjii (c. 1000) by Marasaki Shikibu, which links tanka with fictional narrative. Despite this literary history, many modern definitions (e.g., David Cobb, Blithe Spirit, September, 2000; Pat- rick Frank, Point Judith Light II: 2, 1992, 8) cite only haiku as the poetic link to the text in haibun. Bruce Ross, editor of the haibun anthology Journey To The Interior (1998), is an exception in that he includes Masaoki Shiki's (1867 -1902) diaries in his discussion of haibun, as well as The Tale of Genjii. Yet in modern, English-language haibun we seldom find tanka interspersed with prose, although a few recently-publish- ed journals and anthologies are includ- ing this form. Sanford Goldstein coined the term "tanka-bun" for text linked with tanka, and his "Tanka Walk," published in 1983 (Northeast, III, 15), was likely the first to appear in English. Lynx, edited by Jane and Werner Reichhold, has been publishing examples of this form from at least 1997 in their print journals and, currently, on their online magazine. Some examples intersperse prose with haiku as well as tanka. Larry Kimmel's "Evening Walk" followed this format and was published in Point Judith Light, Spring-Summer, 1996. More experimental than these forms is Larry Kimmel's link using 31 syllables or fewer written as prose text followed by, or preceded by, a haiku. Larry's submission of this type of prose/poem to Frogpond editor Kenneth Leibman in 1997 raised the issue of what to call, or label, this distinct new form. Larry proposed either "tanbun" or "tibun" for these tiny haibun. Ken wrote to him say- ing he had looked up "tanbun," and the definition given was "a short piece; a short composition." He explained that the same dictionary gave haibun as "a terse prose-poem." Tanbun was selected as the preferred name for Larry's submission, and four of these appeared in Frogpond, December, 1997. Since that time, several examples of this form have appeared as short haibun (without being designated as tanbun) in Modern Haiku, and three of these have been anthologized in The Thin Curve (Red Moon Press, 1999). A timeless example from this group by Larry: The Home Front A lone bumble bee patrols a hole in the ground. Kill it and soon there's another. How am I to finish painting the house? war and the rumors of war--still the routine of bee and clover Other short haibun have been published (see Jim Kacian's "Home," in Stone Frog, 2000, Red Moon Press, and Alison Williams' "The Irresponsible Poet," Blithe Spirit, September, 2000), but the prose sections are greater than 31 syllables and evidently were not writ- ten with tanka in mind, as Larry Kimmel has deliberately done. A second way in which tanka is com- bined with haiku is what I have called "tanku." This form presents a tanka with 31 or fewer syllables written in linear, rather than prose form, followed by a haiku. The shift that often is pre- sented within a tanka occurs between the tanka and haiku. In my versions of this form, the tanka have varied from five to seven lines--another ex- perimental and perhaps controversial presentation. Here is a previously unpublished example with a five-line tanka: Shelter a golden koi aligns itself beneath a fallen leaf blown this way and that they drift with a fitful wind . . . over his heart an American flag pin made in China Yet another experiment is to combine 31 syllables or fewer written as prose (as with Larry Kimmel's tanbun), but linked with a linear tanka, rather than haiku. Larry agreed that this too should be considered a form of tanbun. Editor Dorothy Howard published this poem of mine in Raw NerVz Haiku, VII:3, 2001. Medical Breakthroughs Rebecca, just recovered from having one breast sliced off, phones to tell me about preparations for her next stage of treatment . . . like perpetrators of Holocaust they tattoo tiny black marks on surgically-scarred flesh targets for radiation Tanbun, tanku and tanka-bun seem to have potential as distinct forms, yet are able to retain the imagistic style tradi- tionally practiced in haiku. Further, they offer expanding opportunities for link- ing with other poets, as well as using juxtaposition of nature and emotional elements. Less serious or satirical aspects, such as might be found in kyoka also work well with these poems. Additionally, classical elements such as pivot words or phrases, puns and seasonal, cultural or literary allusions can find a place in these experimental combinations. I encourage tanka poets to heed David Elliott's caveat in his recent essay "Formal Convention" (Frogpond, XXIV, 2, 2001): "there is a danger to the setting in .... uniformity can be stifling ... let variety flourish." Yes, for tanka too. ______________ Linda Jeannette Ward Tanka Society of America, Volume II, No. 4 ~ Winter 2001 (by permission of the author, Linda Jeannette Ward) © 2002 by Linda Jeannette Ward ____________________________________

October Morning tanbun High and motionless, the hot-air balloon seems painted on the October sky. Its flame, the distant roar of a Chinese dragon. so vivid - her fresh tattoo Larry Kimmel © 2002 by Larry Kimmel

The Doe tanbun As the headlights touch her, her legs fold to unfold on the far side of the fence where she isn't . . . having vanished into thin dusk . . . gone - but the wonder of blood and spirit remains Larry Kimmel © 2002 by Larry Kimmel

pug dog hugged tight to his chest a white-haired white man in aloha trunks marches through the surf line purposefully . . . third miscarriage ~ the weak flutter of a white butterfly on the beach . Linda Jeannette Ward © 2002 by Linda Jeannette Ward

you notice a feeling of irritation then notice the ladybug creeping along the top of the monitor designing a website ~ a fly butts and butts the window pane

Tanrenga & Art by Carol Purington,Larry Kimmel, art by Merrill Ann Gonzales

lining honeybees - a forgotten orchard of remembered fragrance . . . quick the synapse from sweetness to longing _______________________________ empty afternoon . . . the teacher says I must not divide by 0 between hopscotch and geometry I draw a blank ________________________________

on the road again legends say i'm running for the bus down the boulevard scattering blossoms after the fall of decades you forgot, what lies would you come up with to pacify the ticking clock of solitude, rooms out of ash wednesdays? the hour to come, fruit in still lifes dulled by pewter light & brush. ai li copyright ai li 2002 ________________ Legends is a 51 word titled short story about Life, Love and Loss written as prose. Please count all hyphenated words as one word. Legends was inspired by Brian Aldiss's `Mini-Saga', owes its beautiful name to Larry Kimmel, and was gifted to ai li from muse on 16 August 2001.

Two other new short verse forms to be found on these pages are the "cherita" and the "gembun," both creations of ai li, the founding editor of still and now its independent e-zine offshoot dew-on-line. Cherita is the Malay word for story or tale. A Cherita consists of a single stanza verse, followed by a two-line verse, and then finishing with a three-line verse. It can be written solo or with up to three partners. The Cherita tells a story. A Gembun is made up of either a one-word first link or anything up to one sentence, to be capped by a haiku of up to four lines. The Gembun has to include an element of suggestion in either the opening sentence, the haiku or both. For more information and examples of these new short forms click for: still: home of short verse.

Cherita on my way home the early signs of neon everywhere & nowhere from within you carve another heart give it night heat __________________________ Gembun playing solitaire candle flame and the breath of night __________________________ Cherita dividing her jewels the velvet darker with pearls we make coffee sweet tea for the living as we forget her

here we say goodbye my gaze torn by barbed wire boundaries rusted into memory __________________________ Cherita notes into night rooftop aria the sky another purple you lie in an attic room without her __________________________ Cherita alone the game of sweet remembrance i cut the pack with blue smoke your leaving train [for Larry Kimmel] __________________________

Haibun Hacienda horsewoman. Her mantilla lace holding the gaze from her green eyes. He washes by the fountain, the sun on his hardness. There is no soft place for her to lie on, the shade in deep pleasure. courtyard rendezvous the tinkle of ancient water he tames a nipple frees a breast bougainvillea screaming its red __________________________

Three Cinquain Kathy Lippard Cobb © 2002 by Kathy Lippard Cobb The Artist's Garden Still life. A half smile spreads across her pale pink lips. He repaints the change of light on her breast. __________________________ All That Remains You left. Yet, my heart beats . . . I wake in your shirt, then scan the obituaries for your name. __________________________ His eyes: a stonewashed blue tearing down walls I so carefully built...I'm left naked again. __________________________

The cinquain should need no explanation here. It has been around since 1915, and there are a number of excellent on-line magazines publishing the form, such as Amaze: The Cinquain Journal, edited by Denis M. Garrison. Jane Reichhold at AHA Poetry! also has a good history and explanation of the form.

hand in hand down the lane we traced the scent wild honeysuckle snuffed candle smoke scenting the dark, stars beyond the skylight over and over thru fireglow to the wind's whistling moan

Terror The other morning I went out to get my mail and there was a winter wren caught in my porch. It was almost exhausted from trying to fly through the windowpane. You should have seen it make a beeline for the door once I got it headed in the right direction. trapped wren in its cage my beating heart I almost want to end this with my feathered heart. Merrill Ann Gonzales © 2002 by Merrill Ann Gonzales _______________________________

art © 2002 by Merrill Ann Gonzales
___________________________

text © 2002 by Larry Kimmel
art  © 2002 by Merrill Ann Gonzale

_____________________




a winter day in Coney Island

the amusement park closed -
out of the tall weeds
a dog's bark


roller coaster ruins -
in a winter sky
black birds twist and turn


inside the arcade
carousel music -
wind across Mermaid Ave.



Stanford M. Forrester
© 2002 by Stanford M. Forrester


____________________________________________





Two Haiga
Angelee Deodhar & Larry Kimmel






            _______________________










text © 2002 by Larry Kimmel
art  © 2002 by Angelee Deodhar

_____________________________

s m o k e lingers in the misting air . . .

________________________

Haiku Sequence

____________

tangerine

of segments

forms & poems

small and golden

separate and yet

so much a part of each other

	_________________________________________	________________________________
	Tanku, Tanbun, Tanka-Bun: New Forms Based on Tanka Michael Dylan Welch's commentary in Volume II, No. 2 Tanka Society of America newsletter invited comments from members regarding English-lang- uage tanka, including the issue of ex- perimental forms. I would like to respond to his request by sharing with other tanka poets a discussion Larry Kimmel and I had on combining tanka with either prose and/or haiku. I hope our informal exchange of ideas will prompt other readers and writers of tanka to contribute their thoughts on this type of experimentation, as well as sharing other examples that we might have missed. Perhaps the most familiar and least ex- perimental link is to intersperse tanka with poetic prose, sometimes with haiku, sometimes not. A precedent for this practice can be found in classic Japanese forms, most notably The Tale of Genjii (c. 1000) by Marasaki Shikibu, which links tanka with fictional narrative. Despite this literary history, many modern definitions (e.g., David Cobb, Blithe Spirit, September, 2000; Pat- rick Frank, Point Judith Light II: 2, 1992, 8) cite only haiku as the poetic link to the text in haibun. Bruce Ross, editor of the haibun anthology Journey To The Interior (1998), is an exception in that he includes Masaoki Shiki's (1867 -1902) diaries in his discussion of haibun, as well as The Tale of Genjii. Yet in modern, English-language haibun we seldom find tanka interspersed with prose, although a few recently-publish- ed journals and anthologies are includ- ing this form. Sanford Goldstein coined the term "tanka-bun" for text linked with tanka, and his "Tanka Walk," published in 1983 (Northeast, III, 15), was likely the first to appear in English. Lynx, edited by Jane and Werner Reichhold, has been publishing examples of this form from at least 1997 in their print journals and, currently, on their online magazine. Some examples intersperse prose with haiku as well as tanka. Larry Kimmel's "Evening Walk" followed this format and was published in Point Judith Light, Spring-Summer, 1996. More experimental than these forms is Larry Kimmel's link using 31 syllables or fewer written as prose text followed by, or preceded by, a haiku. Larry's submission of this type of prose/poem to Frogpond editor Kenneth Leibman in 1997 raised the issue of what to call, or label, this distinct new form. Larry proposed either "tanbun" or "tibun" for these tiny haibun. Ken wrote to him say- ing he had looked up "tanbun," and the definition given was "a short piece; a short composition." He explained that the same dictionary gave haibun as "a terse prose-poem." Tanbun was selected as the preferred name for Larry's submission, and four of these appeared in Frogpond, December, 1997. Since that time, several examples of this form have appeared as short haibun (without being designated as tanbun) in Modern Haiku, and three of these have been anthologized in The Thin Curve (Red Moon Press, 1999). A timeless example from this group by Larry: The Home Front A lone bumble bee patrols a hole in the ground. Kill it and soon there's another. How am I to finish painting the house? war and the rumors of war--still the routine of bee and clover Other short haibun have been published (see Jim Kacian's "Home," in Stone Frog, 2000, Red Moon Press, and Alison Williams' "The Irresponsible Poet," Blithe Spirit, September, 2000), but the prose sections are greater than 31 syllables and evidently were not writ- ten with tanka in mind, as Larry Kimmel has deliberately done. A second way in which tanka is com- bined with haiku is what I have called "tanku." This form presents a tanka with 31 or fewer syllables written in linear, rather than prose form, followed by a haiku. The shift that often is pre- sented within a tanka occurs between the tanka and haiku. In my versions of this form, the tanka have varied from five to seven lines--another ex- perimental and perhaps controversial presentation. Here is a previously unpublished example with a five-line tanka: Shelter a golden koi aligns itself beneath a fallen leaf blown this way and that they drift with a fitful wind . . . over his heart an American flag pin made in China Yet another experiment is to combine 31 syllables or fewer written as prose (as with Larry Kimmel's tanbun), but linked with a linear tanka, rather than haiku. Larry agreed that this too should be considered a form of tanbun. Editor Dorothy Howard published this poem of mine in Raw NerVz Haiku, VII:3, 2001. Medical Breakthroughs Rebecca, just recovered from having one breast sliced off, phones to tell me about preparations for her next stage of treatment . . . like perpetrators of Holocaust they tattoo tiny black marks on surgically-scarred flesh targets for radiation Tanbun, tanku and tanka-bun seem to have potential as distinct forms, yet are able to retain the imagistic style tradi- tionally practiced in haiku. Further, they offer expanding opportunities for link- ing with other poets, as well as using juxtaposition of nature and emotional elements. Less serious or satirical aspects, such as might be found in kyoka also work well with these poems. Additionally, classical elements such as pivot words or phrases, puns and seasonal, cultural or literary allusions can find a place in these experimental combinations. I encourage tanka poets to heed David Elliott's caveat in his recent essay "Formal Convention" (Frogpond, XXIV, 2, 2001): "there is a danger to the setting in .... uniformity can be stifling ... let variety flourish." Yes, for tanka too. ______________ Linda Jeannette Ward Tanka Society of America, Volume II, No. 4 ~ Winter 2001 (by permission of the author, Linda Jeannette Ward) © 2002 by Linda Jeannette Ward ____________________________________	________________________________
		_________________________________ *October Morning tanbun* High and motionless, the hot-air balloon seems painted on the October sky. Its flame, the distant roar of a Chinese dragon. so vivid - her fresh tattoo Larry Kimmel © 2002 by Larry Kimmel _________________________________ The Doe** tanbun As the headlights touch her, her legs fold to unfold on the far side of the fence where she isn't . . . having vanished into thin dusk . . . gone - but the wonder of blood and spirit remains Larry Kimmel © 2002 by Larry Kimmel _________________________________ _________________________________ Haiku Sequence melting into pure water the snow buddha temple yard the sound of stone buddhas high tide the sand buddha scattered into a million waves Stanford M. Forrester © 2002 by Stanford M. Forrester _________________________________ Two examples of tanku: pug dog hugged tight to his chest a white-haired white man in aloha trunks marches through the surf line purposefully . . . third miscarriage ~ the weak flutter of a white butterfly on the beach . Linda Jeannette Ward © 2002 by Linda Jeannette Ward _________________________________ you notice a feeling of irritation then notice the ladybug creeping along the top of the monitor designing a website ~ a fly butts and butts the window pane Larry Kimmel © 2002 by Larry Kimmel _________________________________ Tanrenga & Art by Carol Purington,Larry Kimmel, art by Merrill Ann Gonzales lining honeybees - a forgotten orchard of remembered fragrance . . . quick the synapse from sweetness to longing _______________________________ empty afternoon . . . the teacher says I must not divide by 0 between hopscotch and geometry I draw a blank ________________________________ shadows of deer drift through shadows of twisted old trees a spill of apples down the cellar stairs text © 2002 by Larry Kimmel & Carol Purington art © 2002 by Merrill Ann Gonzales ___________________________


____________________________________________________________________________ A featurette of legends, cherita, gembun, short haibun & art images by ai li all poems & prose copyright ai li 2002 all original art work copyright ai li 2002 _______________________________ on the road again legends say i'm running for the bus down the boulevard scattering blossoms after the fall of decades you forgot, what lies would you come up with to pacify the ticking clock of solitude, rooms out of ash wednesdays? the hour to come, fruit in still lifes dulled by pewter light & brush. ai li copyright ai li 2002 ________________ Legends is a 51 word titled short story about Life, Love and Loss written as prose. Please count all hyphenated words as one word. Legends was inspired by Brian Aldiss's `Mini-Saga', owes its beautiful name to Larry Kimmel, and was gifted to ai li from muse on 16 August 2001. _________________________________ Two other new short verse forms to be found on these pages are the "cherita" and the "gembun," both creations of ai li, the founding editor of still and now its independent e-zine offshoot dew-on-line. Cherita is the Malay word for story or tale. A Cherita consists of a single stanza verse, followed by a two-line verse, and then finishing with a three-line verse. It can be written solo or with up to three partners. The Cherita tells a story. A Gembun is made up of either a one-word first link or anything up to one sentence, to be capped by a haiku of up to four lines. The Gembun has to include an element of suggestion in either the opening sentence, the haiku or both. For more information and examples of these new short forms click for: still: home of short verse. _________________________________ Cherita on my way home the early signs of neon everywhere & nowhere from within you carve another heart give it night heat __________________________ Gembun playing solitaire candle flame and the breath of night __________________________ Cherita dividing her jewels the velvet darker with pearls we make coffee sweet tea for the living as we forget her __________________________ Gembun here we say goodbye my gaze torn by barbed wire boundaries rusted into memory __________________________ Cherita notes into night rooftop aria the sky another purple you lie in an attic room without her __________________________ Cherita alone the game of sweet remembrance i cut the pack with blue smoke your leaving train [for Larry Kimmel] __________________________ Haibun Hacienda horsewoman. Her mantilla lace holding the gaze from her green eyes. He washes by the fountain, the sun on his hardness. There is no soft place for her to lie on, the shade in deep pleasure. courtyard rendezvous the tinkle of ancient water he tames a nipple frees a breast bougainvillea screaming its red __________________________ all poems & prose copyright ai li 2002 original art work copyright ai li 2002 _________________________________ Three Cinquain Kathy Lippard Cobb © 2002 by Kathy Lippard Cobb The Artist's Garden Still life. A half smile spreads across her pale pink lips. He repaints the change of light on her breast. __________________________ All That Remains You left. Yet, my heart beats . . . I wake in your shirt, then scan the obituaries for your name. __________________________ His eyes: a stonewashed blue tearing down walls I so carefully built...I'm left naked again. __________________________ The cinquain should need no explanation here. It has been around since 1915, and there are a number of excellent on-line magazines publishing the form, such as Amaze: The Cinquain Journal, edited by Denis M. Garrison. Jane Reichhold at AHA Poetry! also has a good history and explanation of the form. _________________________________ Haiga, Sequence & Haibun sheila windsor ________________________ Haiku Sequence hand in hand down the lane we traced the scent wild honeysuckle snuffed candle smoke scenting the dark, stars beyond the skylight over and over thru fireglow to the wind's whistling moan ____________ Skywide haibun My mother's imploring. . .I'm not listening I am sensing danger, revelling. . .thrilling It could be god calling, I'm not coming in I am in my element: the flow of energy in thunder and lightning unfurling the arms of a child skywide sheila windsor art & text © 2002 by sheila windsor _________________________________ Haiga & Haiga-Haibun Merrill Ann Gonzales & Larry Kimmel ____________________________________________ Terror The other morning I went out to get my mail and there was a winter wren caught in my porch. It was almost exhausted from trying to fly through the windowpane. You should have seen it make a beeline for the door once I got it headed in the right direction. trapped wren in its cage my beating heart I almost want to end this with my feathered heart. Merrill Ann Gonzales © 2002 by Merrill Ann Gonzales _______________________________ art © 2002 by Merrill Ann Gonzales ___________________________ text © 2002 by Larry Kimmel art © 2002 by Merrill Ann Gonzale _____________________ a winter day in Coney Island the amusement park closed - out of the tall weeds a dog's bark roller coaster ruins - in a winter sky black birds twist and turn inside the arcade carousel music - wind across Mermaid Ave. Stanford M. Forrester © 2002 by Stanford M. Forrester ____________________________________________ Two Haiga Angelee Deodhar & Larry Kimmel _______________________ text © 2002 by Larry Kimmel art © 2002 by Angelee Deodhar _____________________________ Cherita *"Hast du Feuer?"* shying away she leaves her sly smile but not her name . . . a t w i s t of blue s m o k e lingers in the misting air . . . Larry Kimmel © 2002 by Larry Kimmel _________________________________ _________________________________ tangerine of segments forms & poems small and golden separate and yet so much a part of each other [comment from ai li: copyright ai li 2002] tangerine ever in the process of becoming . . . ______________________________ See page: 2 ; 3 ; ? ; 4