Haiku commentary is a blog initiated and organized by Nicholas Klacsanzky. As a co-editor, I like sharing my views on the work of the haiku writers.
https://haikucommentary.wordpress.com/about/
wind through bamboo—
I too
am hollow
by Thomas L. Vaultonburg (USA)
published in The Heron’s Nest, March 2026
I find this haiku intriguing in its simplicity. The opening line immediately creates a vivid scene, while the em dash invites us to pause and wonder about the wind: does the wind pass through the bamboo? Does it create a rhythmic sound? Does it pass silently? Is it moving through a single bamboo plant, a group of bamboo, or an entire bamboo grove? Does it affect the person observing it? All these questions arise when we read the first line and pause at the em dash. The short second line shifts the poem from the external world to the speaker’s inner state. The word ‘too’ seems to connect the person with the bamboo, suggesting that, like the hollow bamboo, the person also feels empty.
The wind can also be read as a metaphor for time or difficult forces that pass through us and leave their mark. I particularly like the sound pattern of ‘through’, ‘bamboo’, and ‘too’. The recurring ‘oo’ sound creates a lingering, resonant quality that reinforces the feeling of emptiness and solitude, while the softer ‘m’ and ‘w’ sounds add to the poem’s quiet, melancholic mood. Together, these sounds create an atmosphere of sadness, solitude, and quiet introspection.
What begins as a simple image of wind through bamboo ultimately becomes a reflection on loneliness and the human condition. The simplicity of the language leaves much unsaid, allowing the reader to enter that silence and complete the meaning for themselves.
------
mountain peaks
inside my shoe
a pebble
by Kavita Ratna (India)
previously published in Cold Moon Journal, August 2024
The opening image, mountain peaks, presents a vast and expansive landscape, suggesting a range of mountains viewed together rather than a single peak. It also leaves the exact nature of the mountains open to interpretation—whether they are high, steep, snow-capped, distant, or being viewed from the summit. The second image, inside my shoe, creates a striking shift in perspective. The vastness of the mountain range is suddenly replaced by something intimate, immediate, and almost unnoticed.
A pebble, once an insignificant fragment of the mountain landscape, becomes a source of discomfort when it enters the narrator’s shoe. In this sense, this haiku may suggest that even something small can become significant when it is close to us.
The pebble can be read metaphorically as a small obstacle or problem in life. Just as a tiny stone inside a shoe can make walking difficult, seemingly minor difficulties can disturb our progress when we fail to acknowledge them. At the same time, the pebble may represent a limitation or hurdle that prevents us from moving comfortably toward larger goals. The contrast between the grandeur of the mountain peaks and the inconvenience of the pebble ultimately draws attention to the power of perspective: something insignificant in the vastness of the world can become enormous when it is experienced personally. The haiku thus moves from the grandeur of the external landscape to the intimate experience of the individual, suggesting that the scale of a problem is not always determined by its physical size, but by how closely it affects us.
The absence of punctuation in this haiku can be important because it leaves the three images open and connected without imposing a fixed interpretation or stopping point.
------
— Royal Baysinger (Canada)
first published in Frogpond, 46.3, 2023
This monoku reflects a moment of seasonal transition, where one phase of summer gradually transforms into another. The opening phrase, as the heatwave settles, suggests that the speaker has been enduring and observing an extended period of oppressive heat, waiting for the moment when its intensity finally begins to ease. The word settles becomes the hinge of the poem, marking not only a shift in the weather but also a quiet change in the speaker’s emotional state. As the heat subsides, so too does the inner tension, creating a sense of relief and anticipation.
The phrase a swell of cicada songs evokes both a rising chorus and a wave of renewed life. The word swell carries a double meaning: it suggests an increase in sound while also recalling the movement of a wave, reinforcing the poem’s sense of transformation. The cicadas seem to celebrate this subtle change in the season, their chorus becoming a natural announcement of renewal. Their songs may also foreshadow the coming rains, or express the instinctive joy of a landscape awakening after oppressive heat.
Beyond the seasonal scene, the haiku resonates as a metaphor for human experience. Just as the heatwave eventually settles, periods of hardship also come to an end. The swelling chorus of cicadas becomes a symbol of hope, resilience, and inner renewal—a reminder that difficult times can give way to fresh understanding, joy, and transformation.
The poem’s music further deepens its effect. The repeated s sounds in as, settles, swell, songs, and cicada create a soft, whispering rhythm that mirrors the gradual easing of the heat, while the w sound in heatwave and swell suggests the motion of a wave carrying the poem from stillness toward renewal.
-----
her goodbye
too soft to hear
autumn rain
— Tom Bierovic (USA)
published in The Heron’s Nest, Volume XXVII, Number 1: March 2026
Commentary by Hifsa Ashraf:
The haiku begins with the pronoun ‘her’, which immediately personalizes the experience. The phrase ‘her goodbye’ carries a particular emotional weight. Had the poet written simply goodbye, the effect would have been more general, but the addition of her suggests someone who has a special place in someone’s life. It conveys a sense of disbelief, as though the speaker cannot quite accept that this particular person is leaving.
The line ‘too soft to hear ‘is especially striking because goodbyes are often associated with sadness, bitterness, or rage. However, in this haiku, the goodbye is soft, suggesting tenderness. Perhaps the separation has been discussed and mutually accepted, making the departure gentler, though no less painful. The repetition of the long o sound in too and to subtly deepens the emotional intensity of the moment.
The word ‘hear’ is equally important. It may imply that the speaker does not fully register the goodbye, either because it is spoken so softly or because the reality of the parting is too difficult to accept. There is something intriguing here; who heard it? The intended person, or perhaps others who witnessed the scene?
The ending image, ‘autumn rain’, beautifully anchors the poem. Autumn is normally associated with decline, endings, and melancholy, while rain often evokes quiet sorrow and introspection. The seasonal image deepens the emotional resonance of the farewell, allowing readers to connect their experiences of loss and separation to the poem.
What I particularly appreciate is the mystery of this haiku. The word ‘her’ remains open-ended. She could be a beloved, a family member, or a friend. Likewise, the goodbye may signify a breakup, a departure, an illness, or even death. This openness invites readers to enter the poem with their own memories and emotions, giving the haiku a universal and enduring quality.
-----
the robin and the snow and the robin’s song again underscoredAlan Summers (UK)
When I read this poem in one go, I feel as if an old vinyl record is playing on a loop, with slight pauses between the music that are almost imperceptible. It is a profound monoku in which the poet sketches a winter scene for us—a season of deep silence, where snow and cold weather often keep people indoors. Yet, winter is also a season of reflection, allowing us to connect more deeply with our inner selves and with nature. Since snow is a familiar part of winter in many regions of the world, connecting one’s emotions with it feels both natural and profound.
The opening word, ‘the’, makes me think of a particular robin. It may be a bird enjoying itself in the snow, or perhaps its song carries a note of sadness or loneliness. Symbolically, I also see the robin as a person seeking solace in nature in whatever way they can. Is the robin connected to deeply personal feelings that resurface each winter? Is it an old longing or desire that has quietly endured over the years and now emerges again in this season? The snow in the background plays an important role in highlighting these thoughts, emotions, moods, and desires. It also evokes a sense of nostalgia—something that keeps returning with the arrival of winter.
‘The snow’, likewise, may represent the familiar qualities associated with winter: silence, loneliness, emptiness, and stillness. Yet, I also see it as a kind of white noise, something vast and difficult to fully grasp. In this sense, the robin and the snow create a yin-yang relationship, complementing and defining one another.
The repetition of and in italics, though less emphasized, together with the recurring presence of the robin and the snow, creates an interesting rhythmic effect in the background. It emphasizes both elements and encourages readers to view them not as separate images but as parts of a unified experience.
The real cut, for me, occurs at ‘again’. The word suggests continuity—something returning time and again, whether through the cycle of the seasons or through recurring personal memories. It is as though the robin’s song repeatedly resurfaces within the snowy landscape. Perhaps it is something a solitary person longs for in winter: a sound that breaks the silence and resonates with their feelings. The song inspires one to join nature’s chorus and find comfort within it. It becomes something impossible to ignore amid the quiet fall of snow.
The haiku concludes with the word ‘underscored’, which shifts our attention from the surface imagery to the deeper music beneath it. Besides the robin’s song and the silence of the snow, there is a hidden harmony created by their interaction. The robin gives voice to the snow, while the snow, in turn, amplifies the robin’s song. The ending carries a subtle melancholy that invites us to reflect on our relationship with nature regardless of the season. At the same time, it offers hope, showing us how silence itself can become a symphony, even when no one else is there to hear it.
The repeated sounds of r, s, o, and n further enhance the musical quality of the monoku, creating a melody that readers can almost hear as they move through the poem.
memory care unit
this rippling twilight
beneath cypress trees
— Elliot Nicely (USA)
published in Modern Haiku, 57.1, 2026
The opening phrase, ‘memory care unit,’ establishes a setting most likely associated with aging, dementia, and the fragility of memory. It is a place where care, healing, and support take time, and where hope often persists despite uncertainty. The absence of punctuation leaves the phrase open, inviting readers to read it from different perspectives.
The second line, ‘this rippling twilight,’ introduces a transient and shifting moment of the day. The use of ‘this’ points to a particular twilight, making the experience immediate. The word ‘rippling’ suggests movement and transformation, whether real or imagined. It may refer to light filtering through the trees, reflections on a window, water, or another reflective surface. The poem naturally raises questions: What are the colours of this twilight? What causes the rippling effect? Is there water, a puddle, glass, or the play of light and shadow?
Cypress trees often carry associations with remembrance, longevity, and mortality. Their presence deepens the poem’s emotional and probably psychological resonance. There is a sense of yūgen here, as the poem leaves much unseen. What kind of cypress trees are these? Do they stand in a row, or do they form a canopy through which the fading light filters? The observer’s position also remains uncertain. Are they looking through a window? Standing beneath the trees? Or, is the scene partly imagined?
This uncertainty leads to another important question: Who is the observer? A resident, a caregiver, a visitor, or perhaps the poet? The haiku does not tell us, and that openness enriches the reading.
In any case, I appreciate how the poem connects imagination and nature within the setting of a memory care unit. Amid concerns about memory and aging, the natural world continues to offer moments of beauty, mystery, and reflection.
-------
|
river rope |
|
The phrase
“river rope” immediately draws attention with its unusual pairing and the
soft repetition of the ‘r’ sound. Without punctuation, the opening remains
open-ended, inviting readers to imagine the river and the rope in their own
way. Is the river calm or rushing? What kind of rope is it? What time of day
is it? The poet leaves space for multiple interpretations. |
|
“swinging
into” introduces a gentle rhythmic movement—the pull, sway, and faint sound
of the rope in the air. |
|
The
final line, “no thoughts,” turns the poem inward. Rather than presenting a
concrete image, it leaves us in a meditative stillness, suggesting a mind
emptied by the simple act of watching the rope swing. Everything else in the
scene seems on hold around that quiet or subtle motion. |
|
The
absence of punctuation and a clear kigo further deepens the haiku’s openness
and mystery. ----- |
onion bulbs—
I peel another layer
of sorrow
— Ibrahim Nureni (Nigeria/USA)
published in Acorn, 2024
The opening line, onion bulbs, establishes both a literal and symbolic foundation for the haiku. On one hand, it refers to a physical object associated with harvesting and storage; on the other, it suggests something layered and hidden. The image implies that beneath the surface of ordinary things lies something hidden within human experience. The em dash creates a pause, supplying a sense of hesitation and emotional weight.
The ending phrase, I peel another layer of sorrow, extends this metaphor into something very personal. The act of peeling becomes an inward process of confronting a long-time buried feeling. Each layer removed does not lead to clarity or resolution but instead reveals further sorrow, suggesting a therapeutic process. The word another depicts repetition, implying that this is an ongoing, possibly exhausting process of resurfacing something painful or difficult to face.
The haiku does not have a clear end. Rather than arriving at a core truth, it presents sorrow as something endlessly layered, where reaching to the core is either delayed or uncertain.
--------
the umbrella seller sits back
to enjoy his tea
— Sathya Venkatesh (India)
published in haikuKATHA, issue #44, 2025
The haiku presents a striking shift in mood, moving from danger or urgency to quiet ease. The opening line, “red alert,” signals danger or impending disruption, immediately creating tension and uncertainty. Without punctuation, it allows readers to imagine various interpretations, the most common ones maybe a storm, heavy rain, or another natural calamity.
The second line introduces an umbrella seller that subtly hinting at the nature of the alert. Umbrellas suggest rain or rain related disasters. Yet instead of reacting with alarm, the seller seems to be relaxed, creating a contrast between the urgency and the utter relaxation.
In the final line, “to enjoy his tea,” there is a quiet sense of ease, even a hint of enjoyment. The umbrella seller appears untroubled, suggesting that what brings concern to some may offer opportunity or simply remain an ordinary moment to others.
The overall imagery can be read as revealing a colder, more self-interested side of human nature, where one benefits from circumstances that may trouble many. At the same time, the haiku remains open to multiple interpretations and invites the reader to consider both its subtle implications and its silences.
-----
childhood home
I reach for a hand
no longer there
— Neena Singh (India)
published in THF Volunteer Haiku Anthology—Kick the Clouds, 2025
Childhood homes, family havelis, and ancestral spaces are among my most cherished themes in haiku. I spent my school summer vacations in our family haveli in the rural side of Punjab, where I experienced nature in its purest form. Those moments remain deeply embedded in my memory and continue to be a part of my poetry.
This haiku captures the innocence of a time when relationships were simple, honest, and pure. The opening line, ‘childhood home’, invites the reader to pause and absorb its emotional weight and strength. In the subcontinent, such homes are often vibrant, shared spaces where extended families live together under one roof. They are rich with relationships, daily rituals, and collective memory. Here, the poet evokes not just a physical place, but a nurturing environment that shapes one’s social and emotional values.
The second line, ‘I reach for a hand,’ introduces an intimate and personal gesture. It suggests the presence of a loved one, perhaps a grandparent, an aunt/uncle, or a cousin, etc. The act of reaching conveys both connection and longing. It feels like a vivid recollection of childhood, where true family bonds once existed. At the same time, it hints at absence and an emotional void.
The final line, ‘no longer there’, brings a subtle shift. A gentle sense of yūgen reflects a deep, unspoken awareness of life’s transience. Maybe time has changed the landscape of the home; the people who once lived there are gone, whether through distance or death. What remains is an emptiness that contrasts beautifully with the warmth of memory. Yet, in recalling these moments, the poet brings them to life.
Having no punctuation invites the reader to linger in the space, to experience the gaps where memory fades, and absence quietly endures.
-----
winter air
the fleeting shapes
of our breaths
— Małgorzata Formanowska (Poland)
22nd Annual UKIAH Haiku Festival: Honorable Mention for the Jane Reichhold International Award
This haiku captures a quiet moment in cold winter, phrased in a way that makes us feel it to our core. “Winter air” may be referring to the extreme cold that may occur before or after rain or snowfall. It is something invisible but still shows its existence in mysterious ways, i.e., breath clouds. The poet showcases the moment of visibility of the air in an imaginative way, where it suddenly takes shape briefly before it disappears. The yugen and ephemeral elements of this poem make it interesting, while also being easily relatable.
“The fleeting shapes” show the transience of life. Things come and go quickly, leaving a deep impact on our lives. Fleeting shapes may allude to the possibility that there are two persons in close proximity who are not only enjoying the warmth of their breath but also the shapes that it creates in dense air, which can intermingle and overlap with each other. It may also reflect melancholic feelings, with the person being alone and enjoying the shapes of breath even in chilly weather, or being so focused on something, and then the poet gets distracted by the shapes of breath. In any case, it is a subtle awareness where breath is a symbol of life, and seeing it appear and disappear in winter air evokes the fragility and temporary nature of existence.
Looking at the sound, the frequent use of vowels in this haiku emphasizes the subtle connectivity that exists in moments but leaves strong effects behind.
---------------
busker’s song
coins rattle
in a minor key
— David Josephsohn (USA)
Winner, the Haiku International Association 2023 Contest
The opening line, “busker’s song,” recalls for me a performance I once heard along the River Thames in London. The phrase does not specify the melody, but the kind of songs buskers often choose i.e. sentimental, powerful, or quietly melancholic pieces that stir emotions. The apostrophe in the opening line suggests that it’s something very personal and emotional.
The second line, “coins rattle,” introduces a sharp, sudden sound. The quick succession of coins in a bowl makes it a parallel rhythmic music that echoes a bit loud and also gets the attention of the audience. To me, it gives me a sense of sadness as personal feelings are being transformed into something materialistic. The rattling coins suggest that the song has touched many listeners, yet there is a subtle irony here: while the audience may feel deeply moved, their response is reduced to the simple gesture of tossing a coin. The sound becomes both appreciation and limitation in terms of a public token for private feelings that perhaps cannot be openly expressed.
The concluding line, “in a minor key,” gives an emotional touch to the poem. A minor key implies sadness, depth, and introspection. It’s a minor key with the strongest impact. The melancholy of the melody leaves some reflection where listeners can feel their profound emotions. Whether deliberate or instinctive, the busker’s choice of tone draws out a collective response that makes the minor key more significant.
The absence of punctuation encourages the readers to experience the moment freely. The repetition of the r sound (busker’s, rattle, minor) adds a subtle rhythm to the ears by integrating all the elements together: music, metal, and deep feelings.
--------------
scraping fish |
|
Scraping a fish is part of preparing food, a very ordinary act of survival within the food chain. Yet psychologically, it may reflect the cold and ruthless side of human behavior. The fish’s scales and fins, which once served as protection against harsh water currents, are stripped away. This shows how life can fall into complete disarray when there is no one around to protect us physically and emotionally. |
The second line, “a few scales fall back,” introduces a subtle movement within an otherwise quiet setting. The falling scales create a gentle motion, almost delicate in contrast to the violence of scraping. Their return to the water suggests going back to the origin. Yet this return is insignificant as the poet deliberately mentions ‘a few scales’. It makes little difference in the larger ecosystem, emphasizing how easily things disappear once annihilated. At the same time, the drifting scales blending into the river may suggest that nothing is completely erased; some traces remain behind as an example for the rest. |
The final line, “into the river,” completes the image with resonance and depth. Besides all harshness and cruelty, something returns to where it once belonged. Whether it’s a residue or restoration, the act shows the cyclical nature of existence. Life feeds on life. There are no moral safeguards within this natural order, only transience. The haiku quietly reflects this interplay between survival, loss, and return, leaving the readers to feel it deeply. |
The lack of punctuation deepens the silence the poem carries, naturally slowing the reader and opening space for contemplation on life’s transience. -------- |
autumn dusk —
|
The second line introduces a sense of loneliness through the image of the empty swing. It becomes an object of remembered joy, perhaps of childhood, perhaps of a cherished phase of life that comes back time and again. The swing once held laughter, motion, oscillation, and presence; now its emptiness mirrors the inward sense of loss and longing. The space before the second line depicts the depth of emptiness and loneliness one is feeling at the moment. |
The concluding line, “still warm,” gently shifts the emotional temperature of the haiku. Against the cold, muted tones of autumn dusk, warmth suggests recent human presence, someone who has just departed but has left behind fresh, tender memories. The word “still” implies continuity: memory has not faded with time. Warmth here becomes emotional rather than physical, affirming that no matter how distant the past, deeply held memories remain vivid and alive. |
I especially admire the interweaving of cold and warmth, absence and presence, without making the poem explicit. Even the recurring m sounds subtly contribute to a sense of mystery, intimacy, and inward reflection—echoing the quiet depth of lived experience. |
meditation music …
a kitten’s purr slips
into incense
— Samo Kreutz (Slovenia)
THF Haiku Dialogue, November 2025
This haiku resonates deeply with me, especially since my recent collaborative book, Beyond Emptiness, explores themes of mysticism and spiritual transformation.
The opening line, “meditation music,” immediately evokes a serene, introspective space. For me, it echoes the tones of Sufi music or soft instrumental melodies—sounds that captivate the senses and guide the soul toward mindfulness. Such music plays a vital role in calming the nerves and synchronizing one’s rhythm with the stillness within.
The poet concludes it beautifully with “slips into incense,” which is both poetic and mystical. There’s a beautiful synesthetic quality here, a merging of sound, scent, and motion. The phrase “slips into” suggests a gentle transformation, a shift from the tangible into the ethereal. It reflects that moment in meditation when physical sensations dissolve, and one is immersed in the intangible. The incense symbolizes this spiritual diffusion where worldly concerns fade, and one melts into a deeper, more satisfying stillness.
------- |
every firework ember
falling to earth
— John Shiffer (USA)
Published in Modern Haiku, 56:3, Autumn, 2025
The second line acts as a pivot, symbolizing the peak of celebration where fireworks represent excitement, hope, and brilliance. But, there’s a quiet shift as we read “every firework ember/ falling to earth.” The embers, though once radiant, now fall, showing the fleeting nature of youth and celebration. The descent signifies the reality that follows: adulthood, responsibility, and an unknown future.
The closing line, “falling to earth,” deepens the metaphor. It suggests a grounding after a high, a fall not necessarily in failure, but in transition. It’s the movement from a protected world into a vast, unpredictable one. The contrast between the light of the ember and the gravity of its fall is powerful and unique, which lets us reflect on contrasting scenes, suggesting the impermanence and transience of life.
--------
border outpost—
the sandbag wall
sprouts weeds
— Neena Singh (India)
hedgerow, #150, October 2025
War and conflict-related haiku often resonate deeply with me, as the theme aligns with one of my core areas of interest. This particular poem instantly takes me to a tense border outpost, where I can almost sense the presence of surveillance and patrolling troops. It evokes not just conflict but the psychological barrier that accompanies division and hostility. Symbolically, it’s not the border itself that divides people but the mindset behind it. The em dash after line one adds a subtle pause, creating a link that suggests a deeper association with the border, both physically and ideologically.
The sandbag wall can be seen as a symbol of protection, whether from natural disasters or human threats. It creates a barrier not just to movement but to differing narratives or perspectives. Yet, sand itself represents adaptability as it adjusts itself according to the environment. In this way, the wall becomes a sign of both hurdles and resilience.
The final line, ‘sprouts weeds,’ brings in a hope in a tough element that cannot be stopped, even in a rigid and controlled environment. Weeds may be seen as unwelcome, but they are also symbols of persistence and continuity. Their presence suggests that even in the most restricted areas, life finds a way. It may also hint at the unresolved histories that cannot be buried or walled off entirely and may continue to resurface despite the suppressed and difficult conditions.
Finally, the soft ‘s’ and ‘w’ sounds add to the haiku’s depth, echoing wind, whispering secrets, hushed tension, and quiet movements.
-------
hard-boiled summer
a busboy’s smile
begins to crack
— R.C. Thomas (USA)
Frogpond, 46.1, Winter 2023
Commentary from Hifsa Ashraf:
The opening line, “hard-boiled summer,” presents a rich, multi-layered metaphor. At one level, it conveys the intensity of extreme heat—affecting both mind and body. On another level, it could be describing a person who is emotionally hardened or indifferent. There is also a clever allusion to hard-boiled eggs—thoroughly cooked, contained, and under pressure—suggesting both physical heat and psychological tension. The poet skillfully invites the reader to navigate these interpretations without losing the poem’s emotional depth.
The second line, “a busboy’s smile,” operates both literally and symbolically. It may express a fleeting moment of joy, perhaps the result of brisk business during the summer heat, or act as a mask worn over exhaustion. Extending the egg metaphor, the smile becomes the uncracked surface of a hard-boiled egg—calm, polished, but under pressure. One might also associate egg yolk with the golden light of summer.
The concluding line, “begins to crack,” conveys a subtle shift. It suggests the gradual collapse of composure, whether the smile breaking under heat and fatigue, or the beginning of an emotional unraveling. The metaphor completes itself with the image of an egg’s shell cracking, revealing vulnerability beneath the surface.
This haiku masterfully intertwines climate, emotion, hardship, and human resilience, using layered imagery to reflect on the strain of daily labor in harsh conditions. Finally, the repetition of the letter 'b' in this haiku evokes a gentle, calming rhythm, subtly reflecting the sense of ease that follows the unfolding of a mystery.
--------
starlit pond...
a paper boat floats
for light years
— Srini (India)
Tinywords, 25:2, October 3, 2025
This haiku transports us into a quiet, enclosed space—perhaps a park, a backyard, or a secluded garden. The opening image is enchanting and dreamy: a starlit pond blurs the line between sky and earth, mirroring the cosmos in its still waters. The ellipsis at the end of the first line invites a pause, allowing the reader to absorb the magic of the moment. I can almost see a tapestry of stars delicately reflected on the pond’s surface.
The second line introduces a subtle shift: a paper boat floats on the water. It acts as both an interruption and an anchor—drawing us back from reverie into something tangible and innocent. The boat may symbolize a small dream, a fleeting hope, or a playful childhood memory. Its fragility contrasts with the vastness of the sky, evoking a sense of childlike wonder and gentle yearning.
The closing line, “for light years,” broadens the scale dramatically, allowing us to feel the vastness of our universe. This simple phrase goes beyond time and space, suggesting a desire for an unending journey or an unreachable dream, sort of imaginative, but still holds some meaning. It transforms the scene into something meditative—where a single paper boat becomes a bridge between the earth and the cosmos, a bridge that also connects a dream with reality. It seems one is thoroughly enjoying the surreal environment that inspires them to see beyond limited vision and express one's longing in the most beautiful and innocent way.
--------------
dusty teddy bear
brushing off
my childhood
Martina Matijević (Croatia)
This haiku evokes a tender yet bittersweet moment of reconnection with the past. The “dusty teddy bear” serves as a symbol of childhood, once cherished, now forgotten, or stored away. Dust here is not just physical but metaphorical, suggesting the passage of time and emotional distance where one may have fading memories of childhood.
The middle line, “brushing off,” is beautifully ambiguous, yet letting the person find some clarity into their childhood. It implies a physical act where cleaning the toy hints at revisiting or even confronting long-buried memories. There's a subtle emotional movement in this line: care, nostalgia, and perhaps a trace of reluctance. This is how one reverts back to their past life with a little bit of effort and time.
The final line, “my childhood,” brings a sense of closure. The teddy bear becomes a gateway to personal history, and the speaker, by brushing it off, also dusts off a part of themselves. The haiku captures a universal experience, how a small object can unlock an entire era of feeling. It's delicate, reflective, and deeply human.
Lastly, the sound of consonants b and d in this haiku strikes deep yet strong feelings that might have brought back some vivid memories of childhood.
-------
broken bridge—
the river teaches me
its alphabet
— Thomas L. Vaultonburg (USA)
This haiku reflects wreckage, destruction, and loss—possibly due to war, natural erosion, or catastrophe. The opening line, "broken bridge," immediately conveys a sense of disruption—be it in relationships, communication, or continuity. A bridge often symbolizes connection, transition, or passage from one state to another. Here, its brokenness suggests a severed link, a collapse in understanding or unity. The em dash after the first line pauses the reader, allowing them to fully absorb the scene and connect with it in their own personal way.
The second line shows how, in the absence of that constructed path, the observer begins to engage directly with the river. The destruction of the bridge uncovers a hidden relationship with the river—something previously ignored as people simply crossed over it, never truly noticing its flow, sound, or resilience. Now, with nothing in between, the river demands presence. It becomes a metaphor for uninterrupted thought—fluid, spontaneous, and reflective—offering insight and wisdom in the aftermath of loss.
The final line, "its alphabet," is especially evocative. It suggests the river has its own language—one that the observer is now learning to read. This could represent poetry, expression, or a deeper understanding of the self and nature. The word "alphabet" also points to musicality, rhythm, and perhaps even healing, as if the river’s sounds become a kind of song or meditation.
Overall, it is a haiku that displays humility, and that when the human-made world breaks down, nature is there with its voice and language.
--------
cloud hills—
between sips of tea
the smell of petrichor
— Vaishnavi Pusapati (India)
Under the Bashō, March 13 2025
A meditative verse, steeped in stillness, sensory richness, and inward calm with deeply evocative undertones. It makes me think of the times when I used to enjoy tea and pakoras during the rain in our village haveli. The main reason behind that joy was the smell of petrichor, which always captivated my senses and allowed me to thoroughly enjoy the scene.
'Cloud hills' could be either a kigo (seasonal reference) or a place intentionally chosen by the poet to preserve certain past memories or simply to enjoy a moment of peace with nature. I find it more surreal and dreamy when I imagine places like this—where one can witness the beauty of different seasonal changes all at once. I see clouds as dreams, and hills as passion and emotion—elements the observer is trying to connect with. The em dash in the first line makes the image feel more intimate and personal, hinting at a deeper emotional association with the place.
The second line, 'between sips of tea,' feels especially meditative and thought-provoking. It reminds me of a tea ceremony, where one is fully present and mindful, experiencing the 'here and now.' The sips seem to help the person unwind and appreciate the moment through all their senses. The use of the word 'between' invites readers to pause and take in the scene—whether that moment is brief or lingering. It reflects an aesthetic appreciation of drinking, where tea becomes more than a beverage—it becomes a profound experience for the body, senses, and mind.
The final line presents a beautiful blend: the aroma of tea merging with the smell of petrichor. It's one of the most powerful combinations—evoking refreshed emotions and thoughts. It feels as though the poet is in perfect harmony with nature, immersed in a moment that is spiritual, nostalgic, and even a little mysterious. Both aromas—the tea and the petrichor—engage the sense of smell, which often requires deep attention and presence to truly notice.
Finally, the repeated 'e' sounds throughout the haiku add a soft rhythm, making it feel more musical and sensual.
--------
cycling the moon and i in sync
— Kala Ramesh (India)
Wales Haiku Journal: Summer 2025 edition
This haiku elegantly captures the interplay between nature and personal experience, linking the lunar cycle to the menstrual cycle. Even without an accompanying description, the connection between the average 29-day menstrual cycle and the lunar cycle remains clear. The term "cycling" conveys more than temporal alignment; it signals synchronized phases—waxing and waning, thickening and thinning—of both the moon’s surface and the womb’s lining. This suggests profound harmony between human biology and cosmic rhythms. "Cycling" carries layered meanings: endurance, patience, and transformation, whether physical or subtle, in both body and moon. Its repetitive nature reflects the universe’s order—growth and decline, life and death, beginnings and endings. These parallel the shared journeys of nature and humanity. Finally, the moon emerges as a symbol of life, fertility, love, rebirth, and transformation. It shares an intimate, almost invisible connection with the womb.
The monoku’s use of "i" in lowercase conveys humility and grace. It embraces the cyclical nature of both body and moon. The poet forges a unique bond, aligning the feminine essence of the moon and the self in harmony.
The word "sync" acts as a clever pivot. It implies both alignment and an inevitable pause—perhaps signaling transformation, rebirth, or menopause, where cycles break before renewing. This pause invites meditation, renewal, or a shift in life’s course. It offers a moment of rejuvenation after exhaustion.
The monoku’s spacing encourages reflection on each word, slowing the reader’s rush to judgment. This structure, combined with the lowercase "i," underscores humility and invites the contemplation of the interconnected cycles of nature and self, unified in their feminine essence.
-----------------
summer solstice
the busker plays
a tune from home
— Neena Singh (India)
2nd Prize, Japan Fair Haiku Contest 2025
Commentary from Hifsa Ashraf:
The haiku’s imagery, anchored by the summer solstice kigo, evokes solitude and introspection through a busker’s tune played from home. The solstice’s long daylight amplifies the sense of isolation, yet the music serves as a cathartic bridge to an unseen audience, blending self-fulfillment with a subtle yearning for connection. The summer solstice, with its prolonged daylight, casts a spotlight on the busker’s solitary performance, evoking and highlighting both isolation and self-awareness. I see the poem as a catharsis and self-awareness where an artist thoroughly enjoys their talent without having an audience or the audience is unseen.
The haiku conveys the busker’s enjoyment of solitude, longing, or melancholy in the deepest way. The poem balances solitude and loneliness, suggesting the busker finds fulfillment in their music while possibly yearning for the connection typically found in public performance. If rooted in a Japanese context, the busker’s solitary tune might reflect a Zen-inspired embrace of the present moment, deepening the poem’s meditative quality. In any case, it is irrelevant to the person who may be in a meditative state of selflessness or enjoying being alone, only with what they enjoy the most. It also makes me wonder: does the poem suggest the busker imagines an audience, or is the music itself a bridge to an abstract sense of connection?
A "tune from home" could imply the busker is playing from within their home, possibly for an unseen audience. However, buskers traditionally perform in public spaces for passersby, so the shift to a private setting might be a deliberate contrast in the poem, symbolizing introspection or a lack of external validation.
Looking at the technical details, the lack of punctuation and the rhythmic 'm' sounds mirror the tune’s fluidity, creating a meditative tone that resonates with both the busker’s inner world and the listener’s sense of belonging.
-------
spoon by spoon
feeding my patient ...
a setting sun
— Tuyet Van Do (Australia)
Poetry Pea Journal 2:25, 2025
I can sense pain, endurance, caring, and departure in this subtle poem where the patient is either dying or getting relief from suffering. I see both hope and despair. The patient being taken care of by a nurse or paramedic staff is all alone and helpless. 'Spoon by spoon' is a deep expression, showing bits and pieces of healing by nourishing the patient. It could be food, medicine, or something more energetic, but it also depicts old age, where a person depends on others for their well-being.
The use of ellipses in the second line after 'feeding my patient' stresses the depth of feelings of the person who is nursing the patient. Do they have any association with the patient? Do they empathise with the patient? Do they feel bad about the patient? Who is the patient? What's the age of the patient? Is the patient alone or have a family? All these details remain open for interpretation.
The last part of this haiku reveals something unfortunate and helpless. The dying sun symbolizes the end of life, when day transforms into night. In other words, the transformation of life into death or from an uncomfortable condition to a comfortable condition, where the patient sleeps well after getting some care. I see another aspect here: 'sun' may also be symbolic of the gender of the patient by creating an analogy of the sun with 'son'. The beauty of this poem is that you can interpret it in as many ways as you can, and each aspect may lead to the harsh reality of life, which is death.
---------
leaving one shell
for another
hermit crab
— John Paul Caponigro (USA)
Cattails, April 2024
Commentary from Hifsa Ashraf:
It appears to be a simple haiku at first glance. Yet, it reflects a process of abandonment, transformation, adaptation, and survival. The first line in the haiku primarily shows signs of detachment. The reasons may vary from natural causes, such as molting and infection, to abandonment. But, it is how circumstances push the hermit to leave its shell that has protected it for a long time. It also demonstrates the evolving phases of life that never remain stagnant.
The second line in this haiku, 'for another', is about transformation, adaptation, and readiness for a change, like we all do in life. The hermit crab may not fit in the old one or may face discomfort due to growth, infection, or other factors. This means it has no choice but to find another shell, another protective shield, or another phase that helps it to move on in life. We all have the same process in life: a childhood protective shield is usually provided by parents or loved ones, and when we grow up, we have to leave that bubble for another, which makes us independent. It may be our social circle, new friends, life partners, etc. So, our lives are not different from the changing phases of a hermit crab. I like the way the poet shared the development first without punctuation so that the reader can wander from one aspect to another without any clue until the closing line. It prompts us to ponder the different stages of life that are more evolutionary in nature. It also pushes us to think about how attachment and detachment, adoption and adaptation, stagnation and transformation, make our lives dynamic.
The deeper side of this haiku resonated with me after reading it. It depicts mysticism where we abandon the materialistic life and search for another one, which is more satisfying, simple, subtle, and calm. It illustrates how we detach from the physical shell of life to find the spiritual or mystical shell. Not only that, but it forms the stages of life that lead to the path of selflessness, mindfulness, and nothingness, where we abandon our materialistic life by transforming it. It is possible to achieve this through resilience, flexibility, acceptance, and readiness to change. This is how a crab, or a person, becomes a hermit and lives a healthier, peaceful, and prosperous life. I think this is the true essence of evolution as well.
-------
chaffinch call
a brief burst
of sunshine
— Joanna Ashwell (UK)
Autumn Moon Haiku Journal, issue 3:2, Spring/Summer 2020
Chaffinches call for many reasons, i.e. rain, warnings, mating, or interactions with each other. The chaffinch, a little bird, is a symbol of positivity, happiness, and good tidings. The call of a chaffinch is being heard by the poet or a keen observer, which shows how nature attracts our senses in different ways. Chaffinches have a soft tune when they chirp. When a person hears their call, it is in a calm and quiet place i.e. park, forest/jungle, garden, meadow, etc. The word 'call' instead of 'chirp' indicates that it is for a purpose. Having no ellipses at the end of line one allows us to interpret it in our own way.
The rest of the haiku defines or specifies the chaffinch's call which may be related to a pre-rain or post-rain situation. "A brief burst" is purely a seasonal expression here with some great analogies, i.e. a brief burst of joy, hope, laughter, or related feelings after a hopeless, cloudy, hazy day, or feelings. I see it as a sudden change in weather where the sun is playing hide and seek with clouds akin to the ups and downs in life where we need a call or news that can break gloomy feelings or thoughts.
The third line of this haiku implies positive energy and life hidden in the sunshine which soothes our senses and changes our feelings/thoughts and ultimately our mood. If it is a pre-rain or post-rain circumstance, then 'sunshine' could mean brightness and light that makes us calm and positive after a rough patch or harsh weather.
I love this haiku because of its simplicity and expression. It shows how deeply our lives are connected with nature and how much we depend on it both internally and externally.
Also, the sounds of 'ch', 's', and 'b' make this haiku rhythmic and allow us to enjoy reading it while imagining the chaffinch's call.
-------
looking back
at my younger self. . .
sun-kissed mangoes
— Manoj Sharma (Nepal)
Modern Haiku 55.2 : Summer 2024
We cherish and miss our youth the most because it is full of adventures. I can feel this kind of youth in this haiku. The person is reminiscing about being young—the phase of life where one usually has the energy and freedom to do the things one wants. The narrator seems to be old enough that he finds it difficult to move on and reminisce about a time in his life that was opposite to his current self. So, in line one, looking back is not simply the remembrance of youth but also wishing to have the same energies or seeking solace in youth.
The second line 'at my younger self' with ellipses makes us pause for a while by asking some questions i.e. is this a photo or portrait, is he looking at a reflection in a mirror or in the water? A vivid memory? It seems the person is going through a transformation i.e. from middle adulthood to late adulthood. It is the most difficult time especially when one feels it mentally, physically, emotionally, and psychologically. It seems as if one self is departing and replacing another one, which is probably feeble.
The last line in this haiku is really interesting and makes it more dynamic. Sun-kissed mangoes are definitely a beautiful analogy to the time of youth when mangoes not only ripen in the sun but also have their best taste. It shows how a youthful life flows like pulpy and juicy mangoes, which are sweet and provide energy. Sun-kissed mangoes as a kigo also show the beauty, care, and connection of nature with different phases of our lives. On the other hand, I see it as a very romantic and loving expression where a person fully enjoys one's youth being surrounded by loved ones and expresses their feelings fully.
------------
rush hour
the paper bag
crossing the street
— Ingrid Jendrzejewski (UK)
April 2024 at Cafe Haiku (Cityscape series)
Commentary from Hifsa Ashraf:
The opening line makes this haiku quite interesting. 'Rush hour' is now a new normal, where everyone is trying to meet the requirements of a fast-paced life. No ellipses after it may mean it's open to interpretation. Everyone can fit in the scene according to their daily routine. It can be jobs, errands, studies, meet-ups, business, events, etc. In any case, the time is crucial and significant. The 'sh' sound in 'rush' highlights the urgency of work, while the silent 'h' in 'hour' shows how quickly it passes without letting us be aware of it.
The second line shows us those priorities that are usually not significant enough but keep poking us throughout the day. These priorities or tasks may distract us or deviate us from our main focus. 'The' before 'paper bag' refers to a specific bag or an analogy to our materialistic life that may be hollow and empty yet chaotic as well. This also indicates the mess around us that makes our life more complicated as mentioned in the third line of this haiku.
Crossing the street, or crossing our path, prompts us stop or slow down the 'rush hour'. This could also relate to ceasing our thoughts or feelings. It also means that sometimes certain irrelevant things become relevant even if we are not paying much attention. This is how delicate our lives are. This is how emptiness or loneliness behind a fast-paced life keeps following us or crosses our paths. We realize that our relevance is defined by our attitude towards life.
------
prayer balloon—
our scribbled wishes
just out of reach
— M. R. Defibaugh (USA)
English-Speaking Union of Japan-Haiku, March 2025
This is a haiku that is purely based on the belief in prayers. I am a great believer in prayers. A prayer balloon is a symbolic way of writing and sending prayers, which is quite subtle. I find it a beautiful way to show one's deep connection with prayers, wishes, and desires, and demonstrate it tangibly. It also helps the person psychologically to let go of worries with the flying balloon.
The em dash after the prayer balloon shows its significance for the poet. The second line is about one's wishes that are scribbled and highlighted on the balloon. It is a way to share one's desires in the most obvious manner, where one is not only wishing them in their hearts but also aware of those wishes by scribbling them.
I find it therapeutic when one writes down their prayers or wishes on a delicate balloon that can carry the weight of those prayers and wishes easily, and acts as a bridge between the person and God. When a prayer is being scribbled on a balloon, it involves all senses, which means the person is mindful and fully aware of what's in their heart and what should be written. This is the act of knowing.
The third line is a sort of comparison and contrast with the second one—the act of unknowing. The person's conviction and beliefs are intact whilst scribbling the wishes, but there is a sense of helplessness or no anticipation of those wishes; there are some sort of expectations and thoughts that gather in the mind after releasing the balloon in the air. This is a sort of realization that certain things are not in our control; we can make efforts only. 'Just' in the third line means the person has precise thoughts on it that once the wishes are done, they are not in our hands anymore—especially in this case, where the balloon disappears after some time. So, it's a journey from seeing to beyond seeing, where one's thoughts and feelings oscillate from known to unknown or vice versa.
sun haze
what's left of the stream
rock shadows
— Jeremy Haworth (Ireland)
Presence, issue #81, 2025
sun haze is a kigo that refers to seeing things clearly due to environmental conditions, i.e., smoke, smog, dust particles, fog, etc. Starting with this kigo allows us to pause and imagine the condition we unfortunately often pass through. It may indicate climate change, blurred vision, oblivion, a lack of awareness or clarity, etc. In any case, the poet lets us see an image that is significant in our lives in terms of survival and quality of life. In two kigo words, there can be a lot to explain, and that's the beauty of haiku. You can let your imagination go wild and think of all possible but relevant aspects that can link to the kigo. The poet set a ground for us through this kigo so that we can feel the severity of issues related to climate and environment.
In the second line, the stream may be either dried or near dry due to drought, infrastructure, expansion of cities, modern life, a lack of rain, or other reasons. My impression is that the stream may never come back, which is quite alarming. The poet didn't end the poem with the death of the stream, but he focused on what's left behind. The word 'of' is used cleverly in this haiku along with 'what's', which may or may not be a question one can ask themselves.
The third line, 'rock shadows', indicates there is still water in the stream with a low level where one can see the shadows of rocks. It seems the rock shadows are symbols of annihilation, where one can not see them clearly in water, or they are imaginary, which tells us the stories of the stream's origin. In any case, it's a dreadful picture of nature in danger due to our actions. The beauty of this haiku is that there is no human experience or condition mentioned in it, but it still makes us ponder environmental conditions.
I can see an analogy between this haiku and human experience i.e. the sun haze may be the blurred vision or oblivion we are in; the stream may be a thought process that is not in a great flow; and rock shadows are speculations or doubts about critical thinking about the environment/climate that needs our attention.
--------
grandpa's coat
a loose button dangling
from a thread
— Sandip Chauhan (USA)
Published in haikuKATHA, issue 36, October 2024
This haiku reflects miseries, the carefree life in old age, or memories of a deceased person. Grandpa's coat symbolizes the protection of the body but it's not clear that the coat is hanging somewhere, in the closet, or the person is wearing it. In any case, it looks like a close association with the person and the coat.
The loose button dangling from a thread describes the vulnerability in old age, where a person gets weak and powerless in many ways. Life becomes more predictable as the person is close to annihilation. There may be two aspects: one is a carefree life as a person doesn't bother to take care of himself or be attentive to self-grooming and another is loneliness where no one is around to take care of the person or his belongings. In any case, the poet beautifully depicted old age which may be the same for many around us.
-------
dry summer
a spider web full
of fireweed seeds
— Anthony Lusardi (USA)
Frogpond, 48:1, winter 2025
The haiku speaks for itself in terms of its theme and imagery. Climate change is a topic that should be highlighted time and again through any platform or medium as a reminder to the world that it is a serious issue.
The kigo in the first line 'dry summer' gives a vivid image of both time and season. I see it as if there is a drought with a drastic impact on nature. It seems the poet talks about a rainless time when the rain is needed the most. But, it still doesn't give us a clue of the time period i.e. is it rainless for long or short? But, I like the way the poet uses an aesthetic sense to observe the beauty of nature even in hard times.
A spider web can represent mystery, confusion, hopelessness, or abandonment where probably no access is given to any being. I wonder if the spider web is inside or outside a building, in an open field, or in a garden/farm, etc. There is no such clue of the location which makes this haiku open for interpretation.
Fireweed seeds in the last line add to the interest in this haiku as seeds may stick to the spider web as a result of pollination, wind, storm, or any other source. But, in any case, these seeds have no chance to germinate as they may not be on the ground or in a favourable condition. At first look, the spider web full of fireweed seeds may sound like a period of hopelessness, drought, or lifelessness. However, fireweed can symbolize rebirth, resilience, and hope. But, the word 'full' instead of 'stuck' or 'cling' gives me some hope that maybe, one day these seeds may survive and fall on the ground or a suitable place to grow. The article 'a' and the word 'full' make it simple to interpret without digging more into the various aspects of this imagery. So, I see both hopelessness and hopefulness in this haiku. I see the resilience of nature in extreme or unfavourable seasons. I see life in a lifeless situation. I see the impact of climate change on nature and the way nature responds to it by trying to survive and preserve its elements.
— Bonnie J Scherer (USA)
Daily Haiga, 9/30/2024
Commentary from Hifsa Ashraf:
The opening line of this haiku suggests the time of departure—probably afternoon or early evening. Migrating geese move in a flock with a specific formation, making their flight unique.
'Swallowed by blue sky' makes the scene more dramatic and mysterious. It is an unusual time of depature which may be due to unfavourable circumstances i.e. climate change, war, etc. The word 'swallowed' indicates a critical or unfavourable situation where the geese disappeared either due to smog or smoke or in a symbolic way.
The missing article before 'blue sky' perhaps points to a regular situation where geese disappear normally. We may be getting less sensitive to what is happening in nature, where birds do not feel secure in blue sky—not having the freedom of enjoying seasonal flights. It also indicates that such beautiful scenes are missing where bird lovers can enjoy bird watching.
Overall, the vivid imagery of birds is quite sad and stark for those who love nature.
-------
soft orange leaves—
how weightless she feels
in my arms
— Anthony Lusardi (USA)
Presence, issue #79, July 2024
The open line allows me to pause for a while as it reflects a unique yet subtle side of autumn. Soft orange leaves make me think of not only the texture of leaves but also the time as well which raises some questions i.e. are the leaves soft because they are wet either due to dewdrops or raindrops? Are they on the ground or half-buried? Are they still hanging from the tree or stuck in the branches? What orange colour is it? The em dash makes the leaves significant in this poem but there is still a mystery about the details.
The second line is a shift from nature to personal sentiments, where the poet creates a unique bond between the transformation of nature and personal thoughts and feelings. 'How weightless she feels' could reflect weakness, withdrawal, hopelessness, prolonged illness, near-death experiences, or a lack of interest. It seems the person is not feeling well and is ready to depart like soft orange leaves that are open to be annihilated or buried. The word 'feels' perhaps alludes to the poet not being sure about their feelings or the real state of mind of the person. The poet is sharing emotions or anticipating the future of this relationship that may be guessed from nature where orange leaves are destined to die. It is sheer hopelessness and readiness to accept the bitter reality of detachment and departure of a loved one.
The last line shows the significance of the poet's association with the person being mentioned where he tries to be protective and supportive, providing comfort to the person at this stage.
This haiku is a beautiful example of a strong and subtle bond between nature and humanity. I liked the way the poet used a specific colour of leaf to project his thoughts and feelings and also left room for others to relate their life experiences with such examples from nature.
|
winter sky swallows the words I can’t take back
— Kelly Sargent (USA)
Cold Moon Journal, March 2024
Commentary from Hifsa Ashraf:
A winter sky stays dull and dim but remains open to wild imagination. This monoku reflects various shades of a winter sky when we read it in one go. I focused on the first three words for a while, which can be read in three ways: winter/sky swallows, winter sky/swallows, and winter sky swallows.
The repetition of 's' and 'w' sounds makes it more interesting to read and interpret. Sky swallows usually reflect loyalty, a new beginning, hope, transformation, and more. It seems it alludes to a murmuration that is getting the poet's attention due to its shapeshifting, shades, shadows, and sound. The use of 'swallows' makes this monoku more profound and dynamic. The swallows in the sky could indicate the end of the winter as well which commonly is related to positive outcomes.
The second part of this monoku takes this monoku to another aspect that is more personal and profound. It looks like a mirror reflection of the first part of the monoku. When I read it as a whole, 'the words I can't take back', it gives me a feeling that the person wants to express all that follows the murmuration in the winter sky. 'the words' is a catch here as they may reflect personal experiences that are either positive or negative.
If I read the second part of this monoku with the central word 'swallows' that juxtaposed this poem, it looks like the person is still in conflict.
"winter sky" is a ground where the poet masterfully displayed profound feelings and thoughts, while allowing readers to find as many interpretations as possible. It is a good exercise for the brain and heart to solve the mystery of this haiku.
-------
ragwort sprouts...
mother pats her wrinkles
with a gentle sigh
— Nisha Raviprasad (India)
Under the Basho, June 1, 2024
We all try to compare and contrast many things in our surroundings to justify or satisfy ourselves. In this haiku, the poet relates ageing with the leaf structure of ragwort sprouts which are wavy and wrinkled.
Mother, who is patting her wrinkles with a gentle sigh, is perhaps indicating her feelings of satisfaction that she is not alone. Though her skin is changing, other things in nature pass through similar transformations right from the beginning. The words 'pat' and 'sigh', though, perhaps show signs of satisfaction and motivation that she gets after seeing ragwort sprouts. There may also be a comparison between the poisonous nature of ragwort and changes in mood, thoughts, and feelings due to ageing that become more cynical or bitter. As ragwort causes skin allergies, I can see an element of fear here where the mother makes herself content by assuring herself that her skin is still healthy despite dangerous risks in her vicinity. She may be trying to accept ageing and adjust to it positively.
Looking at the sound, the letter 'w' could indicate the continuous thought process of ageing that can be satisfactory or dissatisfactory.
-------
cherry blossoms bloom
a distant memory of
my former winter
— Alexander Groth (Germany)
5-7-5 Haiku Journal, May 9, 2024
This traditional haiku on cherry blossoms made me smile because of its format. The first line emphasizes the blooming period—maybe early spring or the end of winter. The time of blooming matters as it inspired the poet to reminisce about a memory of the former winter. This haiku is one of the best examples of showing a strong bond between nature, especially two seasons (spring and winter), and personal experiences i.e. a memory.
In this poem, the connection between the blossoms and memory is deep yet remote. The distant memory shows something fading due to forgetting or returning to the conscious mind. The second line ends at 'of'—a cutting word that gives a double meaning to the theme if we read it like this: 'a distant memory of(f)'. In both cases, the cherry blossoms either made the memory fade away or refreshed it.
The closing line hints about the season or period which is 'former winter'—a season when quietness often makes people spend their time either being nostalgic. It also depends on the kind of memory, which is not revealed in this haiku and is still a mystery. In any case, it is cherry blossoms that trigger what seems like a pleasant memory. The lack of punctuation makes this haiku more profound and open to many interpretations.
-------
waiting for confession
I notice
The Virgin’s thigh
— Marc Brimble (Spain)
Commentary from Hifsa Ashraf:
The opening line of this haiku is personal and well thought out. It seems the person is going through the process of reflecting on what went wrong in their life. The mistakes bother the person but at the same time, there is no sort of hesitation, conflict, or confusion in obtaining a confession. The question is: "Is it a big confession?" "Is it someone's first confession?" "Is it a self-motivated confession?" "Is it a forced confession?" In any case, the one who will confess is taking time to think about it.
In the second part of the poem, there is a surprising element of moving from spiritual to worldly desires. It may imply that the person will confess something about yearnings or an intimate relationship. Nonetheless, their thought process is oscillating between what is seen and what is not, what is more significant and what is less, what is right and what is wrong. It seems the person is being distracted from a symbolic meaning of life by worldly desires and is not yet ready for a deeply felt confession.
--------
where school ends wildflowers
— Srini (India)
haikuNetra, issue 1.4, 2023
Commentary from Hifsa Ashraf:
This simple monoku says a lot in four words. I see it in terms of time and space. It starts with a question that lets us pause and think about the space or place. The school may be in a remote area, a war-affected domain, a refugee camp, or a city/town. The location is significant in this case. I see it as a war-affected area or a refugee camp where it's unpredictable what will happen after school or where learning and knowledge will take a student. 'School ends' doesn't mean anything certain in the future or 'school ends wildflowers' may lead to something specific. Another aspect could be a school where a person rejoices in a carefree life, and when it comes to an end, the worries or anxieties about the future start coming.
I like the way the poet ends it with 'wildflowers'—something I often use in my poems, and it's the title of my micropoetry book on refugees. 'Wildflowers' show both abundance and abandonment here depending on how we read it i.e. 'school ends wildflowers'= abundance or 'school ending at wildflowers'= abandonment. So, it can be an opportunity for a new life or a new beginning. It could also display a hope for abundance. On the flipside, it could demonstrate abandonment in a real sense where someone may get stuck with a career or responsibility, or remain directionless like wildflowers. Ultimately, I take it as something positive irrespective of the location or situation of the school or personal experiences associated with it.
------
summer visit
mother fits into
a smaller hug
— Sushma A. Singh (India)
The Heron's Nest, Issue 4, December 2018
Shortlisted for The Touchstone Awards 2018
Red Moon Anthology 2018
Commentary from Hifsa Ashraf:
Sometimes, we don't need a lot of words to tell our loved ones how we are feeling about them. A heartfelt moment is enough to say it all.
'Summer visit' indicates vacation time or long days. Either way, the person wants to have spare time to spend with their mother after a long time. Summer days, especially in Eastern countries, are really hot and humid. People usually feel uncomfortable physically and mentally. They need someone around them who can soothe their feelings. Visiting one's mother is mostly a profound experience where there is deep communication on both sides.
In this poem, we can see the power of non-verbal communication where simply a small hug can make a lot of difference and tell the whole story of her poor health. I also see other hidden aspects here i.e. departure, lonliness, grief, etc. that has a great impact on health. One can feel it if they visit that person after a while.
Lastly, the letter 'm' dominates in this haiku with some underlying feelings that are left unexpressed.
-----
on the pond
a film of ice
a leaf’s pirouette
— Marjolein Rotsteeg (The Netherlands)
This haiku suddenly captured my attention as I visualized the scene. It's a wabi-sabi moment. I liked the way the poet blended two of nature's elements and brought them close together like a juxtaposition. The pond looks like a stage where a film of ice (with a unique structure and position) made the poet see it beyond seeing. This presents creative imagery where a leaf pirouettes on patterns of ice. It must be a sudden frost or an unpredictable change in the weather where everything in nature is frozen and still. I see how certain changes in nature pause the ongoing movements of transformation.
During the pause, let us think creatively! It's a challenge for our imagination to see things as they are or to take that transformation as something more beautiful, delicate, and subtle. At that time, one can use their energies positively and find solutions in a creative and unique way.
-------
the longest journey...
a falling leaf
returns to dust
— Daniela Rodi (Finland)
Selected, 10 winning works, The 5th Basho — an International English Haiku Competition 2023
It's a concise poem with a clear meaning of death, annihilation, or transformation. "The longest journey" may be specific to death or a spiritual/inner journey. In both cases, the person reaches an eternal or purposeful destination. The falling leaf in the second line tells us about the annihilation, end of life, or transformation. A leaf can reflect life stages where one passes through rigorous experiences and eventually reaches the end where existence has become nothing or loses its superficial meaning.
A falling leaf depicts transformation, as according to nature's rules, one stage of life transforms into another in a set period. 'Returns to dust' is about our origin which means no matter what, all of us have to meet our genesis one day in the form of death or the true recognition of who we are. The latter can translate to understanding the ultimate purpose of our lives.
This poem shows how selflessly a person continues their life after fading away, or after having deep experiences, where a materialistic life or possessions mean nothing and humility become one's true virtue.
for the next hiker
at the trail’s entrance
a walking stick
— Anthony Lusardi (USA)
Acorn, Issue #49, Fall 2022
I see here a deep and inevitable connection between humans and nature. "For the next hiker" may or may not indicate every hiker. I see it like every hiker needs some assistance when they explore nature, whether they have special needs or not. As the path to explore nature is not easy, one's needs assistance to hike and climb difficult peaks and terrains. A walking stick may be from a tree which plays a supporting role for hikers. So, it's more like a give and take relationship between humans and nature.
I see another aspect of this haiku which is life itself. It may reflect old age where when you enter that path, you depend on others or things to support you. I see a walking stick as a support or assistance that one needs as a senior. The word "hiker" may indicate the difficult path one has to face due to the constraints or limitations of an advanced age. The use of articles in this haiku leaves some space for the readers to relate it to their own life experiences.
------------
-------
-Brendon Kent
The overall imagery of this haiku is about the transience of life, revolving around deep experiences that make things so subtle at the end that one feels nothing but emptiness. Butterfly echoes are a reminder of the transformation of life (both within and outside) that runs in an endless circle. So, we are constantly moving between life and death as nothing is permanent here. As Rumi says:
"You don't live on Earth—you are passing through it."
------
lockdown raised
at sunrise he releases
his prized canary
— Michael Dudley (Canada)
(27th Kusamakura International Haiku Contest, Second Prize)
This haiku in a cascading style makes me think about its formation before I interpret it. It seems the person wants to convey a specific message through this style that can be read both horizontally and somehow vertically. The cascading style stops us so that we read the poem step by step before reaching a conclusion. I see it as if something is going down or ending nowhere.
Lock-down raised but what? It could be anxiety, uncertainty, frustration, or something that
has a great impact on the person’s life that is being referenced. The past tense at the end
of line one stresses the grave effects of the tense situation due to the lock-down. The sudden
shift to the present in line two shows how smoothly the person has gotten over what he has
been going through (maybe for a long time).
The sunrise brings hope and warmth to one’s thoughts and feelings. We can feel the way
the sunrise provides a sense of relief or healing. I see it as if the person is liberated after
having a change in thoughts or has detached himself from what he may hold dear.
This line stands alone, where one can try to guess what the whole story is.
The prized canary may have an association with the person’s life in terms of honour,
achievement, memorable event, etc. But, it also symbolises a hope for the future where the
person in question has stepped over the barrier of attachment and possession. If it is a
pet bird, then releasing it at the time of a lock-down is the realisation of freedom, which
often comes through rigorous life experiences.
---------
a few more pebbles
on her headstone
— John Pappas (USA)
A very deep and thought-provoking haiku that tells the story of our short-lived journey in this world. Returning geese depict a migration or departure to another place temporarily and coming back to a place where they belong. It leaves us with a few questions: is it the departure and return of loved ones of the deceased person who was buried? Is it the departure of war victims who left without their loved ones (maybe dead in a war) and came back after peace? Is it a spiritual journey where one thinks more about annihilation and our short life span? Is it the time when someone comes back after feeling the absence of a deceased person?
I take it as an inner journey when a person, after having a lot of harrowing experiences that usually keep them away from their essence, comes back and finds the whole journey nothing but anonymity and annihilation. The obvious interpretation of this poem may be the death that symbolizes more of what is being missed about "her." Is she a significant person in many ways? A few more pebbles on her headstone may be taken as her identity after death or the way one tries to pay tribute to her in a modest way.
In short, this haiku to me is about oscillating between life and death symbolically, where a
person moves between outer and inner selves, with their life experiences pushing and
pulling them towards their end.
------
kid's bed
a thousand ways
to disappear
— Samo Kreutz (Slovenia)
(previously published in THF Haiku Dialogue, December 2022)
A lovely haiku that covers the stories of almost every person as a child. It shows the tangible and intangible aspects of life where a child's bed is taken as a symbol of relief where one seeks solace and catharsis. The bed helps a child to become calm and have an uninterrupted environment where they can play, sleep, dream, and listen to stories. It's a place that takes them to another world where they can freely think, feel, and do whatever they want.
It's a domain where there are a thousand ways to see life differently when they are on their own and where all senses converge to provide a holistic perspective that is calm and content. Adults might desire to disappear into childhood memories, to feel nostalgic, or to have deep imagination/daydreaming that keeps them away from this chaotic world. I see this as an escape from reality where a person goes back to their childhood and gets lost in a time that was carefree and without responsibilities.
to remind me who’s who
— your funeral
- Royal Baysinger (Canada)
(previously published in Frogpond 45.2 & skipping stones: The Red Moon Anthology of English-Language Haiku 2022)
Commentary
The structure of this haiku is different from the usual haiku but it provides enough room to think about the message the poet wants to share with us. At first glance, I feel it’s simply a flow of ongoing thoughts about a sad reality. The thoughts don't need to be rearranged to make them perfect for readers. We can easily comprehend what is being said without focusing more on the style of this haiku.
The opening line ‘not there’ without ellipses lets our thoughts wander until we relate it to our personal experiences or observations. I paused for a while to think about the deep meaning of these two words that may sound meaningless if there is nothing after them. But, when I read them in the context they are given, they make a lot of sense—especially when I see them in physical and mental contexts. Who is not there? Myself? Others? Or, the person who is no more? In simple words, it’s a void that has been left after the death of a person where the person who is mourning is trying to relate it to their thoughts and/or feelings.
The second line gives meaning to the first line yet it is a mystery who is reminding that person. And, who’s who? The poet has beautifully left room for us to find answers to these questions by relating our personal experiences to them. We all pass through grief and mourn over the death of our dear ones and we all somehow pass through the same feelings where certain questions are left unanswerable. Within the context of this haiku, it illustrates the feelings of a mourner who is all alone and facing difficulties in dealing with people who are in a close circle. In other words, it’s about handling social relationships which were previously handled by the deceased one. It shows a lot of dependence of one person on another which has ended now. Also, it demonstrates how we are related to each other in a wide social network and how we need each other to strengthen our sense of belonging.
Looking at the punctuation, the em dash in the third line provides a long pause to the third line which allows us to see the whole poem from different angles. ‘Your’ may address one person or every person in society. In both cases, it projects the significance of a funeral as an event that reveals who belongs to whom and how life becomes different after the departure of a person from one’s life.
-----
the faint whispers
of a lost prophet
— Jacob D. Salzer (USA)
Published in The Heron’s Nest, Volume XXIV, Number 3: September 2022
--------
|
old church wall
maidenhair fern
climbing to heaven
— Agnieszka Filipek (Ireland)
(previously published in The Remembered Arts Journal)
This is one of the best examples of metaphoric haiku where the opening line ‘old church wall’ makes it significant as it sets the direction. I wonder whether it is about a physical wall or used as an analogy where something protects or sets limits for certain beliefs. I take it as a traditional practice of religion or something/someone that holds their beliefs firm no matter how difficult the path is.
The maidenhair fern is quite delicate, though it can survive in a moderate environment. I see it as how balanced thoughts and beliefs help someone to achieve eternal blessings that may be referred to as ‘heaven’ in this case. The simple message behind this haiku may seem religious but it represents something universal: a way to live life by following the moderate path. This path can be rewarding here as well in the hereafter and brings happiness and satisfaction which one seeks as the most significant purpose of life.
the child comes back
with a wounded knee
— Hassane Zemmouri (Algeria)
(published previously in Kontinuum, Issue 3, July 2022)
Is it a hunt for a butterfly or something more subtle, invisible, and deep? This was the first thought that came into my mind when I read this haiku. A butterfly hunt is not as easy as it looks, especially when a person is not fully focused. I see it as if a child wants to follow their dreams or is curious about the trail of a butterfly, which is usually mystical or difficult to trace. It shows how a curious mind looks deep into certain realities of life that cannot be easily grasped or comprehended. More specifically, this moment could be about how a child goes on an expedition that is beyond what is unseen but still exists—maybe a pursuit of fantasies or dreams tickled by their imagination. The ending is more dramatic in this case, especially when one strives to go beyond certain realities, or struggles with what path to take to kill a certain curiosity or to understand the subtleties of life.
On the other hand, I see this as a retrospection where a person regresses to their childhood, which was more memorable or contains deep memories. Butterflies may symbolize life, dreams, or happiness here and the child struggled hard to achieve joy or goals from the beginning. It also gives us a lesson about how we cannot achieve anything without struggle, with a physical one manifesting as a wounded knee in this poem. Overall, this haiku illustrates the crux of life: there is no shortcut to achieving something of significance.
--------
again the wood-deep echo of a cuckoo's song
— Kala Ramesh (India)
(previously published in Heliosparrow Haiku Journal, March 2021)
This monoku has a series of variations that make it dynamic and deep. I read it in many ways to get the layers of various themes that the poet tried to discuss.
It starts with ‘again’ which means there is a repetition of whatever is following it. It also shows the curiosity of the person who is passing through the same experience again and enjoying it fully.
The wood-deep echo may allude to memories, news, imagination, or illusions that a person feels or listens to due to deep silence, meditation, or wind. However, it seems the person has a deep connection where they want to hear what is pleasant to the ears or what is more distinctive than other voices. This also reflects a state of mind that is calm, still, and focused. A cuckoo’s song refers to something special—like in Indian mythology, a cuckoo’s song is related to the beginning of the monsoon season.
Overall, it is a deeply personal experience of a moment that connects the person with what is going on and what is coming after. It also signifies the relationship between nature and human nature that is tightly woven with the senses. I see it as meditative where a person tries to attune to the cuckoo’s song which brings joy in their life sooner or later.
old stories—
the words grow
by the fireplace
— Florin Golban (Romania)
(originally published in Under the Basho, 2022)
Old stories may refer to many things i.e. kinds of stories (fables, anecdotes, folklore, fairy tales, etc., or stories told in the past most probably in childhood that might be shared by elderly members of the family. I see it as a community-based storytelling session that used to take place in villages or towns where storytellers would share their personal experiences, voyages, or long journeys.
The second line in this haiku is impressive. It makes it profound and unique in many ways. The word ‘grow’ is something that is gradually taking shape over years. This is an excellent choice of words that can make a reader think deeper to justify its use. I can see it as an evolution of stories that pass on from generation to generation, growing in minds with changes and improvisations. Accordingly, modifications to these stories that fit well develop in each era. These stories provide lessons that people use to inculcate morality within communities, clans, tribes, and families. This is not something ordinary when there were no proper or modern means of communication.
The ‘fireplace’ could be the center of attraction for all those who gather and listen to those stories. This haiku could be set in winter when people gather around to exchange or share their life experiences or stories. I also see a connection between the fireplace and enlightenment or rekindling the mind to think deeply whilst listening to old stories.
I liked the overall imagery of this haiku that shares the vastness and significance of storytelling, which is missing in our lives now.
-------
small town festival
into the tuba
— Pris Campbell (USA)
Sakura Award, Vancouver Cherry Festival, 2018
Small-town festivals are full of life and colours as I have personally experienced. The gathering of people and the cultural blend make such festivals rich in many ways. This richness captures our senses and lets us enjoy every single aspect of a festival, which unites us with the strings of our uniqueness.
A cherry blossom and tuba elude to the kind of festival it is. The festival could be more eastern, where the poet tried to oscillate between two extremes in terms of sight, sound, and touch. One extreme includes cherry blossoms that are soft, delicate, silent, and peaceful while the other extreme is the tuba which reflects loudness, music, and liveliness. This is how a small-town festival blends the variations of life and beautifully presents them.
Living in the present moment is a quality of small-town festivals. They make people focus more on the ‘here and now’ and challenge their threshold levels to register things that people usually don’t notice. The holistic picture of this haiku may include the wind, the movement of petals, and music that sounds more like orchestrating to the ears and allows people to enjoy it together.
cars passing all day
in between
the silence of linden trees
— Deborah A. Bennett (USA)
(published previously in Wales Haiku Journal, Spring 2022)
Cars passing all day may be symbolic of the rush in our daily lives that revolves around materialism where one is involved in earning money, making a career, and living up to the expectations of the modern fast-paced life. I also see how these cars passing can be linked with pollution. With more carbon emissions and polluted air, we are running after a materialistic life. I can also see how vehicles are defining our social statuses and our routines. This mechanic life where distances become shorter to destinations creates vacuums internally in terms of health, lifestyles, and relationships.
The second line ‘in between’ demonstrates how miserable this life can be. The silence of linden trees might symbolize how we have muted nature, birdsong, and wind, and brought a pause to the natural cycle which is destructive in many ways. The linden tree is a remedial tree that is good for coughs and colds. We have not only destroyed the growth of trees but also ruined the healing process that usually comes from nature. Noise and air pollution have clogged our minds. Sometimes we cannot enjoy the nature around us or see how deeply it has affected us. The destructive aspects of nature can surprise us, as we are not fully attuned to it. So, our real success or progress is not our fast-paced life or technology that facilitates us, but the nature that keeps us moving on naturally and simply. It inspires us to focus more on our genuineness and real potential.
To me, this haiku is about the balance between nature and nurture, which is significant for a healthy and peaceful life.
down a riverbed of sand ...
the memory of water
— Kala Ramesh (India)
(Highly Commended, Santoka International Haiku and Haiga Contest)
This is one of my favourite haiku. It is well crafted with all the necessary flavours of a great haiku that touches all the senses. I loved the way Kala used personification, which lets our minds wander through this imagery and dig deeper into the theme of this haiku.
‘Notes trickle’ is rhythmic and musical to my ears. While reading, I paused for a moment and enjoyed the subtle and soothing sound of water. We all hear the sound of water daily but only a few of us truly listen to it and enjoy the sense of here and now where nothing else matters. It takes us further to the unseen part of this haiku where ‘trickle down’ allows the sound, message, or piece of music to be absorbed into the memory of a riverbed. This is how a haiku connects us to what is ‘beyond seeing’.
A riverbed of sand is the abode of many tiny creatures. It seems its water sings a song or a lullaby for the dwellers of the riverbed. It’s the sound of water that subtly captures the pulse of wind, rain, sunlight, moonlight, or the environment and transforms it into something that only active listeners can feel and hear.
The memory of water could mean a sort of live recording of the true essence of life, where even harsh weather or climate change can’t stop water from singing its songs. There is a lesson here for all of us to see how powerful the language of music is, which nature speaks every day to inspire us to sing along or at least appreciate. It’s a true blessing. Nature never ceases to connect with us through the language of its sound. With memories, we have sound, and it is important to recall the most positive of memories to transform our lives.
I can’t ignore the mystical or meditative side of this haiku. To me, it's about mindfully focusing and observing every single moment of nature. This helps us to be crystal clear in our thoughts and soothe our minds with music—the most powerful language. If I were there, I would be like a whirling dervish who enjoys every single beat of water and synchronizes my feelings and thoughts with it to show the wholeness of the universe.
-----
regal iris
the purple scar
on my breast
-------
— Alan Summers (England, UK)
First published: Blithe Spirit 31.4 (November 2021)
Nightfall is a shift in the day which brings mysteries with it. Symbolically, it unfolds a different world that manifests our true state of mind and heart. A time when we rarely see things through the lens of others and try to unfold our own stories. A time when we can fully concentrate on what matters the most in our lives. A time when certain realities are revealed to us through introspection or pondering.
Nightfall in this one-line haiku shows the vastness and significance of time, which motivates us to pause and imagine the scene that may look more inspirational and persuasive in this particular poem. The shift in the poem is the ‘key’ which reveals the mystery or unfolds the story; it can be the cognitive process that productively grasps the whole situation and gives flashbacks; it can be the meditative state of mind that unwinds the day’s fatigue by opening the doors of imagination or mysticism and brings some peace; it can be the solution to a problem when a person finds a creative solution and is able to find a way through critical thinking; or, it can be simply daydreaming when a person seeks solace in imagination and manifests their imagination in the most creative and surprising way, which looks magical in the end.
A blackbird symbolizes mystery, death, and magic but it is also significantly considered a sign of spiritualism or transformation. In this poem, nightfall transforms a person’s life where they can turn the key into something that looks more blissful and peaceful.
Overall, the poet challenges our senses to imagine and capture the vivid image of this poem and lets our creative faculties run wild and find how nightfall can spellbound us to see what we want to see or to see beyond seeing.
lakeside mist
takes the shape of a heron
morning news
— Adrian Bouter (the Netherlands)
(previously published in Wales Haiku Journal, spring 2022)
The heron is frequently used in haiku for its features, colour, style, and voice in association with people's realities. The heron can symbolize stability, knowledge, wisdom, and tact, which can be observed in its natural habitat which is usually a lake. Lakeside views are scenic and vivid, and give an overall perspective that is often mesmerizing and mysterious.
Being a nature observer, the poet shows the comparison between lakeside mist with what’s going on with their life, where new and creative perspectives help to filter and understand information such as news. It’s quite meditative, where a person gets relief through living close to nature by not trying to overthink about their situation. It’s obvious to me that the lakeside mist is more symbolic in this situation, where it acts as a canvas where a person paints their feelings—or circumstances are not clear to them.
The shape of a heron shows the delicacy of the situation, which might demonstrate how a person seeks solace in escapism through imagination, assuming the situation is in their control. This also shows how creatively we can solve our problems by merely seeing different but interesting perspectives. Morning news may vary from person to person. In this situation, it looks more like unpleasant or mundane morning news that the poet was not expecting.
what the storm takes
from the magpie's fable
— Richard Thomas (UK)
(Joint First Place, Sharpening the Green Pencil Haiku Contest, 2022)
--------
shafts of sunlight
margosa showers blossoms
on the hopscotch
— Arvinder Kaur (India)
From her book Fireflies in the Rubble
I am honoured to have read Arvinder’s book Fireflies in the Rubble. I also got many opportunities to work with her on various poetry collaborations. Out of many favourite poems, I selected this one for writing a commentary on. Like Arvinder, I feel nostalgic when I read this poem. There are many hidden feelings in this haiku that create yugen but still one can easily connect deeply with the overall imagery therein.
Shafts of sunlight are perhaps glimpses of the past—especially of childhood—that follow and bind us with sweet bitter memories. I also see this line as a reflection of one’s childhood status that put her in the spotlight as the center of her family. It also depicts subtlety about the particular place or venue, which is probably in the poet's house. We have been given a full margin to let our imagination run wild and think of the place where sunlight highlights the significance of certain places that may stick to our minds and pull us towards them whenever we reminisce about them.
The margosa or neem tree is connected with healing and health as various parts of this tree are used in many home remedies and for herbal treatment. A margosa showering blossoms can look like the rain of flowers or an abundance of flowers that bring healing to unseen wounds or pain. I see it more as a sign of blessings where one enjoys one's childhood without any worries and lives a carefree life.
The hopscotch is not simply child's play but may also be a puzzle that takes us back and forth (memories) to solve them. It involves both physical and mental faculties when one plays it. I can imagine it as one of the most significant times of life where margosa blossoms may metaphorically be related to the laughter of children who are enjoying the early part of life with their friends and family. So, from sunlight to margosa and from margosa to hopscotch, I see the involvement of the key elements of nature, sky, wind, and earth, which shows the vastness of this haiku and the way our thoughts and feelings play around with them through either memories or imagination.
In terms of the sound, the letter ‘s’ provides the tone of mystery and subtlety of this haiku, which is gracefully written about and allows us to explore more about this childhood story.
-------
pottery class
i embrace the broken
pieces of me
— Mona Bedi (India)
First Place, Indian Kukai, #38, 2022
The overall imagery of this haiku is apparent as there is little mystery involved here. But, it gives us deep feelings about the self, often known as the inner self. It's an introspection where the poet has created an analogy between her feelings about herself with pottery. Clay is the element that binds us to this haiku in many ways. If it is introspection, the poet may try to share her broken self, flaws, past experiences, hardship, etc. Taking a pottery class can be taken as catharsis where the focus is not only giving venting feelings and emotions but also reshaping or remoulding the self that is still suffering or dissatisfied and trying to find peace. There is a glimpse of wabi-sabi in this haiku where you accept yourself the way you are as the word ‘embrace’ indicates and focuses on self-healing by practicing optimism and positivity.
The mystic element in this haiku is also obvious in this haiku where the words ‘pottery' (clay), 'broken pieces', 'I', and 'me’ depict how silently one passes through the process of transformation and goes beyond nothingness gracefully. According to Sufism, the connection between the self and clay is quite subtle and deep. It shows the humility and modesty of being, where deep understanding takes us on the journey of ‘knowing thyself’.
The sounds of ‘p’ and ‘m’ in this haiku may depict the rhythm of the thoughts and feelings that are still not on the surface. The letter 'i' may show how humbly and keenly a person makes themselves ready to pass through the journey within, which can take them from unknown to known.
— John Pappas (USA)
A common understanding of a fossil galaxy is that it's a remnant of an older galaxy that existed within a current galaxy. It's something left behind after many years for us to think over, get some lessons from, and see how things are temporary and worthless over time.
When I see a fossil, my thoughts go back to a time when that fossil had a life—maybe even an integral part of life or the environment at that time. A question comes to my mind: ``why does nature preserve fossils for us?” There is a simple logical answer: “so that we can remember our history or past.” A fossil galaxy shows us the marvel and perhaps the waste of this universe that discards many elements with time but doesn't abandon them—estrange its parts but allow them to be present.
Life is like that for us: we discard many things that were once the most valuable part of our lives but they keep circling our minds. Certain things get preserved in our memories like a fossil. We may not give attention to them, but they may elate or haunt us in the later part of life. So, I take ‘headlights speed’ as flashback memories that come to remind us of what’s in our past and how we reach this point after passing through, dark to dark. The word ‘dark’ may depict dreams (particularly nightmares) that remind us of the remnants of difficult times we try to push back in our heads.
However, the connection between our mind and space is so deep as can be observed in this haiku, where we try to connect with the galaxies outside and the galaxies within through our thoughts, memories, reasoning, logic, and analysis being an integral part of this universe. The dark is a background, whether it is our life or space that brings our history to light.
-------
the baby kicks
inside her womb
— Paul Callus (Malta)
As Alex Fyffe introduced me to a creative writing technique called synecdoche, so I see this haiku in that context where ‘the baby kicks’ represents the sign of a new life, hope, and connectivity.
This haiku revolves around all senses where the most obvious ones are sight, sound, and touch. The birth phase is beautifully related to the phases of the moon where the crescent moon symbolizes birth, the start of a new month, or a new beginning. If we dig deeper into this poem, we can find more analogies between the moon and the baby inside the womb i.e. delicacy, subtlety, and light. It seems the mother is keenly following the birth process where she counts every single day. It shows how excited she is about this new life and finds the kick to be a welcoming sign. The curve that is common in both cases may reflect the beauty of life that gradually passes through various phases before it’s in full bloom.
In a larger context, the relationship between cosmic objects with life on earth, especially human birth, is quite natural and interrelated. It shows the significance of the time and space we live in and how things are revealed to us during a new journey of life.
his ashes
— Sandip Chauhan (USA)
It’s about life and death where ‘pausing and flowing’ comes together. It’s time that heals grief and lets us move on like a flowing river. The ellipsis in the first line shows how meaningful and significant it is to keep going on no matter how difficult life is. ‘The spot’ is the place where life and death depart from each other in terms of letting go and catching on.
I see it as a person, despite grieving over the death of a loved one, trying to console themselves by accepting the bitter reality, which is the ‘departure or death'—ready to accept what comes next.
on grandfather's grave
fox footprints
— Małgorzata Formanowska (Poland)
(published previously in Frogpond vol.44.1 Winter 2021)
When I visualize ‘white morning’ I feel as if I am drifting through a dream that is not so vivid or clear to my imagination or sight. The white morning adds more subtlety to this haiku as it’s the early part of the dawn—probably pre-dawn or early dawn. The time when a person’s mental faculties revolve around the self that reflect the true or deep meaning of the realities of life.
The grandfather’s grave with fox footprints gives a sort of mystery that takes us on a walk through the white morning or a dream to imagine a cemetery—perhaps an abandoned one or somewhere in a wild place. I could see the fox footprints as memories of the past that are fresh and deeply imprinted on the mind, maybe from childhood. The connection between the grandfather’s grave and fox footprints is elusive as it could be certain family traditions that pass on from one generation to another, or family affairs that seem to be not well settled, or it could be a sign of good or bad omens.
Overall, I see it as certain deeds or behaviours remaining fresh and unforgettable even after the demise of a person. It’s the next generation who decides how to perceive and interpret them, especially when there are a lot of rumours about them that are not clear, like the white morning.
-------
fillinga broken flowerpot
soft sunlight
— Marilyn Ward (UK)
(previously published in Hedgerow 134, March 2021)
The subtle side of nature often reflects through our lives, especially when it comes to filling a void or mending flaws. Nature is our best companion that inspires us to live with hope and resilience. It also teaches us how things, even flawed, are useful for us and others.
This haiku is a great example of wabi-sabi where nature itself is healing its own elements and mending its flaws. It's a lesson that even if we are completely broken, we should not lose hope, and find ways to move forward by self-healing. I also see mysticism in this haiku that reminds me of a saying of Jalaluddin Rumi which says:
"The cure for pain is within pain."
Let's keep the soft sunlight of kindness, compassion, and love to heal our flaws. This is how nature teaches us by demonstrating daily that there is no other way of obtaining inner peace.
the first to know it
me and the wind
— Samo Kruetz (Slovenia)
(previously published on the Asahi Haikuist Network, October 2020)
A simple yet deep haiku which revolves around a secret—a friend’s secret. The first line gives us straight information about a friend who confided in another friend without knowing how significant that secret is. The second line implies that the information in this secret is given to the person whom that person trusts the most. But then, there is a twist in the story where the wind is being involved, indicating it is revealed or disclosed, or spread out as news, a rumor, whispers, or by other means. ‘The wind’ may depict the particular time when it is made public.
I see both tangible and intangible sides of a secret that may be perceived differently by the secret-keeper and the wind (others). There is another side to this and that is eavesdropping—someone who overheard it and made it public.
In other words, a secret cannot remain a secret for life, as this universe holds all information whether we share it with others or keep it with us. It’s time that decides the significance of information and when it will be revealed.
— Srinivas S (India)
(The Heron's Nest, March 2021)
This simple monoku manifests all the key perspectives of life, but the most obvious one is the journey of life. It may consist of hardship and difficult trials. A footprint is something that is left behind in life—a past life that may be imprinted in the mind as a memory or depicts the choices a person made, the path they took. A footprint could symbolize the vivid memories of a person of life events where every step carved or reshaped one’s decisions, choices, and thinking.
The concept of waves is cleverly used in this monoku as our senses that are connected with the surrounding through waves, our brain activities, our nervous system, and our body is similar to the rhythmic movement of waves. What matters the most is whether these waves erase the footprint or fill it with water. It may also unfold the path one has chosen, the path that faces the ups and downs of life, or to and fro movement. The concept of our lives is shown in this haiku as a footprint, which is the mark that a person leaves behind as an example or memory.
--------
budding branches
the ellipsis at the end
of his text
— Jennifer Hambrick (USA)
(Mayfly 71, Summer 2021)
The poem starts with hope, and a presence of life probably after autumn. Budding branches depict the seasonal transformation that someone is closely observing, maybe while strolling, or through a window, viewing a painting, sketching a tree, or watching it live somewhere, etc. In any case, it shows how keen and resilient a person is who focuses on something that is progressing positively. The first line in this haiku is so engaging that a reader like me starts thinking about the colour, type, ambience, and style of budding branches as it gives a lot of pleasure exploring nature when it retreats after a dry winter.
There is a shift in this haiku in the last two lines that the poet cleverly related to the budding branches: a deeply personal experience where the text of a person with an ellipsis is accepted with possibly a positive interpretation. The ellipsis can allude to subtle emotions and feelings or an incomplete sentence that is left with curiosity and assumptions. I see it as if the seasonal transformation is related to personal transformation where things are in process and a person is not certain about the results.
Budding branches may be a positive sign, beckoning spring to appear, but it’s premature and uncertain whether these budding branches will bloom fully, and whether the birds will perch on them and sing melodious songs. Somehow, it’s daydreaming that runs the imagination of the poet wild from ‘tree to text’ where both thoughts and feelings oscillate between imagination and reality.
---------
in the apple tree
a nest full of snow
the wind’s soft whistle
— John Hawkhead (UK)
(Presence magazine, issue 70)
in empty sheets
— Jay Friedenberg (USA)
The mystery in this haiku makes it a manifold poem that is a bit challenging to interpret. This haiku starts with hopelessness where something is slipping out of a person’s hand—a ‘fading dream’. It seems the person yearned for this dream for a long time, held it dearly, strove for it, and longed for it. To see your dream fading in front of you is more like missing a train that goes away in front of your eyes and you can’t stop it or catch it. ‘Fading’ indicates that the dream is still there but not strong enough to be fulfilled, or the person gave up on it which leads to restlessness, anxiety, and frustration, as it can be observed through ‘the shape of her curve’ where she is sleepless and passing through some deep pain left by the dream. ‘Curve’ shows how complicated the situation is where there is nothing straight or clear, making the situation more ambiguous.
'Empty sheets' depict loneliness, detachment, and emptiness that a dreamer faces when they can't fulfill their dreams. This also indicates that the person is fearful and not ready to sleep again to yearn for another dream. The possible white sheets may also allude to a ‘shroud’ where the person metaphorically is thinking to shroud the dream in white sheets before burying it.
Overall, the depth of this haiku makes the reader pause, and explore various dimensions before reaching a conclusion.
the first snowflakes
— Goran Gatalica (Croatia)
(published in The Mainichi, 1/13/2021)
The haiku starts with one of the most precious and emotional days of a person’s life. The festivity, reunion, laughter, and collectivity at a daughter’s wedding may not surpass the deep feelings that are contrary to the celebrations, as it’s a day of departure as well. The subtlety of a parent’s feelings is well interwoven with the weather outside. The first snowflakes are light in weight but still leave behind heavy hearts due to old or new memories—particularly the memories of loved ones that glint or get highlighted in the moonlight where a person, especially parents, reminisce about those memories near the window or fireplace. The winter hush usually brings to the surface feelings of special days and it seems time slows down like a flurry of snowflakes that takes its time before finally touching the ground.
The em dash in the first line pauses one’s thoughts and feelings to imagine the whole scene of the wedding day. I loved the way the writer linked this special event with the subtlety of moonlight and the silence of snowflakes.
--------
starry avenue
the same thought
after a year
— Carmela Marino (Italy)
A starry avenue is always a source of inspiration, dreaming, and hope. This haiku connects us not only to the ambiance of a starry avenue but also alludes to the big constellations that one makes to redirect their imagination, thoughts, and feelings. I feel a sense of connectivity between the person and that place where they like to explore more and more in their thoughts. A year’s gap may be due to the pandemic year, which has changed nothing about them and this place.
The intangible aspect of this haiku is related to the creative or aesthetic part of life. Irrelevant of the circumstances, a person remains curious about their imaginative world, daydreaming that takes them away from worldly chaos. They feel a connection between the Earth and the sky that can be felt through the strings of imagination, daydreaming, and a curious mind.
------just off the plane
humidity fogs
my glasses
— Stephen Curro (USA)
It’s difficult sometimes to get rid of certain memories that usually jump in during the journey, especially when someone lands in another place. This haiku depicts how memories, departure, separation, and leaving the past behind can dilute one’s thoughts, vision, and future. The expression ‘humidity fogs’ is beautifully used here as it is a phenomenon that rarely catches the attention of poets. Foggy glasses simply show that the person passes from one illusion of life to another with no clarity of his/her vision, and the future as well.
--------------
monastery garden —the sound of
snowflakes
— Matúš Nižňanský (Slovakia)
A monastery is a place full of peace, reverence, and life, whereas a monastery garden sounds no less than heaven where one can find inner peace and deep experiences. The same goes for natural elements which can be experienced differently but in a unique way in that garden.
This simple yet deep poem reflects the focus of mind and heart, the subtlety of life at its peak, the alertness of all senses, the awakening consciousness, and the spiritual touch where a person's threshold level can even feel the subtlety in the surroundings, and listen to the miraculous sounds of nature for the ultimate peace and elation. The sound of a snowflake shows the ultimate focus of a person whose body and soul have reached the level where even the smallest element of nature connects deeply.
evening news
junipers consume
the moon
Haiku Society of America Harold G. Henderson Haiku Award, Second Place (2020)
— Kat Lehmann (USA)
It starts with the news that may or may not be reliable, ‘evening news’ which means one has to read it carefully before relating it to any news and its relationship with the rest of the haiku. Evening news can be thrilling, mysterious, and evokes our deepest feelings.
A juniper tree is a sign of strength, divinity, power, and safety. If we see it from that context, then it means something is being covered or not openly revealed. The word ‘consume’, like the evening news, shows exaggeration here but it is cleverly used to make this haiku more powerful and with broader perspectives. I see ‘the moon’ as a metaphor which may show signs of visibility as someone/something in the limelight but not now because of the junipers’ shadows and the same are not catching much attention in the evening news.
I love the rhythmic sounds of ‘news, consume, and moon’ as these provide an interesting and lighter side of this haiku. Overall, I think this haiku represents someone who needs attention but is getting it neither in nature nor in the evening news.
------
touching
the dead moth
it flies away
— George Klacsanzky (1956-2003)
(published in Yanty's Butterfly: Haiku Nook: An Anthology (2016))
Brevity, simplicity, and honesty always reflect in George's haiku. Every time I write about his poems, I see a new aspect of his life that helps me know more about this great haiku poet.
The opening line 'touching' pauses the moment and lets the readers feel the resonance of this sense and its subtlety. It also suggests how hard it is to focus on nuances of life but when one does, there is an element of surprise in them. In this haiku, the writer shares the concept of seeing beyond sight where even stillness looks moving. The dead moth presents the depth of life, the transformation of life, that one cannot see but feel through one's third eye or insight and once one does, miracles happen and thoughts get transformed into wisdom and reveal the secrets of life that are long-lasting. Somehow, there are shades of mysticism that make this haiku more open to the concept of life in death.
--------
dandelion—
I'm the breeze
that moves it
— Antonietta Losito (Italy)
(published in The Heron's Nest March 2020)
Dandelions symbolize the hope, wishful thinking, delicacy, fragility, and movement in life that we all need. Nothing is static in this world, and this particular haiku is a simple but precise explanation of that. The breeze is our way to deal with life and its various aspects, especially the ones that are delicate and demanding. It also reflects the meditative thoughts where one can let go of things like dandelions release their fluff.
Moving onto the third line, it is fantastically used by the poet. It shows the flow of life the way we see it, not the way it is. I loved the simplicity of this haiku that made it easy to connect with deep meanings of life. It's a perfect combination of thoughts and actions that are glued by hope, delicacy, and the fragility of life.
--------
the way she quietly combs
dream catcher
a new hole
in the spider's web
— Jacob Salzer (USA)
(published previously in Mare Liberum: Haiku & Tanka)
I loved the connection between a ‘dream catcher’ and the ‘spider’s web’ as both yearn to fulfill their dreams. Like the spider’s web, every dream needs consistency, determination, and hard work in order to be achieved. ‘A new hole’ indicates that the spider’s web is already broken or destroyed by both internal or external factors. The hole may be distorted thoughts, distractions, illusions, or delusions that block our view of the world whilst pursuing our dreams. More than one hole indicates drastic life changes that destroy the scheme of a dream or a spider’s web.
On the contrary, the dream may be either unrealistic or abstract, making it impossible to achieve. In that case, a new hole may symbolize the realities or awareness/conscious understanding of the dream that again and again destroy the complicated web of a dream and sensitize the person to live in reality.
--------
slanting rain
the shift worker whistling
slightly out of tune
— Andrea Cecon (Italy)
Modern Haiku, issue 48:2
It happens that when a person spends all day on a task that is tiresome and laborious, then they may not enjoy things in the surroundings or they may not find it soothing when there is bad weather. This haiku represents the life of a shift worker that may sound full of fatigue. ‘slanting rain’ expresses nature's harsh mood where nothing comes straight and calm. It is a struggle when one cannot escape one's duty during a slanting rain. But, the word ‘whistle’ gives a twist in the haiku as it shows that either the shift has ended and the person is enjoying their off-time. Maybe they are going back home or daydreaming. Or, it may give a hint of ‘whistleblowing’, calling out those who are not complying with their duties due to the slanting rain. In either situation, it seems that the person in question is enjoying their time.
Overall, slanting rain and whistling both allude to the opposite moods of a person during laborious work or a rough day. It also shows how a person after some hardship needs some relaxation, which may or may not be enough to unwind their fatigue, stress, or frustration.
Finally, the letter 's' in this haiku sounds more like a complex situation where a person is not fully enjoying his life due to a laborious job that may not be paying well.
-------
wind swept leaves––
the memory of mother
combing my hair
— Trivarna Hariharan (India)
(previously published in Isacoustic)
This heartfelt ku reflects many shades of memories related to the poet's mother. Windswept leaves here may indicate autumn or dry leaves that have no destination or direction. The leaves have been further scattered due to the strong wind. Same are the thoughts and memories of the loved one that scatters or loses the colour of life when the strong wind of time blows them away.
The last line, 'combing my hair', may either reflect how a person is either contemplating or getting ready for a funeral. Combing hair may also show how things get settled after tragedies or mourning. Also, it may represent the deep remorseful feelings of a person who finds it soothing to untangle hair.
---------------------------
the rest of its life
in my hand...
snowflake
— Patricia Davis (USA)
(Akitsu Quarterly spring 2020)
A temporary life is manifested in each element of nature, like snowflakes, that delicately take beautiful yet complex patterns in the air but are quite light in weight and barely visible. This is how the fragility of life looks when we reach old age.
"The rest of its life" shows an uncertainty that depends on fate and human touch. In other words, this haiku reflects the compassion and kindness that makes this temporary journey better due to care. To me, the hand symbolizes sympathetic behaviour, support, and caring. Ultimately, we should make life lighter like a snowflake and beautiful like its structure.
---------------------
winter twilight
one by one
crows
— Małgorzata Formanowska (Poland)
(Wild Plum Haiku Contest 2020 - Honorable Mention)
Winter twilight is a time when the sky reflects the colours of both sadness and healing. The purple and scarlet sky project the deepest feelings of a person who may be either in solitude or meditating. Also, the sky or horizon portrays the road to departure where a murder of crows covers twilight's hues and turns it grayish black.
Crows in this case may depict the transformation of day into night or personal thoughts/memories that are lost in the darkness. The crows symbolically show how all the colourful activities of life slow down in the evening and become profound and deep like the dark colours of crows or night. It also connects to the protective nature of crows, who before departing or retiring for the night, give a message of annihilation, silence, and peace.
--------
train station—
among a pile of luggage
dawn light
Samo Kreutz (Slovenia)
(translated by Alenka Zorman)
A train station is no less than a place for yearning for dreams, reminiscing about memories, feeling nostalgic, and having personal experiences, especially when alone. Moreover, a train station can be related to the departure and arrival of mental states a person can go through on their journey.
A pile of luggage is no less than a burden for a person who is already passing through any of the above-mentioned experiences that keep them engaged mentally or psychologically. In that case, luggage is merely a burden that a person holds but does not relate to or feel any association with. In other words, if train stations are life, a pile of luggage may be desires, longings, and wishes that stays with a person throughout life and they cannot fulfill them.
In my opinion, dawn light is a hope that encourages a person to keep yearning for one's dreams and wishes and move on in life.
-----------------------
withered blossoms —
locals packing the remains
of a bomb blast
(previously published in Creatrix, Issue 49, 2020)
— Taofeek Ayeyemi (Nijeria)
This haiku starts with the word ‘withered’ which shows a lack of life or annihilation. If we imagine ‘withered blossoms’, they can look dark, black, dry, and drooping—in other words, like destruction.
Relating ‘withered blossoms’ to a bomb blast site sketches the scene of a bomb blast area that appears more dark, black, and withered. Similarly, packing the remains of the blast is akin to collecting memories
If we relate this to our lives, it means our memories are probably traumatic ones that fade away or wither with time. We keep reminiscing about what is left behind.
This haiku tells me that life goes on even after hopelessness, destruction, and chaos.
---------------
distant stars
a crow’s shadow
sweeps the fresh snow
— Joshua Gage (USA)
(previously published in Presence 63, 2019)
"Distant stars" is a subtle expression that provides a lot of resonance. It's something you can see as a mere dot but still reflects its own light in the dark sky.
'Distant stars' here may indicate less visibility due to fog or dense air. It also seems to show the longings and desires that are more visible during a silent winter.
Moving on to 'a crow’s shadow', it may be the persona an individual holds onto while being a guardian, protector, or dreamer. A crow never fails to bring out various emotions in us through its cawing and unique attributes.
The word ‘sweeps’ is used efficiently to perhaps show how dreams or hopes end over a period of time. I take fresh snow as a representation of our vivid memories that stay for a short while but leave a huge impact.
I can relate distant stars to ‘longings’, a crow’s shadow to ‘maturity, wisdom’, and fresh show to ‘vivid or temporary memories’. Together, it’s a fantastic combination of sight where light, shadow, and snow beautifully relate to our longings that are not fulfilled but still come to mind to remind us that there is still some hope in life.
--------------
meadow grass...
the Monarch butterfly
lends its colour
— Marilyn Ward (UK)
Grass in a meadow is the ultimate attribute of this feature of land, which distinguishes it from other fields and highlights its beauty. Meadow grass is also abundant with a variety of flowers, herbs, and small seasonal plants, adding more colours to it, and enticing beautiful insects to visit it not only for sustenance but also for whispering the secrets of nature through pollination.
The ellipses after 'meadow grass' holds our imagination for a while to imagine and enjoy being there, and feel and absorb the colours, and the site of an enchanting and lush green meadow.
This haiku reflects a profound relationship between nature and its creatures where the concept of compassion and kindness is beautifully presented without losing the essence of a great haiku.
The Monarch butterfly shows longevity, peace, and positivity with its radiant yellowish-orange colour like morning hues. The word ‘lends’ is wonderfully added in this haiku. It displays the symbiotic relationship between insects and the meadow. The meadow is abundant with colours and beauty that any small insect can go and enjoy fully. It appears to be a spring meadow where insects usually get involved in pollination and cross-pollination, and as a result, retrieve fresh juices to drink from the freshly bloomed flowers.
It can also be related to our mood that needs deep inspiration from nature by living close to it. The colours may also symbolize the ‘aura’ of a person with a deficiency of colours, energy, and enthusiasm, and the mere sight of a wide meadow boosts their aura and fading energy.
It may also show the blessings of a spring meditation that enriches our body and soul with the true colours of nature.
-----------
palm up
a snowflake lands
on my life line
— an'ya (USA)
(previously published in Ardea)
The opening line presents a sweet gesture. It shows the simplicity of our connection with nature. I feel this is a soothing scene where a person feels the depth of their relationship with winter.
I can see the element of loneliness here, as deep winter may bring shades of depression and anxiety. So, snowflakes may act as a source of entertainment or a change that can divert one's thoughts and feelings from dull and freezing weather. A snowflake sways like a falling leaf before it settles on a surface. It is a delicate element of nature that brings subtlety in our mood and feelings.
It may symbolize the life of a person who has passed through 'cold' realities, and faced harshness and rejection. A snowflake's life is anonymous because it has no sound, no set pattern of falling, and irregularities or weaknesses.
The life line on one's hand indicates the time of death, departure, or the ending of old patterns of life that are fragile, insignificant, or useless.
I see this haiku in two ways: both nature and human nature stand parallel in the universe and share common characteristics that connect them deeply and which makes them learn lessons or gain inspiration from each other.
-----------------
mother's diary -
between two blank pages
a pressed snowdrop
I feel as if I may have read the whole diary through this one haiku. The nostalgic feelings in this haiku show fond memories of a mother. That itself makes this haiku powerful in many ways.
A diary is a collection of day-to-day memories and events where a person sometimes shares very private feelings, and no one will listen to those feelings. The opening line ‘mother’s diary' perhaps shows the motherhood experiences of a single mother who wants to be listened to by others but can’t
The blank pages may reflect the hesitation, reluctance, or lack of the right expression. It seems the mother wants to share very deep or private feelings but is unable to do so due to various reasons. It also illustrates how visible those feelings are when you go through the blank pages as the writer skillfully connected the blank pages with a snowdrop. A snowdrop that is cold, invisible, and anonymous may indicate tears, deep pain, traumatic feelings, guilt, and/or regrets.
The overall imagery of this haiku may suggest sadness, loneliness, departure, grief, or deep pain that leaves a mother to remain inexpressive and silent.
the cat
is fast asleep
and so is my leg
— Jim Young (Wales, UK)
This haiku is full of compassion, love, and care. It shows a deep bond between a person with their surroundings, especially with creatures who depend on us as part of the ecosystem. I loved the overall imagery of this haiku that reflects genuineness and innocence.
Cats are known for their possessiveness and extreme loyalty. This may illustrate that they are not a mere pet. The article ‘the’ places importance on the cat and makes it the center of the poem, at least for the first two lines. 'Fast asleep' may be a metaphor for the comfort and calmness when a person, for a time, keeps possessions aside and focuses more on inner energies, or the inner self.
In other words, the cat always feels comfortable when it gets the personal touch of its owner, which displays the power of feelings or deep relationships that are irreplaceable. The strong bond between the man and his cat induces the feline to go to sleep, and consequently, the man's leg.
I am not only seeing a leg here that lacks sensitivity due to the cat who is sitting on it, and the person out of love, care, and compassion doesn’t move it. I can also see the laborious work and hardship a person goes through all day long and finally feels muscular fatigue. He needs a break from his busy life, and the cat may represent a true friend who gives comfort to him.
The overall theme of this haiku revolves around the sincerity, loyalty, compassion, and care that a person needs to feel inner peace.
--------------
mother's diary -
between two blank pages
a pressed snowdrop
I feel as if I may have read the whole diary through this one haiku. The nostalgic feelings in this haiku show fond memories of a mother. That itself makes this haiku powerful in many ways.
A diary is a collection of day-to-day memories and events where a person sometimes shares very private feelings, and no one will listen to those feelings. The opening line ‘mother’s diary' perhaps shows the motherhood experiences of a single mother who wants to be listened to by others but can’t
The blank pages may reflect the hesitation, reluctance, or lack of the right expression. It seems the mother wants to share very deep or private feelings but is unable to do so due to various reasons. It also illustrates how visible those feelings are when you go through the blank pages as the writer skillfully connected the blank pages with a snowdrop. A snowdrop that is cold, invisible, and anonymous may indicate tears, deep pain, traumatic feelings, guilt, and/or regrets.
The overall imagery of this haiku may suggest sadness, loneliness, departure, grief, or deep pain that leaves a mother to remain inexpressive and silent.
----------------
between the bed wrinkles winter shadows
— Martin Gottlieb Cohen (USA)
Darkness, shadows, and bed wrinkles—these three aspects can make a night more mysterious. For a moment, this haiku took me back to the time when I used to read mystery novels, which gave me an impetus to read the whole story in one sitting.
The word ‘between’ shows a transition. It also activates our thinking where we immediately start trying to figure out what is happening in the poem. It encourages us to shift our attention to the rest of the poem.
'bed wrinkles' is a phrase that can be interpreted in many ways. It shows restlessness, sleeplessness, memories, ageing, nightmares, loneliness, chaos, fatigue, and other physical or mental aspects that make a person change their position while lying down on a bed. It also connects to how life becomes complicated, even when someone tries to take a rest after the long and tiring journey of life. Bed wrinkles shape up like waves, labyrinths, and circles.
Winter shadows reveal the mystery that starts with the word ‘between’. These shadows are deep and dark, which are vivid and influential in many ways. Metaphorically, these shadows relate to traumatic events that cause restlessness and sleeplessness. Mostly, shadows never leave a person, whether of their own or of surroundings. In this monoku, it can be the combination of all types of shadows that collectively disturb the body and soul of a person that overshadows the peace of the night.
This profound monoku depicts the wholeness of life where both the inner and outer world of a person is in a constant flow, which builds the momentum from one reality to another, from one element to another, and makes life more sophisticated in many ways. I feel as if the transformation of one’s thoughts and feelings is inversely proportional to cosmic matters and the environment. That is why the scene ends on a dreamless night.
--------------------
winter night
the fog thickens around
a long lullaby
— Srinivas S (India)
(Published in Under the Basho, Modern Haiku Section, 2020)
The silence and darkness of a winter night imply deep feelings on the surface. Also, memories arise that associate with silence and darkness.
In this haiku, the poet is reminiscing about and missing someone—most probably a child who is no more with him. The poet is probably a parent who is sharing his remorseful feelings with the winter night which is reflecting them through silence, fog, and darkness.
The fog thickening is projected mysteriously in this haiku but it shows the depth of loss that one feels deep inside. It can also mean the desire to forget traumatic memories. This can happen when a person sings a long lullaby and gets lost into the past which is getting vague with time and darkness.
The long lullaby also shows the intensity of grief and pain that one bears on a cold night but cannot retain anymore. So, the winter night provides a platform for catharsis and to sing a long lullaby that is heard by no one but the person himself.
I also feel the manifestation of the poet's childhood in this haiku, where he feels nostalgic and remembers his childhood which had deprivations.
--------
muezzin's call . . .
Santa Claus steps aside
to make ablutions
— Barnabas I. Adeleke (Nigeria)
(previously published in Frogpond, 43.2)
There are a few haiku that beautifully reflect interfaith harmony and show reverence and respect for every faith. This haiku is one of them.
The muezzin’s call to prayer is not only the call for prayer but also a message of peace for all those who are on the right path. The path that leads to serve humanity and make this world a better place. The writer beautifully blends two faiths based on the common grounds that are reflected in this haiku.
Santa Claus stepping aside is a gesture of reverence and respect not for other faiths but his own. It seems the Santa Claus in this case is a Muslim who took a break for offering a prayer, or it is a metaphor based on the actions a Santa Claus performs that brings happiness to others' lives during the time of Christmas by distributing presents.
Ablution depicts the purification of the body before one offers a prayer. It is another way to clean one’s self and then serve others. The blend of beliefs and actions are interwoven beautifully in this haiku. It displays religious harmony in a true sense.
The muezzin’s call makes a person purify their body and soul before serving others. It's an awakening call for all those who believe in peace, prosperity, and happiness.
------
children's laughter
the iridescent sheen
of a soap bubble
— Jay Friedenberg (USA)
This beautiful and colorful haiku took me back to my childhood. I started reminiscing about this time of joy and happiness. I can relate to the deep and subtle feelings embedded in the imagery of this haiku that echo back, which creates a soothing impact on the reader's memory.
In terms of the senses, I can divide this haiku into three parts:
- Line 1 is about hearing children’s laughter
- Line 2 is about seeing the iridescent sheen
- Line 3 could be about touching the soap bubble
Children’s laughter—the sound of a carefree life that starts from our childhood when there is little-to-no sense of responsibility or worldly possessions. The sound of children’s laughter is quite soothing as it has a great impact on the psyche of not only children but also the people who surround them. I take it as laughter therapy that we rarely experience these days but still want to be a part of. Our inner child misses these moments and sometimes, we seek solace in reminiscing about those happy moments that still strike our eardrums softly and make us smile.
The iridescent sheen depicts rainbow colors, the colors of life, and happiness, which connects to laughter. This shows the ‘wholeness’ of life where various colors impact our ‘aura’ and make it beautiful and positive. The sheen is the glow that subtly and miraculously brings light to life, especially in the form of elation and utmost joy. The iridescent sheen also presents hope and positivity in life which helps us to focus on small moments of happiness and the blessings we miss or ignore.
A soap bubble here shows how short our childhood bliss lasts. It also indicates the delicacy and subtlety of moments that we enjoy with our loved ones that unfortunately has a short duration.
Looking at the haiku at a more granular level, as Nicholas said, there are no ellipses in the first line. This makes this poem more open for interpretation and more flexible for enjoying the positive energy that the poet beautifully weaved into it.
To me, this haiku is about gathering our childhood memories related to hearing, seeing, and touching. I loved the way the poet magnified the micro-elements of innocence and positivity, which turned it into a life lesson.
------
Haiku Commentary had a prompt challenge on Twitter that revolved around the theme of "dust." Here are our favorite submissions and commentary on them.
rising dust . . .
the old argument
resettled
— Marion Clarke (Ireland)
The opening line of this haiku alludes to the visibility, progress, and movement of something very intangible and subtle. ‘Dust’ may reflect resilience, hope, positivity, strength, or life. When a person moves on in life with all these characteristics, they find it easier to understand certain realities of life and their underlying meanings.
When we look back into the past, old arguments look vague and meaningless. We hold fast to our points of view over the years and ruin relationships because our state of mind doesn’t accept them or see through them for a better reflection of the causes of those arguments.
The resettling of arguments means a new perspective on past disagreements or the reasons behind those arguments that bring more understanding of life.
----------
my childhood memories
a cloud
of chalk dust
— Paul David Mena (USA)
Childhood memories always remain with us no matter how old we are or how hard it is to get through our lives. We always cherish those memories no matter how bittersweet they are. Those flashbacks of the past look like a cloud of chalk dust that we enjoy for a moment and then get back to our routine lives. This also means that vivid memories are fading away either due to life experiences of both childhood or present or due to ageing. In any case, if words have been erased, only chalk dust remains for a short while. A cloud also shows fading memories or forgetting, where a person loses the details of childhood memories and has only short glimpses of their childhood.
The word ‘my’ depicts the personal experiences of the poet where he finds it hard to remember those memories. The letter ‘c’ in this haiku displays the half circle of those memories that result in mere images or glimpses from childhood without having any significant details.
---------
dust on your photos
the last fragments of you
that remain
— Shane Pruett (USA)
There are certain memories in life that we want to forget but cannot as they leave deep imprints on our minds and hearts. But still, time is considered as the best healer. So, the memories of loved ones remain as mere dust.
Specks of dust on photos, metaphorical flashbacks, or vivid memories are fading away or not getting the importance they deserve. This may be due to a change in priorities or other perspectives of life or ageing when someone cannot remember certain things of the past or ignore them.
In this haiku, 'last fragments' show the loosening of memories that the narrator once held dear. These fragments are dust, which also shows the annihilation of memories.
Ultimately, this haiku speaks about the transformation of a relationship from a tangible personal touch to the intangible thoughts and memories that later fizzle out in the dust of time.
-------
an attic window sill
a wasp curls
into its own dust
— Alan Summers (England)
Haiku of Merit: Ginko & Kukai event with Professor Hoshino Tsunehiko (1997)
Pub. Yomiuri Shimbun Go-Shichi-Go On-Line Language Lab (Japan, 2005)
An attic window sill is a place where many creatures yearn for their dreams and rest for a moment or two and then fly away. An attic window may be a reflection of memories where a person finds themselves close to their inner self and feel protected.
The analogy of a wasp who curls into its dust may indicate the protection that we acquire after time. When we relate this to human life, our experiences reshape our potential and abilities where we can transcend and transform with time. The connection between ‘attic’ and ‘dust’ shows the stages of maturity that we gain phase by phase and eventually gain the maturity level where the outcomes of those experiences become our strength and protect us from an unseen future. ‘Dust’ may also reflect the annihilation where a person bends down due to either ageing or the brunt of the past that they bury under the dust of time or death.
The articles ‘an’ and ‘a’ project the individual experiences of a person that are more subtle but profound. The letter ‘w’, I feel, gives a sense of the ups and downs in life that reshape our intellect and bring ultimate maturity until death.
---------------------
lockdown
a little sea
— Francesco Palladino (Italy)
The current lockdown has changed our life experiences so much. We see new dimensions or unique perspectives of life very closely. This may be due to shifting from one normal to another that is original and profound in many ways.
In this haiku, the writer finds a subtle yet vivid moment where he feels the delicacy of life in a beautiful way. The flight of a seagull seems to indicate the set direction in life or set objectives that one has planned before or during the pandemic. It can also mean that the person has gained maximum mindfulness where he accomplished his objectives or has passed through profound learning experiences. The 'little sea' to me shows a level of knowledge that is vast and/or an abundance of knowledge due to clear thoughts.
The other aspect of this haiku may be contrary to the above. Maybe, the lockdown and the self-isolation has disturbed the thought process of the narrator, where he lives in an imaginary world and finds his objectives merely an illusion or daydream about them instead of fulfilling them. The 'little sea' may be a mirage that comes our way during our daily routine and we seek solace in it until the lockdown is over.
Looking at the sound, the letter ‘l’ shows the stiffness or persistence of a thought process occurring during a lockdown.
---------------------
THE INTRUDER
You stole her computer, her jewelry, and her credit cards, and bought things from companies around the world.
Yes, they cleaned up the shattered glass you left behind. And they have a new alarm system now, with a fence that nobody can climb.
You too are bound by the laws of karma. I just hope the seeds of karma will soon be destroyed before they grow into a vast, criminal tree.
morning mist . . .
the prisoner’s breath lingers
above barbed-wire
- Jacob Salzer (USA)
(previously published Contemporary Haibun Online, January 2020)
This haibun (prose and haiku) starts with the worldly possessions of a person whom he loves. The computer, jewelry, and credit cards all show the signs of luxuries that a person possesses. The word ‘stole’ means that a person has either taken away all these luxuries or made her deprived of worldly comfort.
Having only shattered glass left behind indicates the mark of a broken relationship where there is nothing left. So, when someone enjoys worldly possessions by destroying others, their own life becomes more barren and destroyed as the analogy of seeds and trees in this haibun beautifully explains.
The morning mist reflects the confusion and chaos where there is no clear picture of what is right and what is wrong, and what is beyond the thick layer of mist that becomes a barrier. The prisoner’s breath could signify the efforts of an enslaved person who is so lost in worldly possessions and mundane life that they forget the consequences and put their life at stake. The barbed wire is another way of making a person conscious of their deeds whilst committing criminal activities.
Overall, the morning mist is like a ‘pleasure’, the prisoner’s breath is like their ego, and the barbed wire is their superego. The overall imagery of this haibun revolves around seeking pleasure by wrongdoings and eventually being caught up in the web of karma, where things that come around, go around. The pleasure principle takes a person to the verge of destruction where they lose their values, principles, and ethics, which destroys everything just to gain worldly wealth and temporary comfort. But when they get caught, they find themselves merely a sign of destruction.
The title of this haibun is quite intriguing as ‘intruder’ is any foreign or outer attraction that takes our focus away from the self, and we get lost into the luxuries of life until we achieve nothing.
a shadow
on the flower- Praniti Gulyani (India)
(Previously published in Old Song: Red Moon Anthology, 2017)
The opening line of this haiku indicates the first experience of a person wearing a hijab (veil) which is significant in terms of its religious, cultural, and social value. A first hijab also means that a girl has entered into puberty where she has to cover herself up as a means of her protection when she is interacting with a world full of strangers and experiencing a different perspective of life that is more mature.
A shadow, in my opinion, means the self-reflection of one's thoughts about drawing a line to protect herself from the outer world. A new self-image that is more careful and thoughtful. This shadow can also be the fears that a woman holds in her youth regarding her body, beauty, and self. Through a hijab, she is trying to keep herself away from the darkness of the outer world.
It is like a flower that unfurls and reaches the stage of blossom where many insects and seasons ruin its beauty and loses the charm of life.
The use of an ellipsis after 'hijab' indicates the deepest feelings of a person, which is more than merely a piece of cloth.
the moon bumps
into a paperboat
- Alan Summers (UK)
(Published previously in The Heron’s Nest vol. XXI no. 4, 2019)
It’s difficult sometimes to summarize a whole story into the shortest possible amount of words, but when someone does it, it becomes a masterpiece. This haiku is one of those masterpieces that shows why haiku is considered as one of the finest forms of creative writing.
'Duskfall' with an ellipsis gives the imagery of a silent yet sad evening where there are no activities. The word itself shows the ending of life when dusk has fallen and is followed by darkness. But, the ending of life can also mean a new beginning that is deeper in nature. It looks like the locus of control is shifting from the outer world to the inner one where subtle aspects of nature get active and replace worldly life.
even in death
beautiful
- Réka Nyitrai (Romania)
(published previously in Scryptic issue 2.4 December 2018)
I liked the simplicity of this haiku that straight away touched me deeply. We mostly mention living creatures in our poems as a source of inspiration but this unique haiku took another unique dimension of life which itself is full of life.
'pinned butterfly’, if I imagine, means the transformation of life into death but still finds its way to get the attention of the masses. When we pin something, we try to highlight it on a wall or board or any other place where it can be seen by many people. It also shows how things become important after death, and especially how death carves their beauty and makes them immortal.
Yes, this happens only through imaginative and creative thoughts that never die. Our thoughts and creativity make things immortal no matter what stage of life they are at and whether they are alive or dead—whether they are dynamic or static. The only thing that matters in the imaginative world is how we make things alive and immortal through our creative thinking. This haiku is the epitome of the imagination that takes us to a static stage of life where butterflies don’t flutter, don’t leave trails, don’t fly high, and don’t spread fragrance. It is a meditative stage of life where one finds existence in stillness and in deep silence. The en dash after 'butterfly' means a short pause which also reflects the stillness of life both during the creative and/or meditative process.
a child learns to say
“imaginary”
- Isabella Kramer (Germany)
(Previously published in Poetry Pea - Haiku Pea Podcast Series 2 Episode 2
The way I see the setting sun in this haiku is more about the transformation from day to night which also means the transformation of one’s focus from the outer world to the inner one. I loved the way the writer cleverly used the word ‘sunset’ positively where all energies converge into darkness but also enlighten the mind.
The second part of this haiku is about the transformation of learning where a child learns in the daylight most probably from nature and dreams or creates through imagination based on that learning. The word ‘imaginary’ here means the abstract thinking of a child which is chiseled by the daily life experiences before that reaches the stage where they start uniquely perceiving the world. It’s about the transformation from one stage of life to another, from light to darkness, or vice-a-versa. I liked the quotation marks around ‘imaginary’ which make it more significant and unique.
after the storm—
playing hopscotch
among the blossoms
- Florin Golban (România)
International Honourable mention, Vancouver Cherry Blossom Festival 2019In general, storms cause chaos. There's no specification of storm in this haiku, which makes it more open for discussion. But, every storm interrupts our daily routine, especially the recreational. The same goes for a difficult time, which puts all activities on halt.
Hopscotch is the resumption of a happy or carefree time that one has after a difficult time, where they enjoy playing it among nature. The blossoms indicate that life is in full bloom where there's no tension or chaos. It's more like back to normal where a person enjoys all their favourite activities, especially outdoor ones.
It also depicts resilience that one develops over a period of time.
---------------------
the zero-shadow moment I am with myself
A zero-shadow, in my opinion, indicates the complete absence of the shadow in one’s life. The word 'zero' itself reflects the degree of nothingness in this haiku where the writer feels it's more like the temperature which is cold at zero. A zero-shadow also depicts a lack of connectivity or loneliness due to various reasons.
When you feel that you have a zero-shadow that represents your existence means you're all alone without having a single ray of hope in your life. It also means the detachment of worldly relationships that act more like shadows and get lost when a person is having trouble or is in the dark.
In terms of sound, the letter ‘m’ in this haiku can relate to the echoes from the heart that are remorseful due to this miserable time.
winter dusk
the robin’s last chirp
before hiding into a tree
- Muskaan Ahuja (India)
Winter dusk is a time of converging all the thoughts of the day where one focuses on the inner state of mind—in other words, the locus of control is one’s own self. The mysterious magic of the forces at dusk creates a great impact on the psyche of a person where they are attracted by the invisible pull of the inner self.The last chirp of a robin may indicate the departure or annihilation of life that comes before one has possibly enjoyed life fully and then ends up in deep silence.
The hiding into a tree is more like an occultation where there is no more left to say or do. A life full of mysteries and chaos let us go through experiences where we enjoy positivity, happiness, and blessings but when all is over, we have nothing except silence and loneliness.
Another aspect of this haiku can be a deep understanding of life after passing through various experiences that enrich our intellect and bring maturity. This is the stage where people enjoy their solitude and silence more than words.
It's the focus of life from outside where worldly life builds up a dwelling for our end, which is annihilation and mortality.
From chirp to deep silence, from dawn to dusk, from interaction to solitude, all these stages of life show a momentum towards our ultimate destiny, which is nothingness.
what remains
after the river is gone
this empty bed
- Kat Lehmann (USA)
Published in Mayfly 68, 2020
I always wonder how to express my deepest feelings about certain themes of life that are well connected with the most essential element of nature: ‘water’. I love it when someone challenges me to write about topics that really cover annihilation.
In this haiku, Kat beautifully expressed her feelings in a simple but most elegant way without letting go of the flavours of the right metaphor that is the beauty of a well-crafted haiku.
What remains is a question mark that we all need to address at the end of this temporary life for which we spend a lifetime to solve the mystery of what we get in the end. The ‘river’ is well placed in this haiku that reflects our thoughts, feelings, and constant learning and building up of a momentum in our lives. I think the flow of the river may be interpreted in two ways: 1) physical life 2) mental or spiritual life. Both goes on until we stop breathing and/or stop thinking about what is necessary for survival.
The empty bed both of the river and our life indicates nothingness and or annihilation where only a deep silence prevails. This haiku also depicts the process of evolution and revolution that both start and end in nothing. This is the ultimate meaning of life.
---------------------
with the alchemy
of ravens . . .
alone, in a clearing
my heart picked clean
- Robin Anna Smith (USA)
UHTS Fleeting Words Tanka Contest 2019, First Place
There are a few short poems that inspire me deeply due to their brevity and brilliance. The beauty and the dimensions of our imagination are endless as one can grasp the attention of anyone through its majestic power and subtlety. This poem is one of them.
I loved the opening line of this wonderful tanka that pauses my thoughts and lets me feel the colours and the hues of dusk that tickle my slumberous senses to fully grasp the overall picture of that dusk.
The second line, ‘the alchemy of Ravens’, is beautifully embedded in this dynamic poem and this may be the crux of the whole theme of this tanka. The word ‘alchemy’ depicts the magical power of the dark that purifies our thoughts and heart through contemplation and maybe through meditation. Ravens here depict the sign of intellect that pass through the trials of time before getting into proper shape. This is the experience of wholeness where a person walks alone in this journey as it varies from individual to individual. This highest level of personal experience also touches the spiritual boundaries where a person wants peace at heart, which is the ultimate goal of life. This only comes through the self-awareness that is reflecting very clearly in this tanka and brings one’s thoughts and feelings together to enjoy the subtle experience of wholeness.
Looking at the technicalities, the ellipsis placed after the word 'ravens' makes it significant to ponder in our day-to-day experiences before we finally get to the path of our ultimate destiny. By uniting the first and the last lines, one can understand the ultimate purpose of life.
to the full moon...
shadows dive in
- Elancharan Gunasekaran (Singapore)
Published in Wales Haiku Journal, summer, 2019
I liked the opening line of this, where there is a sense of proximity and closeness. It puts my ongoing thoughts on a halt and I start exploring my deep connection with the deep water and its mysterious shades. I feel as if my thoughts are anchored for a short while and the sea becomes a subtle ground for anchoring myself to the moon.
It sounds meditative. The full moon is another reason for this mesmerism as the moonlight takes me deep into my profound inner self and I run my imagination wild where strings of the moonlight anchor my thoughts and feelings.
The ellipsis pauses our thoughts to fully absorb the feelings and to enjoy the imagery. The last part of this haiku is a shift from light to dark which seems more like yin-yang where there are comparisons and contrasts in feelings where one can see the moonlight clearly on water due to the shadows that define its boundaries.
The overall imagery of this haiku is subtle and surreal but it's very well crafted with a fact that there's a very deep connection between Earth, water, and celestial bodies and one can feel this deep connection with a peaceful mind. It's definitely beyond seeing.
In terms of sound, the letter "o" creates an uninterrupted rhythm of mystic feelings where there's no concept of time and space but a continuous cycle of an extraordinary experience.
a line of hoofprints
in the snow
- Goran Gatalica (Croatia)
The Mainichi, 3/9/2020
This haiku contains all the mysteries of a night that we usually imagine when sitting near a fireplace. If we dig deeper into this haiku, I find a melancholic self who is desperately looking for some dawn light.
Night loneliness depicts the winter night when nothing prevails but deep silence. I feel the loneliness symbolizes both inner and outer conditions. So, we can interrelate our loneliness with the outer world where our thoughts and feelings are in sync with the environment.
A line of hoofprints may indicate the long but slow journey of a person’s life that is more static at the moment. These hoofprints are in the snow which indicates the intangible struggle of life where we have to use extra energies to wade through tough periods of life.
In terms of sound, the letter "o" here shows the endless cycle of struggle that a person goes through to survive.
from the bamboo forest
summer's end
- Kala Ramesh (India)
Published in Modern Haiku 48:1. Winter/spring 2017
This lovely haiku takes me back to the East where every single aspect of nature works rhythmically. I love the sound and sight of this haiku. It brought a smile on my face and pulled the strings of my heart.
A thousand flutes could mean a thousand folk stories, a thousand journeys, a thousand years, or a thousand seasons which unanimously take the writer back to those thousands of moments that she has spent throughout her life. These nostalgic feelings stir the current inertia where she is missing her past the most.
I can also feel the resonance of thoughts and feelings that are in great synchronization with nature and brings harmonious and peaceful waves of wind to sooth both the heart and mind. The flute is a great instrument for touching the core of the heart, especially when there is silence all around. So, I can feel the meditative mood of all aspects of nature, including the person that is connected through the rhythm of love and peace.
The summer’s end means, in my opinion, a transformation where one can relate to and reciprocate with the positive vibes that comes on the way. I feel as if the person has achieved the state of mind where she can listen to nature with its true colours and enjoy the songs of love and change.
first firefly
among the stars ...
a child's wish
- Chen-ou Liu (Canada)
When I was a child, I used to watch fireflies, considering them as a lucky charm. This haiku reminds me of my childhood memories associated with fireflies and I can relate to it.
A "first firefly" is a hope in the darkness that we want to have in our lives. The poet beautifully put two contrasting realities together.
One is stars we cannot touch and the other one is a firefly that we can touch and personally feel its existence. The firefly is more like a dream that comes true—a kind of wish that is fulfilled by feeling the existence of a firefly’s light that resembles starlight. One can also see the limitation of certain realities that are beyond our understanding and access but possible through imagination and adopting alternative approaches. A child enjoys his or her access to the stars through a firefly that takes him close to his imagination and fulfills the wish of touching stars.
tiny wings
while the bough floats
- Maria Chiara Miduri (Italy)
Wales Haiku Journal, Spring Issue, 2019
Haiku about crows always brings mystery to me. I start relating them to certain deep realities of life. A crow can symbolize intelligence, flexibility, and destiny in certain cultures, whilst bad luck and death in others. For me, a crow is a symbol of wisdom and survival that keeps on knocking on the doors of our mind and heart to awaken and understand the depth of life.
The tiny wings, as I understand, is the beginning of new life that needs energy and enthusiasm to keep going and to face the harsh realities of life.
In terms of the bough that floats on the water, I think it signifies the survival of the fittest in the tidal waves of life, but it is the crow that leads us to overcome our weaknesses and to handle it with strength and wisdom.
This haiku is the combination of nature and nurture where wisdom, realities, and trials are beautifully described with the help of the elements of nature.
the bottomless cup
of my hands
- Martha Magenta (UK)
Stardust Haiku, issue 30, June 2019
This post is a tribute to Martha Magenta, who has recently passed away this year. She was an award-winning poet, an integral member of the haiku community, and a person that mentored many aspiring poets.
The opening line of this brilliant haiku takes us to the refreshing sound of water that is flowing freely. The mountain spring creates mystical feelings of selflessness and focus. The bottomless cup is a bit of a twist in the story where both words are used to take the readers from the mountain spring to the self with empty hands. So, it’s all about giving not gathering, praying not begging, saying not asking.
I could relate this haiku to Sufi practices where cupped hands are supposed to be saying a prayer and connect with the almighty at the level where there is no desire for worldly needs. The subtle feelings of flowing water, mystical conditions, and the self make this haiku more profound with deeply personal experiences of meditation and self-discovery.
rots in our fruit bowl
the promises
we choose
not to keep
- Tia Nicole Haynes (USA)
Published in Frameless Sky, 11
The pear could be symbolizing comfort and inner peace which one gets through the sweetness of life. This tanka perhaps revolves around the choices we make to get that inner peace.
So, another pear rotting in the fruit bowl means the circumstances and choices are not appropriate for gaining inner peace and comfort in life. We make certain promises in life to do things that bring happiness and peace in our lives-- especially the ones where the focus of control is our inner self. But, due to certain circumstances, we are not able to carry out those promises we make with ourselves. That makes life so uncertain in many ways that we forget to taste the inner peace, as it gets spoiled and rotten by limited choices.
There is a continuous process of striving for inner peace, which is the ultimate goal of our lives and we really wish to keep things in line with our ultimate goal and make promises every year for it. But, life in certain ways puts us through trials and we forget that ultimate goal.
In terms of sound, the letter 'o' could indicate the life cycle that makes us deal with different matters of life but also forgetting the ultimate goal.
a star has fallen
somewhere
Carmela Marino (Italy)
Published on Haikuniverse
I wish I could see a whole image like this with closed eyes. Closed eyes mean to see the world through the third eye and to feel it deeply. Also, a falling star is a kind of hope and a bond with the universe that anyone can feel anywhere with a specific state of mind.
So, this is connectivity through imagination, meditation, and deep thinking to wish, pray, and ask for what we really want in our lives.
The word ‘somewhere’ depicts the concept of wholeness, where the poet, as a tiny part of this universe, wishes to see that falling star through her third eye. In a way, this is beyond wishes, where someone wants to get connected with celestial bodies by creating a harmonious and deep understanding of this world.
Words like closed, fallen, and somewhere are abstract in this haiku yet leave great room for a deep understanding of this unlimited universe and our unexplored inner world.
here and there
a housefly
- Hemapriya Chellappan (India)
Failed Haiku, journal of senryu, issue 45, Sept 2019
The monsoon season is a time of yearning and transformation where many views outside and inside get refreshed and soil absorbs a lot of stories of the mourning sky. The sound of rain, petrichor, and new views bring original perspectives to life--and if we shift our focus from our world to the inner world, as in yoga and meditation, we find it very soothing, as there is a direct and deep connection between a monsoon and yoga. The spirit of this haiku revolves around the aspects that make our lives toxic due to a lot of reasons and activities that affect us mentally, spiritually, physically, and emotionally.
In terms of the housefly, I believe it is a metaphor that describes the dirt and filth around us. So, when it comes to a monsoon, all that filth comes to the surface and makes the environment more chaotic and toxic. A housefly can also represent the disturbing thoughts that keep us restless and dissatisfied daily. So, it is a monsoon that makes things obvious for us so that we can concentrate on our inner world and find out the best possible solutions to the chaos around and inside us.
willow
writing a message
on the lake
- Agnieszka Filipek (Ireland)
First published in The Cicada’s Cry
The willow tree represents strength, stability, growth, and knowledge or learning. This simple but profound haiku represents the shades of all these characteristics that nature presents through its different elements.
Writing a message on the lake shows the imagination of a person who is in sync with nature and beautifully shares her feelings about it. So, nature gives a lot of inspiration through its elements that we need to understand deeply.
The lake depicts calmness and the writing of a message on it means the person has faced many seasons and now she is ready to face life's experiences.
The letter ‘w’ in this haiku sounds like waves of the past that strike the mind to recollect memories and to scribble them down when one is in a peaceful state.
---------------------
autumn walk
trying to exchange my breath
with trees
- Antonietta Losito (Italy)
An autumn walk is one of my favourite activities. It’s not simply a walk but a therapeutic process where I feel relieved by being a tiny part of this universe. Autumn is a shifting point where one season transforms into another, leaving profound memories behind.
In this haiku, I can feel the depth of those feelings where a person exchanges their breath with trees in a symbiotic way. It’s a win-win situation--everyone gains benefits from each other. I can see how one can be beneficial for others in order to bring peace and prosperity, as it’s a universal phenomenon that one cannot exist without interacting with others.
So, this beautiful haiku shows the long-term purpose of life or the ultimate goal of life: to bring peace within and around as well.
As a side note, I personally liked the ‘t’ sound that resonates in every line of this haiku.
a fly ends the sentence
in the crime book
- Robert Kingston (UK)
Bones Journal, 13, 2017
This haiku takes me back to my teenage world where I used to read suspense novels and digests. I liked the way the writer conceived the idea of this haiku about a crime scene but also intrigues me to know more about the whole story.
"afternoon sun" is the time when our thoughts and feelings slow down due to the daytime activities and we want something that can make us relaxed and can rejuvenate our energies. I can feel the sense of getting involved in an activity that engages a person’s mind into something more complex and sophisticated like a crime story.
The fly could be a metaphor for something that bothers us or takes our attention away from what we are trying to focus on. It could be the thoughts of a person or any news or any distraction in the environment that lead us to reveal the mystery on our own or let our experience predict the next part of the story. It may be a point of haste where we don’t indulge in the step-wise process of mystery that is written in the crime book. It is the success of a crime book writer who plotted the story in a way where the curiosity of a person is distracted by the environment or surroundings, and it frequently happens these days.
I miss the reading environment these days where all my senses fully enjoy the book that I am holding in my hands.
enough shadow
to imagine
- Elaine Wilburt (USA)
A crescent moon or a new moon is the start of a new month, which brings hope and energy with it. I take the crescent moon as a source of yearning for new dreams and plans.
"enough shadow" metaphorically has two meanings here: the dark side of the moon that goes into the light with lunar phases and becomes visible to the eyes, and the shadow of a person, which can be called a persona. In both cases, shadows reflect our desires that need time to get fulfilled. I could see a close connection to life’s stages and lunar phases, where a person grows physically, spiritually, emotionally, and mentally over a period of time. But before that, every aspect of life remains a mystery, like a shadow, and becomes visible once it gets enlightened by time and reflects our true self and/or potential.
chasing the silence
of the clouds
Photograph by Lorena Campiotti, haiku © Anna Maria Domburg-Sancristoforo
The opening line of this haiku takes us to the colourful sky that can be observed at twilight. Mostly, twilight has fading colours i.e. red, purple, yellow, and blue. These fading colours reflect the colours of an aura that we have in the evening, especially at twilight. So, the lake's twilight complements or blends with the colours of our aura. I can feel the deep silence of the lake at twilight that is due to either the migration of birds or other lake creatures, or due to abandonment. In both cases, the lake reflects the colours of twilight, as well as the mood of the person who was observing it.
Chasing silence may indicate the meditative thoughts that are closely embedded in the silence of the lake and intertwined with the colours of the sky. The narrator may have had profound experiences of seeing clouds, which may also be her ongoing thoughts (maybe chaotic), and she wants to move beyond those thoughts to finally get a peaceful mind.
This haiku beautifully presents the whole image in a subtle way, where we can observe a deep relationship among twilight colours, clouds, silence, and mood. It reveals the mystery of human curiosity to go deeper into one's thoughts and feel the depth of subtle experiences. Overall, I enjoyed the imagery of this haiku which moved me to vividly experience a lake twilight.
no one left to decide
who is right
© Vandana Parashar
Cattails, May, 2017
This poignant haiku takes us not only to the actual battlefield but also to the daily grudges and rows that are mostly endless and bring harmful effects to our lives. I have observed such situations many times in my own life where fights based on egos don’t end just because everyone thinks he or she is right and the next person is wrong.
The first line of this haiku is about a war zone: a zone that is a territory full of danger and harmful effects. The war zone indicates our mindsets and our egos with negative thoughts and feelings that disturb us mentally, physically, and spiritually, that bound us to not see out of the box, that steal our positive energies and act as a slow poison.
When one is in that war zone, one is not able to think or act rationally or logically. This is the level where we don’t go beyond our limited perceptions of the world and relationships, which makes us judge our relationships without having set criteria. We hallucinate about our surroundings and defend ourselves, merely giving reasoning to what is delusional and not reality. We feel that we are right and we justify our point of view with arguments without logic. We live with such delusions all the time which takes us to the comfort level of not being rejected, defeated, or surrendered.
Overall, this haiku is all about our negative attitude towards relationships when we are having trouble handling issues and problems. We end our relationships without even reaching any conclusion about who is wrong and who is right. We have a false self-image and we live with it all our lives and get involved in an endless war that we pass on from generation to generation without reaching any finality.
starlight —
the tadpoles vanish
in a blurry pond
- Goran Gatalica (Croatia)
Under the Basho, (modern haiku), March 2019
This haiku resonates with the things that don’t get a lot of importance in our lives. The opening line ‘starlight’ symbolizes two aspects in the context of this poem.
- It glows but remains unnoticed, especially when the stars are far away from the earth.
- A light dot that is mysterious in many ways.
The tadpoles depict the initial stages of life when things remain insignificant and mysterious, like the tiny stars that are in fact huge.
The blurry pond may symbolize our limited vision and perception of not seeing things beyond their looks. We don’t go into the depth of things that look small in shape and size.
The starlight and tadpoles in a blurry pond lose their impact and significance once they lose their reflection.
---------------------
the hospital pillow
winter snow
- Christina Sng (Singapore)
There are times when we are down due to an illness or disease, where everything around us looks dysfunctional and depressing. We try to relate to our feelings with our surroundings, especially the weather. We strive to console ourselves by finding out our shortcomings in the outer world.
This haiku depicts exactly that situation where the illness of a person can be related to winter snow as both bring depressing thoughts and feelings.
The word ‘pale’ indicates dullness and the fragile condition of a person who is seriously ill and depressed due to his or her illness. This colour also indicates autumn, where leaves change their colours—ultimately looking pale—and fall down. Here, paleness also suggests the departure or farewell due to a serious illness. A person in this state might feel as if he or she is close to death. So, the feelings of departure itself bring a lot of pain, melancholy, and depression.
Metaphorically, paleness also depicts negative emotions, where a person feels lonely and stressed out, which further suggests the poor mental health of a person.
The hospital pillow could be a metaphor for the cause of depressing and broken thoughts. Paleness against the pillow is the expression of those thoughts that a person has during the time of illness.
Winter snow, especially when someone projects his or her feelings on it, becomes a source of annihilation, a passive mindset, and negativity. It brings life to an end by slowing down the system of both the inner and outer worlds. It brings deep silence and melancholy where a person feels more close to his or her self and cannot avoid all the memories and traumatic events that have happened in his or her life. It brings coldness that turns down positive energies, especially will power.
Overall, it’s all about the deterioration of life's processes, whether it’s nature or our body.
brimming with sky
alone at dusk
© Carl Mayfield
(published in Modern Haiku)
The opening line of this haiku shows the stark part of life that one faces after rainy days. The puddle reflects the deep reality of life that brings loneliness after those rainy days, mirroring the personal deeds or mistakes that take a person to the stage where they feel alone and helpless.
I love the way the poet used juxtaposition to connect both Earth and sky. The sky could be dreams, wishes, longing, and even hope that keeps on coming to the person who has lost everything and he or she relies on them. The sky also shows openness and meditative thoughts that give clarity to the person by brimming or supporting his or her reflection in the puddle. It may also give a sense of realization that a person has when alone at dusk. The dusk comes with various colourful shades of life that may be positive or negative. A person who relies on their fate can finally get a nature-giving helping hand, especially at dusk when all feelings and thoughts converged in certain beliefs and prayers.
The earth and sky are well connected in this haiku by a sky that provides a platform where a person can revisit his or her thoughts and analyze them at dusk, when there is complete silence all around that provides an ideal time to think over about what’s next in life after losing everything.
the deep down cool
of a riverside rock
© Susan King (UK)
This haiku gives a continuity of deep thoughts about a person who is in search of eternal peace. The starting line ‘resting’ reveals both physical and mental states of a person who really wants to get some rest. It is not simply rest that she is referring to, though. It is the state of mind of seeking for serenity and calmness.
"riverside rock" is beautifully used in this profound poem, where it reflects the metaphysical side of the elements of nature. The riverside rock remains wet and cool all the time because the flowing water of the river constantly strikes it and keeps it cold. It seems the poet has kept her head on the riverside rock, which gives her an intuition about the inner peace she felt through the first touch of the riverside rock.
Metaphorically, our head is more like a riverside rock that needs a constant flow of thoughts like river water, which keeps us calm, positive, and peaceful. It is all about absorbing those thoughts to the core so that we can experience the serenity of deeply rooted positive energy and actually feel relaxed.
the sewing pins
of rainfall
Alan Summers (UK)
Riverlight, with its great mystery, is used as the starting note of this beautiful orchestral haiku, where the subtlety of life lies in the light that makes no difference to the flowing water but to the falling rain. It’s a deep expression of having everything but still nothing in life. The riverlight may be soft, subtle, mysterious, and vague for the rhythmic movement of water but it has a great impact on the things that are intangible.
Sewing pins not only help in setting clothes but also fixing mending issues by providing adherence. The analogy of sewing pins with rainfall makes this haiku poignant and profound. Again, the riverlight gives a great colour to the rain but metaphorically doesn’t change the vagueness and purposeless life of it.
In life, we may experience a lot of things that look different when uncovered or unveiled by rational thinking. We may find them piercing our life and wish to not face them or encounter them again. Glimpses of adversity in life may be painful but it brings ease with them.
The synthesis of sight, touch, and feel in this haiku makes it more profound and mystical in nature, where the light turns rain into painful experiences or trials of life that eventually lead to eternal peace.
"first snow" brings a lot of surprises with it besides transformation. It gives us a deeper chill, where we feel more close to our inner self. For me, the first snow is the best part of the year, which helps us to yearn for new dreams and express ourselves deeply. But, for deprived people as mentioned in this haiku, the first snow is a bit alarming due to the harshness of the season.
I see 'homeless' as a metaphor here where a person is deprived of a deep understanding of life and wandering with a wish to settle. The two left-handed gloves may indicate the helplessness of the person who cannot use his or her skills because of not having good choices or two equally bad choices—especially the word ‘baseball’ here reflects the sportsman spirit that is missing due to the choices that person made.
Overall, the theme of this haiku is pessimistic in nature, where a person, due to his or her personal choice (both left-handed gloves), and luck (snow), is unable to cope with different issues of life.
church bells versus
the ice cream van
a wafer each way
© Helen Buckingham (UK)
(Presence, 54, 2016)
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.
first cherry blossoms
in mother’s sandals
© Goran Gatalica (Croatia)
This is a beautiful haiku with a spiritual touch that makes it refreshing and intriguing. The first line starts with spring, which corresponds to a new beginning, a renewal of life, and a season of positivity and rebirth. "Spring pilgrimage" is a sort of transformation from the cold winter to warm spring in general and the transformation of the self from one level to the next that is more deeper and profound.
Cherry blossoms also symbolize renewal and a refreshed nature, so these can add more positivity and a sense of growth in one’s spiritual journey. "First cherry blossoms" may indicate early spring that brings deep feelings to initiate this deeper journey. The mother’s sandals indicate submission to the creator who bestows us with the blessings of self awareness. It also illustrates humility and reverence that a spiritual journey brings us and we feel more close to our creator.
Overall, this haiku depicts the profoundness and subtlety of spiritual experiences that not only bring us close to our inner self but also gives us a knowledge of the creator by feeling divine powers deep within.
a bowl of
green tea
i stop the war
(haiga)
– Paul Reps (1895 – 1990) (USA)
This short, intense poem has two aspects that make it interesting and deep in many ways. One aspect is related to our desire to calm our head after fatigue or mental stress. The green tea acts as a pacifier that brings the poet’s chaotic mind to peace. I believe in “tea meditation,” as it helps us to change our intense feelings that are usually a result of our shallow thoughts.
Keeping the background of this poem in mind, I think it is about fatigue due to the person feeling irritated or frustrated. It may be due to his long journey to another country, where he is not getting proper assistance. The tea brought soothing effects to his mind and he started thinking rationally about the situation.
Another deep aspect of this poem is spiritual, where a drink is the central part of the meditation practice. It is said that drinking green/herbal tea not only changes our biochemistry, but also helps us to filter/purify certain thoughts/feelings that are toxic in our nature. Every single sip of a drink works to simmer down our intense emotions and eventually facilitates us to clear our mind.
Besides these two aspects, I also see a deep connection between the person and nature, where green tea acts as fresh air in the chaotic life of a person, and helps him to get rid of the war that usually takes place in his mind.
© 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.
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.
last snow –
snowflakes melting
at first sight
Otata, March 2018
© Anna Maria Domburg-Sancristoforo (Netherlands)
This haiku is about the real spirit of winter. The first line may be a reflection ofthe condition of the narrator, who may be migrating, sick, or reminiscing about past memories in the winter. The images are used very cleverly here by triggering deep feelings and/or passions. The word "melting" also indicates a lot of meaning. In this case, I feel the person has tears in his/her eyes. The person might have an illness, be old, or not have good vision. "Melting" also indicates delusions or illusions that one has in his or her life and the act of slowly revealing the reality.
Overall, I feel the person narrating the poem is in his/her old age and nostalgic about recalling his/her first love that may no longer be with him/her. That's why he/she is having teary eyes, which creates the illusion of melting snowflakes, or clearing the mind of the loved one. "last" in the first line and "first" in last line is used very wisely, as both indicate stages of life—especially youth and old age.
---------------------
© Lucia Fontana
A beautiful haiga that is well conceived. In Japan, the sakura symbolizes spring or renewal, which means it also brings hope in life when it blooms. In this haiga, the sakura reflects the awakening of meditative thoughts that a person yearns for whilst strolling or walking on a path. It also means the person is contemplating about his/her deep thoughts and is taking some inspiration/motivation from nature.
On the contrary, the feelings may be opposite to what is described above. Maybe fallen or wilted sakura are present, which suggests hopelessness or a change in mood. Maybe a person is oversensitive towards some deep realities of life and relate them to nature.
Overall, the haiga indicates our approach towards different realities of life that can be either positive or negative. However, our deep understanding of those realities makes a lot of difference.
on an incessant journey
another sunset
when I long to change the taste
of salt, the colour of the wind
Skylark, 2:2 Winter Issue 2014
© Pravat Kumar Padhy (India)
I feel that this tanka is about a hardship that a person is passing through. "Wave after wave" means shifting from one painful event to another, which seem like trials. But, the writer is persistently going through this journey, no matter how much time it takes.
I can also see that the person is fed up with his monotonous life and wants to change his circumstances, and the conditions that surround him.
Spiritually, it describes the endless journey of hardship where one discovers his or her true potential/abilities to change what he or she does not want to see or wish. Both salt and wind are quite significant in spirituality, as both significantly influence the mood and behavior of a person. I can see the person is still not getting on this path, as sunset indicates hopelessness, but also the awakening of hidden powers that can impact our aura. Overall, the writer beautifully disguised both spiritual and social lives in this tanka.
a boy wiping the sky
from the tables
original Croatian:
nakon oluje
djecak brise nebo
sa stolova
© Darko Plažanin (1957 – 2009) (Croatia)
I can easily relate this haiku with people who pass through a tough time in life, as it reflects child labour. The first line ‘after the storm’ indicates bad circumstances in one’s life—maybe poverty. The next two lines are based on the hardship one is passing through to earn money. I can see the dreams of a poor boy who is looking at the reflection of ‘the sky’ and then, wiping it out because his realities and circumstances do not allow him to dream or progress in life. It shows disappointment as well where he cannot find a way to change his fate.
The tables may symbolize the platform, stage, source of earning, etc. In this case, he is trying to remain in reality by doing what he has to do every day. The sky, storm, wiping may also reflect ‘day dreaming’. The poor child can only see ‘the sky’ in the reflection of water on the tables. Overall, it projects the miseries and hardships that a child is passing through due to his circumstances.
Shopping for orange dreamsicles at Dollar Tree, I found myself in the checkout aisle behind two young men, dressed like handymen. The one closest to me suddenly declared, "I love you!" to the cashier, a large, middle-aged woman with mousy hair.
"He always embarrasses me," the other guy laughed.
"Why shouldn't I say something positive?" the man defended himself before turning to me. "I love you!" he said, a sincere smile on his face.
"I love you too," I replied with a grin.
I left the store with my dreamsicles, thinking how it isn't every day that two complete strangers look each other in the eye and say, "I love you!"
a daisy’s
yellow joy . . .
warbler trills
© Anna Cates (USA)
This haibun is versatile in many ways, as I can see various elements of our daily thoughts, the shopping spree, chitchat with people where we exchange smiles, and helping out strangers—the strangers we are connected to strongly for our needs, for our daily requirements.
I liked the way the poet composed the prose in a delightful way, which basically tells us about the dilemma of human beings. We usually bring our conscious filters when someone chats with us unexpectedly in a friendly way. In this era, if people try to connect with each other publicly, it is almost always taken in a suspicious way.
The haiku part of this haibun is well embedded with the emotions of a person who really wants to feel a deep connection with strangers, who are none other than human beings. The soft trilling of a warbler depicts the sincere and lovely feelings of a person that she/he shares through words like 'I love you!'. But, we perceive it according to our mindsets and in a specific way. Unfortunately, we want to connect with each other as human beings but, we cannot, as we start defining every single gesture, feelings, and words and categorize them according to our set perceptions and experiences. But, deep down, we want the opposite—we want to be heard by others, we want to be accepted unconditionally by others, we want to be connected without any barriers, and we want to be appreciated by others. All this is just a simple wish we want, like a daisy's yellow joy—the center of it—and in our case, the heart that is the center of joy, that usually fades away due to our thoughts and perceptions.
a boat below
the boat
The First International Ashiya Haiku Festa Award (2000)
© Zvonko Petrović (1925 – 2009) (Croatia)
This haiku is simple yet complicated when we interpret the imagery of it. The sea is a specific kind of sea: it may be calm, still, and transparent in this scene. A sea with these characteristics is not more than a mirror where nature can reflect in a better way. Then, a boat below the boat is used very cleverly in this haiku, where the author is relating the sea with a big boat that helps to store many things on it and rescue them as well. The other boat is very small, which shows the humbleness of the person who admires the vastness and depth of sea. This small boat may be the rescue boat, or one where the person sits and ponders different elements of life.
I can also see the sea as our intellect that helps our tiny self (boat) to flourish more and reflect more after passing through various storms and finally gain inner peace more like this sea. I also see the comparison of the large boat and small boat as inner and outer selves respectively, where our outer self reflects the inner inner self if it is well connected with it. The English articles are really meaningful in this haiku, especially ‘the’ that makes this haiku more mysterious and lets our imagination run wild.
i tie together
dad’s shoelaces
AHS Winter Solstice Haiku String 2018 © Michael Smeer (Netherlands)
This heartfelt senryu has two elements due to the choice of words, which provides curiosity to readers.
An anniversary dinner here may be the celebration of a parents’ wedding. So, here I can see this as a matter of deep pain where one spouse is being missed (due to death, separation, or illness). The child may have tried to make this event a special one for the father, who seems to be very old. With a deep emotional state of mind, the son couldn’t figure out how to tie dad’s shoelaces. Shoelaces here symbolize the relationship that is quite messy due to different reasons, and could be a metaphor for the child’s wish to see his parents in a perfect relationship again. Shoelaces tied together indicate confusion, ambiguity, and/or remorseful feelings that may result in a perplexed state of mind and actions.
The other side of this senryu could be full of life, where parents and children are together to enjoy the celebration of an anniversary and play pranks on each other—like shoelaces being tied together in this case.
Sem pedir, o vento
Derruba as flores do chão . . .
Eu nunca ousei.
English version:
without asking, the wind
sheds the flowers on the ground . . .
I never dared
© Afrânio Peixoto (1876 – 1947) (Brazil)
This poem shares the attitude that nature is bold and unpredictable. The wind may relate to mood swings as well, as sometimes rage may take us to a level where we do mistakes and blunders, shedding what we have earned. I think this also shows a specific type of wind that may be manifested as cold, dust storms, heat waves, and toxic material. I also see the helplessness of human beings when it comes to catastrophes where nature ruins its own beauty. "I never dared" is showing the alternative choice that we have being human beings—empathy, compassion, and kindness that influences certain decisions we make in haste.
unshared thoughts float off
with the withered leaves
(The Heron’s Nest, Volume II, Number 10: October, 2000 – Heron´s Nest Award)
© H. F. Noyes (1918 – 2010) (USA)
This haiku is either about yearning for certain dreams, or things that bother one the most. The opening line indicates that the person seeks solitude that this autumn morning provides fully. But, certain unshared thoughts still annoy in a way, as there is no one to share them with. It shows the introverted personality of a person who tries to live in solitude, and still enjoys it the most.
Withered leaves in this context symbolises death/ irrelevant thoughts that are still unshared and a mystery. I can also see an element of meditation here, as a morning stroll and withered leaves indicate the deep silence of autumn, departure, solitude, and hibernation. So, the person finds it the best ambiance for pondering deeply and filtering those unshared thoughts—eventually, finding those thoughts more like withered leaves: irrational. Mindfulness is the key here, where the poet cleverly related his ongoing thoughts with the season and finally achieved his goal: inner peace and serenity.
(Published in Frogpond, 2:3-4, 1979)
© Marlene Mountain (1939 – 2018) (USA)
Pigs and rain both symbolize abundance, power, and strength. So, I can see a very close connection between the first word (pig) and the last word (rain). Another element that comes to my mind is the food chain. Rain helps to nourish plants and bring fertility to crops. Pig meat is used as food, so it shows the interdependence of different elements of nature that gain strength only if the cycle is not disrupted. Spring symbolizes the abundance of blessings, whether it is in the form of food or rain, that makes a person happy.
Besides that, I can see a friendly relationship between animals, nature, and human beings—key elements of nature. Spring here also indicates harmony and a balanced relationship among all nature’s agents.
Spiritually, I can see a balance between physical (pig) and spiritual (rain) needs.
In addition, I can see the dominance of ‘i’ in this haiku that indicates the individual identity of these three: pig, i, and rain.
my thoughts turn
to firewood
© Rachel Sutcliffe (UK)
Usually, metaphors are not common in haiku, but I enjoy them the most, especially if they are well composed. This haiku reminds me of the phenomenon of action and reaction. Hollow winds reflect the cruelty, rudeness, and impoliteness that is against nature, but not against our nature. We have a lot of delusions, misconceptions, illusions, and assumptions that finally become demons without having any real existence. Paranoid thoughts take us to a level where we not only destroy ourselves, but also those around us. So, these hollow winds make us more like a slave to follow our destructive thinking more than constructive ones.
I can see a kind of submission of the self to those hollow winds—and when this happens, thoughts may turn to firewood: dry, fragile, broken, weak, and easily become ashes. So, two extremes are connected with thoughts here. The thought of nothingness that leads to nothing but nothingness. Hollowness on one end, and ashes on the other end.
I can also see a lack of rational and critical thinking that acts like a sift to filter these thoughts. Additionally, I sense an expression of the lack of mindfulness that helps us to stay in the current moment and understand our thoughts in a better way. I can also see a negligence of emotional intelligence that helps us manage our emotions in the best way.
The letter ‘o’ in this haiku is quite significant, as it represents the vicious cycle of thoughts that continuously keep us engaged in the same pattern of life that is not real. The ‘o’ also represent the rhythm of ‘hoo’ (Sufism) that is much needed here to release the negative energies for the attainment of inner peace.
caught in a dew drop —
the empty swing
(The Heron’s Nest vol. 5 #2, 2005)
© H. Gene Murtha (1955 – 2015) (USA)
This is quite a deep haiku that reflects elements of sadness, stillness, loneliness, and flashbacks. The opening line, ‘dawn’, gives a sense of hope, renewal, energy, and awakening. In this case, it awakens childhood memories, and loneliness as well.
Morning dew drops symbolise here the tears of grief, sadness, and mishaps that have happened in the past of someone’s life. I can also see the misery of that dawn (day) whose image/reflection is encapsulated in a tiny dewdrop, which means certain long-lasting memories that haunts every morning, maybe as a result of nightmares of traumatic events.
There is a catch in the last line, as I was thinking about a particular type of swing— maybe a tyre swing in this case where one can see a lot of dew drops settle down in the tyre. But, the stillness of empty swings shows no life, no activity, and no wind to give a chance for the dew drops to stay longer than usual. Besides the structure of swing, this part also shows lingering memories that are not oscillating anymore—maybe a kind of fixation.
Overall, the haiku reflects traumatic events in one’s childhood that haunts an individual every morning, waking to sadness, grief, and stillness.
The letter ‘w’ is prominent in the three lines, which reflects the wavelength of echoes or flashbacks of childhood.
shadow of a mayfly
in the depths
Mainichi Daily News (April 13, 2011)
© Svetlana Marisova (1990 – 2011) (Russia/New Zealand)
Overall, I can see the serenity, calmness, and productivity in this haiku. Three words—stillness, shadows, and depths—depict that life is on the verge of either death or life. I can see the positive side of it—new life, reproduction, renewal in a season when there is no interference and disturbance.
Metaphorically, a still pond can be a meditation process where life flows in moments, and a person’s deep experiences of life reflect as shadows and show the true image of the self.
I walk away
from my mind
Otata 27, March, 2018
The first line, dead-end street, indicates no solution to a problem or nothing out of the box. I could see the disappointment and demotivation that the poet expressed here cleverly. Sometimes, if we don’t get solutions to certain problems, we leave them, stop thinking about them, deny them, or buy time to find out the best solution. This is a strategy to deal with certain problems. I can feel the burnout the situation creates as well where a person simply finds an escape from bitter realities that keep on engaging his or her mind and thoughts. Walking away may be a temporary break that gives us space to do certain other things in life and to get some ideas. Sometimes, people give up and completely forget about a situation; sometimes, they come back with a peace of mind that gives them more insights and maybe effective problem-solving ideas.
only the echo
from the hospice
© Agus Maulana Sunjaya (Indonesia)
The overall theme of this haiku revolves around loss, death, and grief because of the three words “night,” “echo,” and “hospice.” Besides the loss of someone that takes the writer in a state of mourning, I see another aspect of delusions and hallucinations. Usually, traumatic experiences in life resonate at the later part of life where a person may experience certain mental health issues, so maybe the writer is passing through the time where he can hear sounds from the past, maybe certain flashbacks that haunt him more in this wintry night that is mostly silent.
Another aspect may be related to hospice life where people usually get detached from the rest of the world and/or normality, so their voices usually bounce back because of not having active listeners around.
a moment before sunrise –
ice singing
beneath the swans’ feet
(Winner of the Katikati Haiku Contest, 2010)
© Martin Lucas (1962 – 2014) (UK)
Generally, a sunrise indicates warm feelings, energy, hope, optimism, and life. Ice indicates cold feelings, passivity, and death.
Besides this, there is another aspect contrary to my above comments, which is the hidden beauty and grace of every season, whether it is winter, autumn, spring, or summer. The ice singing indicates that the season is at its peak and there are certain elements of nature that enjoy the cold season because it boosts their energies, creativity, and imagination. It is my personal experience that my creative energy is at its peak in autumn and winter as compared to summer.
A swan symbolizes beauty, love, and grace that is again the manifestation of the beauty of the winter season, especially ice. Another word here makes me curious about this haiku, which is the swan’s webbed feet that help it with swimming. Here, even the swan cannot disturb the creatures below the ice who are enjoying the season and being protected due to a thick layer of ice before the sunrise.
---------------------
a gap takes me
to the ocean
Modern Haiku, Issue 46:2, 2015
© Pravat Kumar Padhy (India)
This is really simple to interpret, as it is all about the thought process. Thick clouds may indicate a lack of awareness or oblivion or unconsciousness. A gap is a sort of reflection of those thoughts that go through the filtration process. Awareness of our own thoughts (mindfulness), in other words, crystallized thoughts. I see the meditative element here as well where the person is having some deep experiences that facilitate him to think deeply and have concrete thinking. It may also be related to problem-solving by reaching the truth after passing through some trial and error process.
The ocean may also indicate the imagination-an escape from reality that doesn’t look pleasant in this situation.
coming to it with nothing
in my hands
© Leatrice H. Lifshitz (1933-2003) (USA)
A river is known for its particular direction that flows with a great rhythm persistently. Maybe, the author wants these qualities, more focused, more organised, more optimistic, and more persistence/balance. Overall, I see the author is looking for a well-disciplined life.
I see another aspect (just relating it to my personal experience). In Pakistan, the monsoon season brings devastating results, like heavy floods, where rivers engulf many villages in remote areas, and also bring a lot of mud with them. I can see a man going to the river with nothing in his hands, maybe a victim of that flood that has left nothing in his hands.
a deep silence
within
© Eufemia Griffo (Italy)
(Hedgerow #122, 2017)
Frozen leaves indicate the lack of movement, motivation, and enthusiasm that makes them less active but not dead. It may be hibernation time where physically there is no activity, but spiritually and mentally, life is fully active. So, it is a transformation period of maturity, where thought processes goes on to the advanced level through meditation, and incubation. The word “within” indicates the process of knowing oneself more.
so easy to say
farewell to the past —
the swallows in the sky
© Sergiy Kurbatov (Ukraine)
The article “the” intrigues a little bit. It has two aspects: one is about lingering memories that an individual cannot forget easily. The other may be loneliness that is due to the past.
So, the poet is actually passing through an intense experience where he wants to get rid of his past, but it is not very easy. “The swallows” may indicate their murmuration in the sky that takes many shapes and may trigger some painful memories in this context.
---------------------
in the birdbath
a leaf
© Jack Kerouac (1922-1969) (USA)
Bitter realities that come one after another. This ku revolves around “a leaf” that may have different colors. The writer would have specified this as well just to make this ku more clear.
The birthbath may indicate a survival place, so it may give an idea of refugees/vagrant/abandoned people, or children besides migratory birds in terms of their shelter, food, security, and protection.
I hear
my daughter’s voice
© Betty Kaplan (1919-2011) (USA)
It entails a lovely visual.
– Robert Gillette (USA)
I see two aspects here; one is rebirth—the cry of a little child during a chorus of happiness, which could be celebration time for a family—a daughter that brings endless blessings for a family.
The second aspect may be annihilation that is quite painful. The loss of the child due to any reason (violence, immigration, war, poor health, miscarriage etc.). The school chorus may bring flashbacks of those traumatic memories and only the daughter’s voice echoing in the parents’ ears.
this moonlight—
Pompeii
© Scott Mason (USA)
Author of The Wonder Code
The interpretation of this haiku may not be very easy. “This moonlight” is a bit elusive here. Moonlight of which moon?! That matters a lot. The word ‘this’ indicates a particular type of moon/moonlight! My guess is he may be talking about a hunter’s moon, or a supermoon, or a frost moon based on the horrific history of Pompeii.
In any case, something is ruling here that is moonlight and something is ruined, which is this ancient city. More likely what is dominant and what is dormant in terms of power, time, and significance.
a squash vine in full blossom
this cold day
© Anna Vakar (Canada) (1929 – 2017)
From the book Sisyphus
Another perspective can be any type of insect who is waiting for the squash vine to bloom fully. The cold day indicates hibernation, the storage of food, and/or a difficult time for survival. On the contrary, still climbing is a sign of hope, energy, and the will to survive. The squash vine is a symbol of life, as it provides energy one is waiting for.
some of the silence
is me
© John Stevenson (USA)
Editor of The Heron’s Nest and author of Quiet Enough
The first impression may be some unspoken words and some untold stories. The person still couldn’t find the right words to express his personal feelings, so it is representative of what he longs for or dreams of.
my thoughts come
and go
(1st place in the 21st Indian Kukai)
© Tiffany Shaw-Diaz (USA)
The hummingbird symbolizes the enjoyment of life and lightness of being. Thoughts here may indicate changes in mood. The swift movement of this bird can also be related to the thought process. It seems the person is indecisive or restless due to these thoughts.
all dead
the whole world
original Croatian:
Jednom ćemo biti
svi mrtvi;
cćitav svijet.
© Dubravko Ivančan (1931-1982, Croatia)
I see this haiku in three ways. Firstly, when we are together and enjoy our time, that is the best time in our lives, where we enjoy our lives fully. But once we get separated, the whole world looks colourless. I see the word ‘dead’ here as a lack of interest, poor relationships, separation, etc. (especially family relationships).
Then, it could be associated with ‘departure’ as once our close ones are not anymore with us, we feel the whole world is dead or that we have nothing.
Another thought (maybe silly) is related to ‘know thyself’ where people don’t use their best potential and creativity. The concept of ‘being’ can be associated with it, as he used ‘we’ in this haiku, which may point to us being human beings.
my late night
mystery caller
Northern Lights
Joint winner, tinywords challenge, N° 17.1, March 2017
The Northern Lights may indicate the “aurora” that has many patterns and colors. The narrator could be a lonely person who is having a sleepless night or maybe he is an introvert who wants to explore more of her own self.
There could be a spiritual meaning behind this haiku, where the aurora can be related to aura, a sort of feeling that we have during meditation. The colors, sounds, and lights all can be experienced during meditation.
There can be a religious aspect as well, implying that the narrator prayed late at night and asked for forgiveness, peace, and serenity in her life.
each flower withers
alone
(NHK Haiku Masters, March, 2017)
© Maria Laura Valente (Italy)
According to my understanding, “cold spring” indicates the transformation period from winter to spring. During this period, snow melts from the plants, flowers, and trees that may be a point of withering. “Alone” here indicates the number of flowers left behind, and that the rest withered during the winter.
The intrinsic side is again the transformation of our life, thoughts, and feelings from one stage to another. “Flowers” may symbolize desires, longings, or wishes of a person that wither, die, or change during this period. “Alone” indicates that each person has his or her own journey to experience transformation, of which is not easily understood by others.
