The Haiku Foundation Forums

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The wonderful book is now available at the Living Haiku Anthology courtesy of Colin Jones, and the Estate:
http://www.livinghaikuanthology.com/index.php?option=com_wrapper&view=wrapper&Itemid=1078

The calaméo link to read the book online:
http://www.calameo.com/books/0010953725bb50175451f

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EDIT REASON: to include Calaméo weblink

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The event is now posted at my Area 17 blog including a useful photograph of the temporary and contemporary art gallery

Still Points : Moving World

http://area17.blogspot.co.uk/2014/05/bath-fringe-festival-2014-writing-haiku.html


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Hi Tristan,

My name is Alan by the way.  ;)

After having been an editor for three haiku magazines I appreciate how much hard work it is, and that an editor has an obligation to read almost around the clock work published in various venues.

I think it's an utterly brilliant idea and there's nothing wrong with taking a year to develop this idea.   Very fresh and incredibly useful for those new and not so new to haiku.  I congratulate you, and wish you every success.  :)

Alan

Quote from: Tristan B on May 23, 2014, 11:29:42 PM
If I only know how, Allan. First I need to know how to select poems, that's a gargantuan task. To actually get poets to submit would be another matter. This journal if it will ever happen will be more exclusive than Mayfly. If mayfly features 14, this will feature only 12 poets. With maybe 3 pages dedicated to one haiku. the first page shows the original draft and iterations if any. the second, the poet's handwritten haiku and the 3rd page, the polished version. It gives you a glimpse of the poet's thought process.

Hi Tristan

I believe Kernels became superceded by Cattails:
http://www.unitedhaikuandtankasociety.com/submituhts.html
http://www.unitedhaikuandtankasociety.com/octbulletin.html

kind regards,

Alan

Quote from: Tristan B on May 23, 2014, 09:08:59 AM
I've seen wonderful haiku crediting Kernels as first publication, but the link in the THF calendar appears to be broken. Anybody know what happened to Kernels? I'm just curious to see their layout. Thanks.

Dear Tristan,

An excellent idea!

I feel you should start one as it's your idea.   I think it's a great concept worthy of happening.

warm regards,

Alan

Quote from: Tristan B on May 23, 2014, 09:15:22 AM
If there are editors reading, here's an idea for a journal. A journal that gives you a peek into the poet's diary, like browsing someone's notebook and finding little gems scribbled on it's pages. Accepted poems would require poet's to give hand-written version. What do you think?

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Writing Haiku
Saturday June 7th 2014, 11am-12pm

This event is a writing mini-workshop with Alan Summers, who will talk about the history and contemporary practice of combining haiku and art. The workshop includes time for you to write your own haiku inspired by the art work in the exhibition.

Alan Summers is a Japan Times award-winning and Pushcart Prize nominated poet, who has been studying and writing haiku for over twenty years, and has been published internationally and translated into more than a dozen languages.

He loves to teach and run workshops, bringing people to the Asian writing forms, and through his organisation With Words has students all over the English-speaking world.

Bath Fringe Festival exhibition:
http://www.fringeartsbath.co.uk/still-points-moving-world/

Writing Haiku and other events:
http://stillpointsmovingworld.wordpress.com/about-events/

About the exhibition:
http://stillpointsmovingworld.wordpress.com/about/

The venue:

weblink:
http://area17.blogspot.co.uk/2014/05/bath-fringe-festival-2014-writing-haiku.html



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A lot has been said, and will continue to be said about one line haiku.

Here are some things that I have said, and I hope others step in with thoughts, techniques, devices, and examples.


One of many devices I employ is the abrupt method: It's a deliberate subvert technique, as I've keenly noticed that both syntax and semantics can be utlised in a manner not possible or accepted in normal modes of writing.

It's also been said that if it's a one-line haiku you are aiming for, that they work best when they cannot be remade into three line haiku.  I'm not sure that's always the case, but it's a useful guideline to go by, or work around.

I'd suggest introducing "abruptions" as one method which is my term for breaking up normal syntax/semantics.

Abruptive techniques is my term for sharp changes in directing the reader, and I often subvert the adjective 'abruptive' into a noun i.e. look for abruptives in your haiku.

*
Abruptive: suddenly disruptive
Urban Dictionary
*
merriam-webster.com:
abruptive (adjective) : showing a tendency to be abrupt

abruptitude (noun) : the quality of extreme suddenness
Ryan Muller
*

Embrace the abruptitude!

Sometimes one-line haiku are, or appear to be, a little subversive in order to tell a greater truth.

If it's too smooth it could be just a line of poetry, or a statement.
Alan Summers


Jim Kacian says this:

"Multiple stops yield subtle, rich, often ambiguous texts which generate alternative readings, and subsequent variable meanings.

Each poem can be several poems, and the more the different readings cohere and reinforce each other, the larger the field occupied by the poem, the greater its weight in the mind."
The Way of One by Jim Kacian
Roadrunner X:2


More will be forthcoming in my book-in-progress.

For now, here are some of my own haiku.


ground zero into the new friend's story

Publications credits:  Roadunner Masks 4; in fear of dancing: The Red Moon Anthology of English-Language Haiku 2013 ISBN: 978-1-946848-24-9 www.redmoonpress.com/catalog/product_info.php?products_id=182


the blue note I turn to wind-spun snow

Publication Credits: 
Blithe Spirit 23.4 (November 2013): The Haiku Calendar 2015 (Snapshot Press, 2014)

Award Credit: Runner-up, The Haiku Calendar Competition 2014


all those red apples amongst the blue tit

Publications credits:
Does Fish-God Know (Yet To Be Named Free Press 2012); roadrunner MASKS 4



snowing through the blizzard particles of me


Publications credits: 
The Haiku Calendar 2012 (Snapshot Press); The Humours of Haiku (Iron Press 2012); The In-Between Season (With Words Haiku Pamphlet Series 2012); Mann Library (as originally written as a one line haiku, March 2013)

Award credits:
Winner, The Haiku Calendar Competition 2011 (Snapshot Press)



chestnut moon shifting in my memory ghost floors

Publication Credits: Roadrunner 12.3 (December 2012)



sick train the night heron shifts silt for all of us

Publications credits:
a handful of stones (2nd March 2011); A Blackbird Sings, a small stone anthology ISBN 978-0-9571584-2-9 ed.  Fiona Robyn & Kaspalita Thompson (Woodsmoke Press 2012)



long grass nights star systems in the Big Dipper

Publications credits: Haiku News (2012)



this small ache and all the rain too robinsong

Publications credits: Modern Haiku vol. 44.1 winter/spring 2013



giallo this restricted area my birthplace

Publications credits:
bones journal Pre issue - Single haiku & Sequences (2012); Does Fish-God Know (Yet To Be Named Free Press 2012)


Hirst's butterflies disturbing the exhibits people

Publication Credits: Roadrunner 12.3 (December 2012)


sloe-eyed horses in Lichtenstein bubble gum wrappers

Publication Credits: Roadrunner 12.3 MASKS 4


long hard rain my compass your true north

Publications credits: Frogpond 36.1 • 2013


rain on the river the jesus star shifting

Publications credits: Janice M Bostok Haiku Prize 2012 Anthology Evening Breeze



pull of stars turning cold the snail's navigation

Publications credits:
Does Fish-God Know (YTBN Press 2012); Blithe Spirit (February 2013)



night-entangled moons treading judas floors

Publication Credits:
Dark Pens, a journal of moon haiku (1.1. 2013)


Red Sea beat my heart still hydrozoa

Publication Credits: Does Fish-God Know (Yet To Be Named Free Press 2012)


voodoo rain this new light year

Publication Credits: Does Fish-God Know (Yet To Be Named Free Press 2012)


tearing up snow falls slowly a kind of blue

Publication Credit:  Bones - a journal for contemporary haiku No. 3 (December 15, 2013)


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Thanks PaulB!  8)

Quote from: PaulaB on November 05, 2013, 09:06:01 AM
"Originally composed as a one-line and due to be accepted at a highly-respected haiku site:

snowing through the blizzard particles of me


Anthologised: The Humours of Haiku (Iron Press 2012)"

I really like this one, Alan!

It's since appeared in various publications:

snowing
through the blizzard
particles of me

Alan Summers
Publications credits:  The Haiku Calendar 2012 (Snapshot Press); The Humours of Haiku (Iron Press 2012); The In-Between Season (With Words Haiku Pamphlet Series 2012); Cornell University, Mann Library (March 2013); Per Diem Archive: D. Wentworth April 2014, "Transcendence" http://www.thehaikufoundation.org/per-diem-archive-details/?IDcat=288
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Award credits:
Winner, The Haiku Calendar Competition 2011 (Snapshot Press)

And finally in its original intention as a one-line haiku:

Cornell University weblink:
https://tinyurl.com/particlesofme


warm regards,

Alan


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James,

There will also be a dedicated anthology due out that covers the history of one-line haiku by Snapshot Press.

The submission period is now concluded but I thought you might be interested in the details:  www.snapshotpress.co.uk/submissions/one-line_haiku_anthology.htm

Quote from: BrokenWordsPoet on May 21, 2014, 07:46:09 AM
I have not seen guidelines for one line haiku, I have an idea how one line haiku should be written and I am sure there will be those that disagree.  I am not interested in guidelines for advanced haiku poets, I am interest in guidelines for the beginner who is taking baby steps, just to get them started.

I feel part of the answer is the same for advanced readers as well as beginners, and that is to read as many examples in good publications as possible.

Luckily even print magazines such as Modern Haiku and Frogpond have online examples of work published in various print issues of their publications.[/quote]

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One searches the internet for guidelines for one line haiku and very little is found.

It may be difficult to separate the not-so-good internet sites from the good ones.  Here's a few worth reading about one-line haiku:

http://www.thehaikufoundation.org/2010/07/28/12th-sailing-one-line-haiku/

http://www.thehaikufoundation.org/forum_sm/index.php?topic=1094.0

http://www.simplyhaiku.com/SHv2n5/haikuclinic/haikuclinic.html

http://www.marlenemountain.org/1lhaiku/1lhai_contents.html

http://www.poetrysociety.org.nz/node/529

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  I am the led of a group of haiku poets, we are all students of the art. We have been having a discussion on this subject and everyone has their own opinions but just what are the guidelines for one line haiku?

Do you mean you are a leader of a group of haiku poets?

There are no guidelines or rules, or regulations as such although we can often work out what works and doesn't.   Japanese haikai verses were written vertically as a single line so Western practitioners, and others, decided to attempt one-line horizontal haiku, although the dynamics change.

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To me in one line haiku, one needs to adopt some of the guidelines and rules of a three line haiku. 

Possibly, yes.  It depends what you state as rules (or guidelines).

Quote
We all know that a three line haiku can have 17 syllables or less, 12 syllables or less for the phrase and 5 syllables or less for the fragment.

The syllablic side of poetry isn't as much a concern for modern haiku writers in English, but often we write one that is less than 17 English-language syllables, and closer to the duration of 17-on ('on' is the Japanese counting system for their sound units, think 'mora').

Quote
To me any three line haiku can be converted into a one line haiku, because of the break pattern in the structure of haiku.

Many of us would disagree, otherwise why not write an English-language haiku in three lines anyway?

Have you read the latest Norton haiku anthology:

Haiku in English: The First Hundred Years (W. W. Norton 2013)
ISBN 978-0-393-23947-8

Haiku in English
The First Hundred Years
http://books.wwnorton.com/books/detail.aspx?ID=4294972241

And look inside page:
http://books.wwnorton.com/books/detail-inside.aspx?ID=4294972241&CTYPE=G

There are many examples of one-line haiku through the decades in the book.[/quote]

Quote
Therefore why the one line haiku in the first, other than they are pretty or the poets preference for formatting the haiku at the moment. 

That's down to the individual poets I guess.  Why do others write English-langauge haiku in three lines (and heroic couplets or quatrains many decades ago) when Japanese-language haiku is written as one line?

Perhaps all poets are eccentric, or that a line of poetry is a potent device.  I'll have to leave that to each and every poet to answer.  8)

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One question for me, the three line haiku allows for syllable count 12 or less for a phrase and 5 syllables or less for a fragment, should this be followed in a one line haiku?

I think you will find that writers of haiku be it three lines, or four lines (like Tito aka Stephen Gill of Japan) or two lines as well as one line don't always think of fragments and phrases as syllabic structures.   There are many variations over the decades, and the use of negative space, juxtaposition, sometimes a seasonal reference, and the cutting of the haiku in two are what counts first and foremost.

Quote
I feel that one needs to keep a fragment to the size of a fragment and a fragment should never be longer than the phrase.

Best wishes...  BWP...  James...

I guess if a fragment was longer than a phrase than the fragment automatically becomes the phrase and the phrase, if shorter, is the fragment.  Or, as some Japanese haiku writers do, they write haiku that go beyond 5-on 7-on 5-on and can be longer than even a tanka.

The writing of haiku is a fascinating discipline and lifelong activity, with all its advantages, its controversaries, and personal growth.

kind regards,

Alan

Quote from: BrokenWordsPoet on May 21, 2014, 07:46:09 AM
I have not seen guidelines for one line haiku, I have an idea how one line haiku should be written and I am sure there will be those that disagree.  I am not interested in guidelines for advanced haiku poets, I am interest in guidelines for the beginner who is taking baby steps, just to get them started. One searches the internet for guidelines for one line haiku and very little is found.  I am the led of a group of haiku poets, we are all students of the art. We have been having a discussion on this subject and everyone has their own opinions but just what are the guidelines for one line haiku?

To me in one line haiku, one needs to adopt some of the guidelines and rules of a three line haiku.  We all know that a three line haiku can have 17 syllables or less, 12 syllables or less for the phrase and 5 syllables or less for the fragment.  To me any three line haiku can be converted into a one line haiku, because of the break pattern in the structure of haiku.  Therefore why the one line haiku in the first, other than they are pretty or the poets preference for formatting the haiku at the moment. 

One question for me, the three line haiku allows for syllable count 12 or less for a phrase and 5 syllables or less for a fragment, should this be followed in a one line haiku? I feel that one needs to keep a fragment to the size of a fragment and a fragment should never be longer than the phrase.

Best wishes...  BWP...  James...

Dear James,

Here's a few examples of one line haiku published in haiku publications.   You might be interested in creating a commentary on one or two perhaps?

examples of one line haiku by Alan Summers and various authors

Published one-line haiku by Alan Summers

this small ache and all the rain too robinsong

ants following invisible trials the children

mist and dark I hold onto Little Bear

city of glass the immobilised man small stone counting

long hard rain my compass your true north

lantana the dark-veined tiger nectar-laden

pull of stars turning cold the snail's navigation

all those red apples amongst the blue tit

giallo this restricted area my birthplace

h=k=l=0 each love number sleeps

Hirst's butterflies disturbing the exhibits people

chestnut moon shifting in my memory ghost floors

night-entangled moons treading judas floors

train sitting:facingpeoplei'drathernot   

our pigsilk insults pre-coital manoeuvres playback

the camp fire burns the misty moon halved by thin cloud

nautiluses who remember useful things for only a day

my failed assassin, who has never killed

Seven Sisters the call of owls either side

recurringdream#16.333iso/overbreakfast

Your oily gold in red saffron tea makes me laugh

petrichor this green sunsets in yesterday

curse her Rain falls from a normal blue sky

just me Great Auk I died

Monday's magician of yellow colour of murder

this sorrowing heart fading into plum blossom

crowded train a dozen yellows crackle

macula lutea the snowballs inside dogs

kwĭkˈsĭlˌvər: I've a need for the next biblical cubit

voodoo rain this new light year

Red Sea beat my heart still hydrozoa

Cheshire Moon the cat grins in Farsi

eight thousand li of cloud and moon questions mark

Oak Moon the carpenter's calluses chafing

butterfly dreaming man the Black Butterfly Moon

window-rattling moon I stay up and turn blue

Black Moon my finders keepers Valentine

toys from a distant land scaffolding the fall

ground zero into the new friend's story

sloe-eyed horses in Lichtenstein bubble gum wrappers

messenger shooting crows

soul her fish fingers to the second knuckle

long grass nights star systems in the Big Dipper

corn chaff realising oil as one colour

field of dreams an unborn child's color isn't rapeseed

Pharmakós the name you scratch inside

Blue Moon we don't do one-sided conversations

Old Man's Beard a cyclist wobbles the length of it

sick train the night heron shifts silt for all of us

memory of starlight wink of a one-eyed dog as it sneezes

gliding four sulphur-crested cockatoos a green tinged sundown

black swan rising diving into cloudless sky

moviescreenflickerfullolifecanvasthin 

snowfall she takes her daffodils Underground

in-betweenness the grey heron seals the leaks of light

dustbunnies the coins of small change me

dragon tattoo my skinned fables of depression

the drum of the rain ghosting bare hands

leaves begin to fall this face too evolves from fish

the blue note I turn to wind-spun snow

irezumi the river coils into heron

intermittent rain I shed another crow

tearing up snow falls slowly a kind of blue


Published one-line haiku by various writers past and current:

a love letter to the butterfly gods with strategic misspellings
- Chris Gordon

rooks weaving darkness into the dusk
-- David Platt

waterbug running by the frogulp
-- Alan Pizzarelli

a stick goes over the falls at sunset
-- Cor van den Heuvel

Ah water-strider never to have left a track!
-- vincent tripi

between the piano's phrases night wind
-- Fred Schofield

in the otherwise still twilight a clamor of robin wings
- Allan Burns

all these sounds not one of them a falling leaf
-- R.C. Matsuo-Allard

an owl hoots darkness down from the hollow oak
- Tombo (Lorraine Ellis Harr)

the blind child reading my poem with her fingertips
-- Elizabeth Searle Lamb

clay on the wheel I confess my faith
- Peggy Willis Lyles

deep inside the faded wood a scarlet maple
-- Nick Avis

pig and i spring rain
- Marlene Mountain

dusk      from rock to rock a waterthrush
- John Wills

pain fading the days back to wilderness
- Jim Kacian

white wind the eyes of the dead seal missing
- Carolyn Hall

the owl's flight unheard stars appear
-- Peter Yovu

the blood rushing through my blowhole winter stars
- Scott Metz

mallards leaving in the water rippled sky
- Penny Harter

Spring thaw          wings beating inside my skull
- George Swede

night rain a calf stands tight by the bull
-- Pamela Brown

touching the ashes of my father
-- Bob Boldman

heading home I return the stone to the river
- Stuart Quine

muzzle of the drinking cow glides across still water
- Janice M. Bostok

I breathe the wind breathes through the aspen
-- Martin Lucas

thrush song a few days before the thrush
- Marlene Mountain

swans      stir of his breath against my hair
- Alexis K. Rotella

lingering on this earth   dried onions
-- Ruby Spriggs

Before we knew its name the indigo bunting
–Peggy Willis Lyles


More rain the sisters slip into their mother tongue

–Scott Metz


shadows darkening three-sevenths of her face in sunlight

–Elizabeth Searle Lamb

mallards leaving in the water rippled sky

–Penny Harter



–Matsuo Allard (b. 1949):

through a column of factory steam the white gull

darkness across the river lights in a mill

higher this time the last salmon

alone at 3:00 a.m.—the door knob turning slowly

an icicle the moon drifting through it

passing clouds only a stand of aspens is in light

deep in my notebook a lily pad floats away



–Jeff Stillman:

cross-examination all morning a slanting rain

cold moon lover all business

wind's second wind dead of winter

sweater mend unraveling . . . winter wears on

briefly the heron's catch shaping its gullet

New Year's morning the rent past due

hazy moon hung over the new year

- e n d -

Quote from: BrokenWordsPoet on May 21, 2014, 07:46:09 AM
I have not seen guidelines for one line haiku, I have an idea how one line haiku should be written and I am sure there will be those that disagree.  I am not interested in guidelines for advanced haiku poets, I am interest in guidelines for the beginner who is taking baby steps, just to get them started. One searches the internet for guidelines for one line haiku and very little is found.  I am the led of a group of haiku poets, we are all students of the art. We have been having a discussion on this subject and everyone has their own opinions but just what are the guidelines for one line haiku?

To me in one line haiku, one needs to adopt some of the guidelines and rules of a three line haiku.  We all know that a three line haiku can have 17 syllables or less, 12 syllables or less for the phrase and 5 syllables or less for the fragment.  To me any three line haiku can be converted into a one line haiku, because of the break pattern in the structure of haiku.  Therefore why the one line haiku in the first, other than they are pretty or the poets preference for formatting the haiku at the moment. 

One question for me, the three line haiku allows for syllable count 12 or less for a phrase and 5 syllables or less for a fragment, should this be followed in a one line haiku? I feel that one needs to keep a fragment to the size of a fragment and a fragment should never be longer than the phrase.

Best wishes...  BWP...  James...

...ten times     ("written", the ending word is missing as the beginning word here, :), don )
a butterfly finds
the big O

Alan Summers

Alan's side note: actually the ... is written.  ;)


"O Captain!
My Captain!" he whispers
-- dropped lollypop

Tracy

lollypop -
the unique sound
of sugar

Don Baird


sugar she says
I think a tougher word
exists in her mind

Alan Summers

Hi Tristan,

Yes, still occasionally examples of cuts mid second line, and they were not uncommon back in the 1980s and 1990s.

The three parts of a haiku are more a Japanese cultural feature as their written and spoken language is in units of 5s and 7s i.e. 5-on and 7-on (sound units, not syllables as such) whereas English-language haiku is often in two sections, mostly a one-line section and a two-line section.

warm regards,

Alan

Quote from: Tristan B on May 10, 2014, 06:33:53 PM
Hi Alan,
I found some some samples in the middle of L2, I have yet to see one at the end of L3.

the silence grows
teeth—a tree
with cracked windows

Scott Metz (R'r)

find me in the sounds
of sparkling brooks . . . young leaves
songs of forest birds

Robert Mainone (MH)

Quote from: Alan Summers on May 10, 2014, 11:08:21 AM
Hi Tristan,

All I can do is recommend copious reading of haiku, and include articles, essays, and book reviews.   I constantly read throughout pretty much every day.

Japanese haikai tend to be three units of 5-on, 7-on and 5-on whereas English-language haiku is often two units (with varying syllable counts).  ELHaiku tend to work better either with punctuation markers (we don't have word-phrases like the Japanese, for punctuation) at the end of line one or two, and very rarely in the middle of line two.

But I'd love examples of English-language haiku practitioners where they go a different route.

warm regards,

Alan

Hi Tristan,

All I can do is recommend copious reading of haiku, and include articles, essays, and book reviews.   I constantly read throughout pretty much every day.

Japanese haikai tend to be three units of 5-on, 7-on and 5-on whereas English-language haiku is often two units (with varying syllable counts).  ELHaiku tend to work better either with punctuation markers (we don't have word-phrases like the Japanese, for punctuation) at the end of line one or two, and very rarely in the middle of line two.

But I'd love examples of English-language haiku practitioners where they go a different route.

warm regards,

Alan

Quote from: Tristan B on May 10, 2014, 11:00:43 AM
Hi Alan,
Thanks for your reply. I just revisited the page, and a user was exactly asking the same thing as you. To provide an example from ELH. Here's the sample given on the blog:
hundreds of years
of the view of this garden
with fallen leaves . . .

(Basho Translation by Gabi Greve)

Reading through that FB thread, the author seems to be very defensive. I would have dismissed the article other than the author is an editor and a published poet. How she is viewed in the haiku world, I don't know. But I do know of another editor who thinks that he is the second coming of Basho. I'm digressing. Back to this Basho sample, I don't know what to make of it. There might be other versions. I've seen ellipses on L3 in ELH but that is after the cut has already been establish in L1 or L2. I would like to keep an open mind, but that article is another fog in the misty forest of haiku.

Dear Tristan,

re:

Quote from: Tristan B on May 10, 2014, 09:07:31 AM
I just came across this article, http://betweenwit-wonder.blogspot.ca/ . Almost all primers and how-to about haiku states that the cut or kire is on L1 or L2. But here the authors states; "The Single Theme verse may or may not be a sentence, ending with an ellipsis, question mark or exclamation mark.

When an ellipsis is used as the cut marker at the end of 3L it can convey several possible meanings: something left unsaid, a thought trailing off, a sigh, a sense of awe or of wonder."
The link was originaly posted on an FB page. This is something new to me. Very interested to hear other poets take on this.

I did see the blog entry, as well as a discussion on Facebook.

I have seen few cases of punctuation and pause markers at the end of the last line in Alphabet based haiku.   The Japanese language system(s) are different in their order where they can place a kireji at the end of the poem because the language is read in a different order of words.

We tend to suggest an incompleteness in our syntax or overall placing of words and phrases to suggest pauses, open-endedness etc...

But more than delighted if people leave examples of English-language haiku here that do use end punctuation such as ellipses.

warm regards,

Alan

Hi Julie,

Until Don gets back to you, I can say that LHA is still accepting work, constantly in fact, for text only haiku and also for audio recordings.   

Re submissions:

You may email your submissions to the editor:
underthebasho@gmail.com

Until our web hosting service providers have fixed the current problems
in processing mail forms all submissions should be made by email to the editor:
http://www.livinghaikuanthology.com/index.php?option=com_content&view=article&id=1002&Itemid=244


If you want to submit an audio recording as well, Don's is a good example:
http://www.livinghaikuanthology.com/index.php?option=com_content&view=category&layout=blog&id=88&Itemid=325

or Jim Kacian:
http://www.livinghaikuanthology.com/index.php?option=com_content&view=category&layout=blog&id=104&Itemid=355

warm regards,
Alan

Quote from: Julie B. K. on April 26, 2014, 10:04:55 AM
Don,

Is Under the Basho still accepting poet portfolios for The Living Haiku Anthology? I had some difficulty finding submission information on the website.

Thanks!
Julie BK