Dos Gatos Press Anthology: Submissions Open

Photo by Leaflet

An old friend of Lilliput Review, Constance Campbell, asked me to pass along the following information about a forthcoming anthology of haiku, senyru, and haiga that focus on the Southwestern U. S. You don't have to be a resident of the Southwest to submit and, since there is no fee for submitting (on principle, I won't pass along information where the poet is charged a fee), I am more than happy to pass the info along.      

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Dos Gatos Press

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Scott Wiggerman & David Meischen, Publishers
1310 Crestwood Road, Austin, Texas 78722
editors@dosgatospress.org www.dosgatospress.org 512-467-0678

SUBMISSIONS OPEN!

A New Anthology of Haiku/Senryu and Haiga

A new Dos Gatos Press anthology will feature original, previously unpublished haiku/senyru and haiga that focus on the Southwestern United States. Scott Wiggerman and Constance Campbell will serve as editors. Penny Harter will write the preface. We anticipate a 2013 release date.

You need not be a resident of the Southwest to submit. The arrangement of the anthology will be by seasons, though the poems need not include a kigo, or traditional “season” word.

You may submit haiku/senryu or haiga or both.

Submissions Window: September 1, 2012–January 15, 2013

For all submissions:

· Dos Gatos Press accepts submissions through Submittable, our online submissions manager. We no longer accept submissions by mail. We do not accept submissions by e-mail. http://dosgatospress.submittable.com/submit

· Do NOT put your name or any other identifying information on the document that holds the poems you submit. We follow a “blind” reading system: our editors read all poetry submissions without knowing who wrote the poems.

· Please use Times New Roman 12 pt. for the text of your submission. Single space your poems; double space between stanzas.

· We welcome the expression of diverse voices, diverse cultures—including poems partly or entirely in Spanish. Please include an English translation of a poem written in a language other than English.

· No previously published work. We consider a poem published if it has appeared online or in print, including personal blogs/webpages and/or social media sites.

· No simultaneous submissions.

Haiku/Senryu

Submit up to two haiku/senryu per season (e.g., if you submit two for each season, you can submit up to eight poems). Use the labels Fall, Winter, Spring, and Summer to identify your haiku/senryu. You may submit haiku or senryu or both.

What we look for in haiku/senryu:

· Haiku do not traditionally have titles, dedications, or epigraphs noting location and date. We prefer that they not for this anthology.

· The same goes for metaphors and similes; let images themselves do the work. Think simplicity!

· We especially like haiku that juxtapose two images in new and startling ways. Often two of the lines, with a slight pause used as emphasis, will be juxtaposed with the third line to create an aha moment.

· Haiku may have up to seventeen syllables in one to three lines. We do not require a traditional 5-7-5 syllable count.

We like the definition of haiku expressed by Modern Haiku:

“Haiku is a brief verse that epitomizes a single moment. It uses the juxtaposition of two concrete images, often a universal condition of nature and a particular aspect of human experience, in a way that prompts the reader to make an insightful connection between the two. The best haiku allude to the appropriate season of the year. Good haiku avoid subjectivity; intrusions of the poet’s ego, views, or values; and displays of intellect, wit, and facility with words.”

We recommend reading more about haiku at the website of Modern Haiku, as well as at the following: Daily Haiku, Frogpond, The Heron’s Nest, Simply Haiku, and Tinywords.

We also recommend excellent how-to articles by Jane Reichhold:

http://www.ahapoetry.com/haiku.htm

Haiku books worth reading:

· The Haiku Handbook—25th Anniversary Edition: How to Write, Teach, and Appreciate Haiku (Higginson & Harter)

· Haiku: A Poet’s Guide (Gurga)

If you have any questions about submitting haiku, feel free to contact Scott Wiggerman.

Haiga

Haiga is a digital or scanned image artistically integrated with haiku. The haiku complements the image; the image complements the haiku. The placement of the haiku is important, as is the choice of typeface or the style of any lettering done by hand.

We recommend reading more about haiga at the following websites:

DailyHaiga, Haigaonline, Reeds: Contemporary Haiga, and Simply Haiga.

See an excellent how-to “workshop” on haiga images by Ray Rasmussen: http://www.haigaonline.com/issue13-1/issue.html

Note: This link takes you to a welcome page. The menu is at left. Click “haiga workshop” there.

Our Guidelines:

Submit up to three haiga. Each haiga will include an original image and an embedded haiku—both created by the individual submitting the haiga. Because we use a blind reading process, you will not include a byline/signature on a haiga when you submit it.

Image Guidelines:

Black and white images only—no color images.

Printable space on a page will be 4.4 X 7.25 inches. A vertical haiga might take up an entire page. A horizontal haiga will be limited to the width of our page; we will not rotate a page 90° to accommodate a horizontal image.

Digital Images:

Minimum width for an image: 1320 pixels.

Scanning images:

· Scan non-digital photographs at 300 dpi or higher.

· For pen and ink, line art, or type as line art, scan in bitmap format at 600 dpi or higher.

NOTE: If one of your haiga is accepted, you will need to submit separate files to us—one for the image itself (without the text) and one for the text itself (haiku and byline/signature)—so that we can work with our printer to achieve the best possible print quality. At this point in the process, you will include your byline/signature on the haiga.

NOTE: Managing Editor David Meischen works with our printer to achieve high quality images. If you have any questions about how to create the image file you submit, please contact him: managingeditor@dosgatospress.org

Save files as: jpg (use high/best compression level) or tiff


NOTE: Before you submit an image, be sure that the file extension is .jpg (not .jpeg) or .tiff (not .tif).

Dos Gatos Press

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what delicateness!
a snake too sheds
his worldly robe

Issa
translated by David G. Lanoue

best,
Don 

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Ed Baker: Full Moon Pointing

Support your local artist: click to buy at special price

Last week, Ed Baker, poet, artist, and raconteur of the first degree, responded to the Robert Hass/Bashō post with some nifty "finger pointing" at the moon artwork which I thought I'd share. Here's a little shrine's worth. Be sure to click on the images to read all the short work that accompanies the art, fine examples as they are of haiga.  Enjoy.

Cover image for the premier issues of  moonset, 2005

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hazy moon in the pine--
passing through
passing through

Issa
translated by David G. Lanoue

best,
Don

Delicateness of Mr. Snake

Cover by Bobo


A couple of links of interest, plus a call for poems this week. I tried to get permission to reprint a review of the Basho Haiku Challenge Chapbook over at Hellium but wasn't able to, so I've provided a link. The winning haiku by Roberta Beary was reprinted with some squirrelly alignment (and on odd, floating e), so here it is correctly aligned:

on the church steps
a mourning dove

with mother's eyes

Roberta Beary

A very nice review by Greg, in which he supplies a generous selection of work from the chapbook, which is a available for the paltry sum of $3, postage paid. Like the poet dreaming of a butterfly dreaming of a poet, I've already begun thinking about The 2nd Annual Bashô Haiku Challenge; I've tentatively scheduled the month of September to be the period of open submissions, but keep an eye peeled here for updates as the time approaches.

The new edition of Roadrunner published and there is a wonderful set of haiga by Shodo for the work of Santoka as translated by Scott Watson. Some really beautiful work, all around.

I received notice that there has been a change of editor over at Pudding Magazine and they anxiously wish to test the wherewithal of said Andy Roberts, hence the nigh breathless call for poems that follows (please also note: this is a paying gig guys, so get on it):



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Pudding House Announcement

HOT NEWS
from the desk of
Jennifer Bosveld, president of
Pudding House Publications. . .

Poets, feel free to eavesdrop on this letter to the Pudding
HouseTeam, and take it personally as I value you as well.
This isprobably the most gigantic announcement out of
Pudding Househeadquarters in its history of 30 years,
and we've had some mighty big moments. If you love
something, set it free. And I love Pudding Magazine.
/jen

Andy Roberts accepts permanent appointment as new
Editor and Chief of Pudding Magazine: The Journal of
Applied Poetry


A FINE LITERARY ARTS old school PRINT JOURNAL

same focus and priorities--
Get Ready for a surge
in Pudding's
flight across and into
the attention of
America's poets

YOU ARE in the THE FIRST ROUND OF
NATIONWIDE ANNOUNCEMENTS
Andy Roberts about to capture the limelight--
taking over the post held by Jennifer Bosveld for 30 years.

Andy Roberts
has been on the radar at Pudding House for the past year
especially--and since first being published in our journal.
He has a wide publication history including but not limited
to: Ambergris, Rhino, Sulphur River, Albatross, Atlanta
Review, Atom Mind, Bellowing Art, Black Bear Review,
Blue Collar Review, Bogg, The Cathartic, Chiron Review,
Cider Press Review, Coal City, Cokefish, Crazyquilt,
Fulcrum, Gargoyle, Hanging Loose, Hiram Poetry Review,
Home Planet News, Miller's Pond, Modern Haiku and
many other haiku publications, Nerve Cowboy, Plainsongs,
Poetry Motel, Rag Mag, Roanoke Review, San Fernando
Poetry Journal, Slipstream, Third Lung, Voices
International, Windless Orchard, and many many more.
He has published mainly poetry but fiction as well. Andy
Roberts came along just in time to be included in The
Pudding House Gang this year--our full-length "sampler"
on our editorial taste and those working for you, the
American Poet. Now he's a venue manager and emcee for
Pudding House, literary representative, and all-around
executive assistant learning the ropes by wrapping his
mind and energies around the broad array of products
and events for Pudding House Publications, the largest
literary small press in America. Andy lives on Clime
Road in Columbus Ohio. Get to know him. He doesn't
have a website yet, but he will, I'm sure.

Let's blast Andy with work! What do ya say?

WHAT THE AUTHOR RECEIVES:
copy of the issue you are in. Featured poet gets 4 copies
and $10.

Send only your best poems by U.S. Mail (he wants the
thrill of getting real mail in his mailbox at the street,
you know? You must include email address, all contact
information, and the good old SASE. Jen says Andy will
probably be tougher than she was so don't send your also
-rans. Andy Roberts, Pudding Magazine Editor, 3070
Clime Road, Columbus Ohio 43223
Or send through email attachment:
andyrobertspuddingmagazine@gmail.com. phone only if
you have something crucial to talk about with Andy and
email and mail cannot work for you:
614-607-6937 cell: 614-306-8814

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This week's selection of poems from the archive comes from issue #27, November 1991. Chameleons, coyotes, snakes, fawns, crows, and toads had their way. Here's a taste:





My animal face grimaces
----and flees again into darkness
because I've come too close
------to remembering

David Richard

Coyote

stands outside,
twists his face
in the window,
sticks his tongue out,
makes all of the boys and girls
in the classroom laugh.

Charlie Mehrhoff

Masturbating

crow on a rooftop
canoeist without a canoe
choking on dusk
and jukebox sentimentality
sawdust on the floor
coyote seemingly disappearing
in its own shadow

M. Kettner

Untitled Wednesday Poem

Can snake misbehave
in Jungle? Can cougar
error by mountain cedar?
My sad old knees ache in bed
in dream before dawn, but
know their job is to bring
my body to its resting place,
like full bloomed rose
in August, like cherry tree
its trunk absorbing moon's heat.

Pat Andrus

And, the traditional last word goes to the master:

what delicateness!
a snake too sheds
his worldly robe

Issa
translated by David Lanoue

best,
Don

Hieronymus Bosch, the Logo, and the Haiga of Max Verhart

Over the years, I've received lots of questions about the Lilliput Review "logo" or the Hieronymous Bosch birdman as I think of him. Most recently, Gary Hotham sent along an email inquiry that was precipitated by his friend and fellow poet, Max Verhart. Max had been struck by the fact that both Gary's book Missed Appointment and his own only the white (which Max tells me is still available - send inquires to "max at verhart dot org") both contained the image. The image is in a photo haiga, from only the white. Here are some details from Max's email:

As it happens, I am living in the Netherlands in Den Bosch, the town that gave Jheronimus Bosch his family name. He lived and worked here. Last year I found some statuettes after some images from his paintings were being shown on pedestals in the small river that runs through (or even mostly under) the town. I made pictures of them that I later combined for use in the haiga.

And here is his haiga:






And here's a little closer look at what he is talking about:






It has been so long since I started using the Bosch art as a logo, almost 20 years, that I mistakenly thought it came from the work he is most famous for, The Garden of Earthly Delights. However it actually comes from his The Temptation of St. Anthony (it can be seen at the bottom of the left hand panel of the triptych). The net, being the amazing, er, thing that it is, yielded up this interesting artistic take. And, well, here.

In fact, the little guy seems to be all over the place.

I was initially intrigued by the fact that, whatever it is, it seems to be carrying a letter of some sort. What could be more perfect as a logo for a small press magazine starting out in the late 80's? I believe I ran across a nice high-quality reproduction of it in a Dover clip art book. A number of years back, a good friend of mine sent a nice blowup of the original which, though it crops the top, gives an idea of the kind of glorious detail with which Bosch rendered his work. The sheer scale of his work obscures its minute complexity:




And, you know, ya just have to love those old school ice skates ...


best,
Don