Chiyo-ni: the plum flower ...

Photo by Appaloosa 

so so sad 
to miss the plum flower
before it fell

Chiyo-ni
trans. by Patricia Donegan & Yoshi Ishibashi

Though I was tempted at first to say, "Here is the modern dilemma," really, here is the human dilemma, shared by no other species. In Patricia Donegan's commentary on this poem, she mentions that this is more than likely a poem of mourning for fellow haiku poet, Shiko, whose pen name means 'plum flower.' Of course, the poem stands also on its own with this second level of meaning.

One of the books in my morning "pile" of poetry is Chiyo-ni: Woman Haiku Master, translated with commentary by Patricia Donegan, with the assistance of Yoshi Ishibashi. It is truly a masterwork. Unfortunately, it is out of print from Tuttle and copies are going for $100 and up. One can only hope that it will again see the light of day as it is a must for any serious haiku collection. 

Donegan's work here, particularly as commentator, as in Haiku Mind, is transcendent. In my limited experience, she is only surpassed by Blyth. 

plum blossoms gone
suddenly Kyoto
looks old

Issa
trans. by David G. Lanoue

Photo of Seiryuga haiden

best,
Don

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On Translating Chiyo-ni: Isabel Winson-Sagan & Miriam Sagan - Small Press Friday

Woodcut of Chiyo-ni by Utagawa Kuniyoshi

A note: the following, a set of two translated poems by the haiku master poet, Chiyo-ni, embeded in a haibun style form, was sent along this way by Miriam Sagan and her daughter, Isabel Winson-Sagan. I have always loved Chiyo-ni; her work doesn't get nearly enough exposure to my taste. So, here's a little something to enjoy.

     Fiesta is over, although it is still hot. The sunflower seeds I planted inappropriately in the half barrels on the front porch almost touch the ceiling of the portal, and have finally bloomed. I think the thrashers might be gone--the stick nest in the cholla bush looks empty.

     My daughter Isabel and I sat down to translate Chiyo-ni, probably the most famous 18th century Japanese woman haiku poet--no easy task, but an exciting one. Autumn poems seemed appropriate.

     Chiyo-no writes:

mikazuki ni
hishihishi to mono to
shizumarinu.

 
     Isabel showed me how the kanji of the first line which reads in part "3 sun moon" means either new moon or crescent moon. Hishihishi is considered untranslatable and onomatopoetic--translator Patricia Donegan says it is a kind of awareness or feeling. 

     Here is our best effort:

at the new moon
bit by bit
everything hushes

   
  Then we tried:

hatsukari ya
iyoiyo nagaki
yo no kawari

 
      Iz was practically acting out the first line, jumping up and pointing--first wild geese! Then we had a tortuous  discussion about the rest which literally just means the nights are growing longer and longer. Where was the poetry? In a figurative turn, it seems.

first wild geese!
growing longer--
migrating night

   
     By then we were so hungry we had to go to the Tune-Up cafe around the corner and drink our favorite Arnold Palmers. I walked Iz half way home and came back through the dry neighborhood, watching the red ants.

---------------------------------------------------- 

after many nights
telling me bedtime stories
the geese have left 

Issa
translated by David G. Lanoue

Photo by Eric Frommer

best,
Don 

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A Hundred Gourds: A Call for Work

Photo by R. Kiser

An announcement and call for work, courtesy of William Sorlein:

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A Hundred Gourds 1:1 is now online

The first issue of A Hundred Gourds: a quarterly journal of haiku, haibun, haiga and tanka poetry is now online.

 A Hundred Gourds

The Editorial Team of A Hundred Gourds extends warmest thanks to everyone who submitted their work for consideration for this, our inaugural issue. Thanks to your enthusiastic welcome, it's a bumper edition.

As well as haiku, tanka, haiga and haibun you'll find essays, interviews and a review in the Expositions section. There is also a memorial Feature dedicated to the late Janice M. Bostok, Australia's haiku pioneer.

Please join us in welcoming three new editors to the AHG team:

* William Sorlien, of St. Paul, Minnesota, USA, is Renku Editor, already organising A Hundred Gourds' first renku section, which will be published in AHG 1:2.

* Susan Constable, of Vancouver Island, Canada, is the new Tanka Editor. Susan's first tanka section will be published in AHG 1:2.

* Mike Montreuil, of Ontario, Canada, is the new Haibun Editor. Mike's first haibun section will be published in AHG 1:3.

* Lorin Ford, Haiku Editor.

A Hundred Gourds welcomes your submissions to the New Years' editions.

· Special notice for tanka & renku submissions to AHG 1:2 & 1:3

The submission period for tanka and renku only has been extended for the March issue, AHG 1:2. Submissions of tanka and renku received up to the 31st December will be considered for AHG 1:2. Tanka and renku submissions received between January 1st and March 15th will be considered for AHG 1:3. Please read the submissions guidelines page on the AHG website for further details.

The deadline for haiku, haibun, haiga and for the Expositions section of AHG 1:2 remains at December the 15th.

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a hundred gourds
  from the heart
   of one vine

Chiyo-ni
translation by P. Donegan & Y. Ishibashi

the aging gourd
and I
cast our shadows

Issa
translated by David G. Lanoue

best,

Don

PS  Get 2 free issues. Get 2 more free issues

Lillie poem archive

Send a single haiku for the Wednesday Haiku feature. Here's how.

Go to the LitRock web site for a list of all 127 songs

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