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HAIKU DIALOGUE – Literary Devices – repetition/parallelism

Literary Devices with Guest Editor Alex Fyffe

For this series, I’d like to focus on the use of various literary devices in haiku. We tend to think of these techniques as applicable to longer lyric poetry – haiku is often taught to be a form without literary trappings, a simple breath of a poem, honest and straightforward, without ornament. Of course, this is a misconception, as the best haiku tend to be very carefully crafted, with one good poem often going through several revisions. And just like their longer cousins, haiku are capable of tackling metaphor, simile (despite what you might have heard), personification, symbolism, allusion, and any number of other techniques. Each week, we will take an in-depth look at a different technique and apply it to our haiku.

next week’s theme: rhyme

To cap off our exploration of literary devices in haiku, we’re going to discuss the heresy of rhyme. But don’t worry! I’m not asking you to perfectly rhyme the end of line one with the end of line three, or to have perfect end rhymes on all three lines, or anything as utterly blasphemous as all that. End rhyme, of course, is not unheard of in haiku, but it is generally frowned upon, and probably for good reason. I once unknowingly bought a translation of Basho in which the translator had not only made all of the poems 5-7-5, but had also used perfect end rhymes on lines one and three in each one so that the poems read more as uneven rhyming couplets than haiku.

This is not to say that all perfect end rhymes are necessarily bad in haiku or senryu – I have occasionally seen examples that make it work, especially when the rhyme is at the end of lines one and two. End rhyme can also be effective for a haiku aiming at a more whimsical tone or looking to be outright humorous, as rhyme can produce a charming, funny effect if used well. But used in excess or in attempting to be serious or beautiful, the poems often lose a certain quality that we associate with haiku.

However, perfect end rhyme is not the only kind of rhyme, and I believe there are other ways to use rhyme effectively in all manner of haiku and senryu. I would like to primarily focus today on unconventional rhyme usage, particularly on internal rhyme, slant rhyme, and sight rhyme.

As opposed to end rhyme, which takes place at the end of different lines, internal rhyme happens either 1) within a single line, 2) at the end of one line and in the middle of another, or 3) in the middle of two different lines. First, here is an example of typical end rhyme:

Little Fly
Thy summer’s play,
My thoughtless hand
Has brush’d away.

William Blake’s “The Fly” is written in short quatrains in which lines two and four always rhyme at the end. Now here is an example that uses all three types of internal rhyme:

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore–
While I nodded, nearly napping, suddenly there came a tapping,
As of someone gently rapping, rapping at my chamber door.

In “The Raven,” Poe utilizes end rhyme and various internal rhymes to great effect. Like the Blake example, we see lines two and four rhyming at the end. But in addition to that, Poe rhymes “dreary” with “weary” in line one and “napping” with “tapping” in line three, and he uses “rapping” in the middle of line four as an internal rhyme of both the line three end word “tapping” and the line three internal rhyme word “napping.” One of the reasons “The Raven” has endured is because, like many of Poe’s poems, it’s so much fun to say. Rhymes are popping off left and right in such an amusing rhythmic pattern, you can’t help but want to read it aloud.

Obviously, Poe’s internal rhymes are not very subtle, and subtlety might be better for haiku. There are ways to do this, though. A word at the end of line one, for instance, might find a rhyme in the middle of line two or three so that the reader doesn’t stop on the rhyme but reads straight through it, giving them the pleasure of the rhyme without the finality of sound produced by an end rhyme in a couplet or quatrain. To make up a poor example:

miss molly–
my sister discusses
the folly of monarchs

The rhyme stands out enough, but since we read straight through it to the ending non-rhyme, it doesn’t feel intrusive the way a perfect end rhyme usually does in haiku. Similarly, something like this might work:

new school year
the alums’ wadded gum
beneath each desk

Other tools we can draw upon in the effort to make good rhyming haiku are slant rhyme and sight rhyme. In the Blake example above, “Fly” and “play” are an example of two words that do not perfectly rhyme, the way “play” and “away” do, but which nearly rhyme because of the similarity of sounds and letters – the “fl” of “Fly” and the “pl” of “play” and the ending “y” help create this effect. Emily Dickinson used unconventional rhymes constantly, as in this example from “Because I could not stop for Death –”:

Or rather – He passed Us –
The Dews drew quivering and Chill –
For only Gossamer, my Gown –
My Tippet – only Tulle –

The ending sound of both “Chill” and “Tulle” are the same, only the vowel before them is different, making the rhyme feel slightly off. This kind of indirect rhyme is less forceful than so-called “perfect rhymes,” possibly making them a better tool for the haiku poet in general. Other examples of words like this: brat and fret, jam and dim, prance and fence, etc. The vowels are different, but the consonant ending is similar.

This may ring a bell, as we studied consonance and assonance in an earlier entry in this series. And just like these examples of “consonant rhyme,” you can also use assonance to create “assonant rhymes”: drum and among, round and stout, etc. Traditionally, we see these kinds of slant rhymes used as end rhymes in poetry, making them stand out and declare themselves as rhymes. If we attempt to use them as internal rhymes, I do not know if they will have precisely the same effect. But slant rhymes might be the most effective way of incorporating end rhyme in haiku. Again, some poor examples from me just as illustrations of how slant rhymes might look and sound:

in a huff
members of the staff
refill their cups

a little brown beetle
stretches a limb

Sight rhyme, also known as eye rhyme, is one of the subtlest, as words of this type rhyme in the way they look on the page, not necessarily in the way they sound to the ear. We see an example of this at the end of Shelley’s “Ode to the West Wind”:

The trumpet of a prophecy! O Wind,
If Winter comes, can Spring be far behind?

This is the most common usage of sight rhyme, words that look the same on the page but sound different to the ear. Even though “Wind” and “behind” look like perfect rhymes, they are pronounced differently, making the ending couplet feel looser than it otherwise might. In this case, the sight rhyme might also be considered a type of slant rhyme. But not all sight rhymes follow this pattern. For instance, “enough” and “although” look like perfect rhymes but do not sound at all similar, having both completely different vowel and consonant sounds. Here are some more examples of sight rhymes: plough and tough, pour and hour, prove and love, etc.

And so it seems that poets have the tools they need to intentionally rhyme without destroying the essence of haiku. The more obvious and blunt perfect ending rhymes of traditional poetry might make a haiku sink like a stone, but these softer approaches might just let it fly.

For this final literary device prompt, make effective use of internal rhyme and/or some form of unconventional rhyme in an original haiku.

The deadline is midnight Central Daylight Time, Saturday August 27, 2022.

Please use the Haiku Dialogue submission form below to enter one or two original unpublished haiku inspired by the week’s theme, and then press Submit to send your entry. (The Submit button will not be available until the Name, Email, and Place of Residence fields are filled in.) With your poem, please include any special formatting requirements & your name & residence as you would like it to appear in the column. A few haiku will be selected for commentary each week. Please note that by submitting, you agree that your work may appear in the column – neither acknowledgment nor acceptance emails will be sent. All communication about the poems that are posted in the column will be added as blog comments.

below is Alex’s commentary for repetition/parallelism:

For repetition, many poets chose to open and close with the same line, making their haiku circular:

every day
a new day
every day

Zelyko Funda


climate is changing
fair weather having blown through
climate is changing

Bard Wrisley


drawing the curtains
I see my neighbour
drawing the curtains

andrew shimield

Funda’s poem, for example, reads like a mantra, something to be recited over and over again in the heart as a daily affirmation. Wrisley’s repetition mimics the all-too-familar way activists have been repeating the same warnings decade after decade, warnings that seem to be, to borrow a phrase, blowing in the wind. And shimield’s poem is circular but changes out who is “drawing the curtains,” making the final line, though word-for-word the same as the first, new again.

in my rear view …
a woman puts on makeup
in her rear view

Ravi Kiran


looking for you
in the warmth of your body
looking for me

in cerca di te
nel tepore del tuo corpo
in cerca di me

Giuliana Ravaglia
Bologna, Italy

These variations change only one word in the last line to great effect. Kiran’s repetition emphasizes the poem’s content – looking into the rear view mirror and seeing what’s reflected there, which, in this case, is another person looking into her mirror. The lines repeat much the way the experience repeats for Kiran; from line one to three only the viewer has changed. Ravaglia’s poem might also switch the subject doing the seeking from line one to three, but then again, it may not; the speaker may be looking both for “you” and for himself “in the warmth of your body.”

Some of the repetition poems stood out for their musicality. It’s hard not to read the following haiku without singing the words, or pronouncing them in one specific rhythm:

snowflake floats
snowflake swirls
still snowfall

Patricia Furstenberg
Pretoria, South Africa


red light green light
hop hop glance.. hop hop glance…
hop hop hop

Jerome Berglund

When it comes to single-line repetition of the “year after year” variety, I found Sahlin’s haiku to be among the best:

harvest time
summer is removed
hay bale by hay bale

Marianne Sahlin

The image of summer being taken away bale by bale – what an excellent turn of phrase!

sibling war rages
seed by seed

Lorraine A Padden
San Diego, California

Padden’s poem has fun with words. It is a charming and straightforward poem about kids “fighting” by spitting watermelon seeds at each other. But “seed by seed” also suggests that sibling rivalry will continue for as long as people continue to spread their seeds, so to speak.

their full closet
his empty shoes

Kimberly Kuchar
Austin, Texas

Some poets opted for parallelism, and this one stood out because of its use of two lines, which is actually perfect for its purpose of juxtaposing these two images in order to contrast the crowded closet with a person’s absence.

to buy or not to buy the American dream

Bona M. Santos
Los Angeles, California


after apple picking
apple incense
apple stars

Matt Cariello
Bexley, Ohio

Finally, I wanted to bring up these two poems because in addition to using repetition, they are more fine examples of allusion in haiku. Santos plays a riff on Shakespeare, and Cariello uses Frost as a jumping off point.

Here are some other favorites that stood out for me:

night after night
she calls his name
in silence

Tuyet Van Do


government form
at x x and x

Roberta Beach Jacobson
Indianola, Iowa


cold growing colder old bones

Alan Peat
Biddulph, UK


polar route the sun and the sun and the sun

Sue Courtney
Ōrewa, Aotearoa New Zealand


deadheading the petal
not ready to let go
let go

Caroline Giles Banks
Minneapolis, Minnesota


weary moon sick of being sick

Susan Burch
Hagerstown, Maryland


summer’s end
the wind that blows through my hair
blows through the graveyard

Lorraine Schein
Queens, New York


still raining
raining bullets

Teji Sethi


golden anniversary:
your side of the bed
my side of the bed

Neena Singh
Chandigarh, India


mountain cabin—
we become the fog
becomes us

Mona Bedi
Delhi, India


heirloom tomatoes
the same medication
as my father’s father

James Gaskin
Fukushima, Japan

& here are the rest of the selections:

still the still stillness of the still still

Lakshmi Iyer


everywhere I see
only blood

Željko Vojković


Plucking syllables
haiku loves me
it loves me not.

Caroline Ridley-Duff


rainy day
her mum telling her to stop
telling lies

Deborah Karl-Brandt
Bonn, Germany


give and take give and take
the world full
of take take take

Stephen A. Peters
Bellingham, Washington


spring arrival
robin nods into a puddle
again and again

Suzanne Leaf-Brock
Ames, Iowa


expecting nothing
seeking nothing grasping nothing
full yellow moon

Deborah Bennett
Carbondale, Illinois


butterfly heart
flitted and floated
from crush to crush

Eavonka Ettinger
Long Beach, California


sigh of solitude
how many pine needles
under the pine trees

Dejan Ivanovic
Lazarevac, Serbia


many reflections
hands touching the wall
names touching the heart

Herbert Shippey
Tifton, Georgia


young in summer
old in winter

Charles Harper
Yokohama, Japan


yellow sun
a spent leaf

Jackie Chou


lost at the sunrise
still dissolved at the sunset —
consecutive deaths

smarrita all’alba
al tramonto dissolto –
morti continue

Maria Cezza


echoes, echoes
still more echoes…
this search for my voice

Arvinder Kaur
Chandigarh, India


going round
and round and round
another family argument

Louise Hopewell


at the crossroads
blues drift up
to the blue sky

Subir Ningthouja
Imphal, India


face to face
a scarecrow
and I

Alvin Cruz


empty playground
some crows

Christopher Peys
Los Angeles, California


summer flows –
the fish always remains
mute as a fish

scorre l’estate –
il pesce rimane sempre
muto come un pesce

Dennys Cambarau
Sardinia, Italy


and on the windowsill …

Wendy Gent
Bristol, UK


blast after blast …
shattered hopes behind
shattered windows

Natalia Kuznetsova


barnside swift screeches screeches through trajets of moth baiting bats



still morning
his side of the bed still empty…
still mourning

Tracy Davidson
Warwickshire, UK


incessant snows
the station gets crowded
delay, delay, delay

Chen Xiaoou
Kunming, China


robin red over poppies to the sunset red

Helga Stania


across ripples
a crane walks slowly

Ram Chandran


and still looking in the sky
a war refugee

Samo Kreutz
Ljubljana, Slovenia


a wiggle to the right
a wiggle to the left
hammock struggle

Sari Grandstaff
Saugerties, New York


rain keeps falling
and goes on falling
perseids shower

marilyn ashbaugh
Edwardsburg, Michigan


silencing us
an owl’s call
an owl’s reply

Bryan Rickert
Belleville, Illinois


drip drip drip . . .
moonlight on tulips’
yellow carpet

Bipasha Majumder (De)


one more autumn
one more creak
in my knee

Daniela Misso


withered lake
somewhere in the brown
brown-headed cowbird

Marcie Wessels
San Diego, California


tufts of clouds
in the warm air
tufts of poplar

ciuffi di nuvole
nell’aria tiepida
ciuffi di pioppo

Angiola Inglese


vast canopy
the birds I can hear
the birds I can’t

Bruce H. Feingold
Berkeley, California


somewhere today
a baby’s first words –
bombs bombs bombs

Dan Campbell
Virginia, USA


where you were dying
when I was being born

Ruth Holzer
Herndon, Virginia


cherry blossoms
again and again
broken promises

Hla Yin Mon
Yangon, Myanmar


my pen
a river flowing
bank to bank

Minal Sarosh
Ahmedabad, India


his last letter
within seconds of reading
second reading

Vandana Parashar


glow worm cave
the glow
in our gaze

Kanjini Devi
The Far North, Aotearoa, New Zealand


Drip, drip, drip of sweat —
I yearn for the drip, drip, drip
of rain

Jenny Shepherd
London, UK


a tiffin box
inside a tiffin box
mom’s pickle

Daipayan Nair
Silchar, India


autumn wind
in every season
autumn wind

vento d’autunno
in ogni stagione
vento d’autunno

Maria Teresa Piras
Sardinia, Italy


the nightingale’s songs
survived the rats, the loathing—
the nightingale sings

(a tribute for the Spanish poet Miguel Hernandez)

Bittor Duce Zubillaga
Basque Country


anniversary. . .
your prayer flags
drip, dripping rain

Sonam Chhoki


sleet driving driving it home

Sarah Metzler


evening shadows
my evening thoughts

Hifsa Ashraf
Rawalpindi, Pakistan


learning the mantra
of anger control. . .
cicadas, cicadas

Meera Rehm


stunned sparrow…
I breathe out
when he breathes in

Laurie Greer
Washington, DC


singer in the night
sings a song of hope
sings a song of love

Tsanka Shishkova


beyond the ashes
after the flames
wild mint

Maxianne Berger
Outremont, Quebec


mountain tracks
the zig-zag crossings
of home-bound flocks

Ingrid Baluchi
North Macedonia


trembling white
rippling rose
roseate spoonbill rising at dawn

Dustin Hackfeld
Ingleside, Texas


swoop and drone of news copters
buzzards and crows
buzzards and crows…

John Pappas


summer symphony—
all the koel does all day
is sing sing sing . . .

(the Asian koel is a member of the cuckoo family)

Rupa Anand
New Delhi, India


political arena –
from each candidate
yada yada yada

Valentina Ranaldi-Adams
Fairlawn, Ohio


flower moon
in full bloom

Pippa Phillips
Kansas City, Missouri


separation anxiety—
empty hangers
full custody

Adele Evershed
Wilton, Connecticut


a shore
mist on stone’s bridge
the other shore

Mircea Moldovan


loons mock
the lone mockingbird’s
faux tremolo

ron scully
Burien, Washington


shuffling and
reshuffling cards
a clean break

Richard Straw
Cary, North Carolina


cloud sky cloud sky hawk sky

petro c. k.
Seattle, Washington


the end of spring
summer morning

Andrew Markowski
San Antonio, Texas


plastic flowers
in plastic pots
autumn without her

Tony Williams
Scotland, UK


my chrysanthemums crying on my shoulder calling out my name

Marcia Burton
Salt Spring Island, Canada


autumn night
one by one by one . . . .
the shadows sneak in

Padma Rajeswari
Mumbai, India


in a home
his roses blooming
at home

Marisa Fazio


day in
day out

Keith Evetts
Thames Ditton, UK


rusty pier
on its stairs
wave after wave

Minko Tanev


out of the cave
into the clouds
dirt road to heaven

Zahra Mughis
Lahore, Pakistan


Our Father Who art . . .
Our Father . . . time for another

Geoff Pope
Paducah, Kentucky


swirling, swirling
an ant on a leaf
in an eddy

Richard Matta
San Diego, California


among weeping cherry blossoms
weeping cherry blossoms

Anna Yin
Ontario, Canada


the thunder
breaking the hot spell
the thunder

Mark Gilbert


dew after dew
the drooping shadow
of a pink rose

Richa Sharma


night window . . .
letting the cat out
the moon in

Lori Kiefer
London, UK


a heart to heart
with my first child
autumn afternoon

Barrie Levine
Massachusetts, USA


backseat driver my backstory

Cynthia Anderson
Yucca Valley, California


mother’s lullaby–
I still hear her song
even now, even now



fishing hole…
a great blue
stalks, stalks, stalks minnows

Nancy Brady
Ohio, USA


crows gather –
a dark day
becomes darker

Annie Wilson
Shropshire, UK


hunger stones
appear in the river –
let it rain, let it rain!

Tomislav Maretić


starting where it ends Tokyo trolley ending where it starts

Mark Meyer
Mercer Island, Washington


waterfall mist–
a gathering rainbow
ungathers gathers

Sushama Kapur
Pune, India


amid the rains
battered by the winds . . .
the oak still stands still

Mona Iordan


null tide dream after dream of waking

Ash Evan Lippert
South Carolina, USA


last rites . . .
passing on

P. H. Fischer
Vancouver, Canada


lost in my mind a book my mind lost in a book

John S Green
Bellingham, Washington


tendril after tendril
the passionflower

Anette Chaney
Harrison, Arkansas


light rain morphing
into wave after wave
of puddle galaxies

Sharon Martina
Warrenville, Illinois


doors within doors
within the temple
within infinity

Sangita Kalarickal


the big bang
the big crunch

Jonathan Roman
Yonkers, New York


each month becoming unbecoming this old moon

Ruchita Madhok
Mumbai, India


Guest Editor Alex Fyffe teaches high school English in the Houston area. Although he has been writing haiku off and on for a decade, he only started submitting his work during the Global Event known as 2020. Since then his haiku and senryu have been published in various journals, including Frogpond, Modern Haiku, Failed Haiku, Akitsu Quarterly, and the Asahi Haikuist Network. Alex’s first glimpse of haiku was in a collection of writings by Jack Kerouac, and he found the work of Issa while studying abroad in Japan, but he didn’t fall in love with the haiku until he discovered the free-form work of Santoka Taneda. Currently, Alex uses haiku in the classroom to ease students into poetry and build their confidence as readers and writers. Alex also posts haiku on Twitter @AsurasHaiku.

Lori Zajkowski is the Post Manager for Haiku Dialogue. A novice haiku poet, she lives in New York City.

Managing Editor Katherine Munro lives in Whitehorse, Yukon Territory, and publishes under the name kjmunro. She is Membership Secretary for Haiku Canada, and her debut poetry collection is contractions (Red Moon Press, 2019). Find her at:

The Haiku Foundation reminds you that participation in our offerings assumes respectful and appropriate behavior from all parties. Please see our Code of Conduct policy.

Please note that all poems & images appearing in Haiku Dialogue may not be used elsewhere without express permission – copyright is retained by the creators. Please see our Copyright Policies.

This Post Has 28 Comments

  1. Thank you Alex for including mine. A fascinating selection which approached repetition and parallelism in many refreshing ways. We are encouraged to rigorously remove any ‘unnecessary’ words when editing nowadays but this can result in haiku with a similar stripped down structure. Repetition can encourage us to resist this trend and to consider rhythm, sounds, emotions, the way a haiku feels on the tongue. ‘White space’ doesn’t have to be the only tool. I liked Lafcadio’s in particular:

    mother’s lullaby—
    I still hear her song
    even now, even now

    1. Thank you, Mark, and everyone else who has had such wonderful things to say this week. I enjoy making these little experiments, setting boundaries to test the limits. I think boundaries lead to creativity, as everyone wants to find a way to make their ideas work, even if it means breaking the fence in a couple of places to make it fit. It’s always exciting to see how each poet approaches the prompt. And writing the prompts is fun, too; it requires me to really think about the subject in detail so that I can provide the most information and support possible.

  2. Thank you Alex for all your work and time on this excellent and helpful series, and I’ve been delighted to see a few of mine appear.

  3. Congrats to all the poets. I have enjoyed the word play seen with both parallelism (and some said geometry was a waster) and repetition throughout all the haiku. I particularly found the morning/mourning repetition haiku particularly moving (Tracy Davidson’s) while Andrew Markowski’s use of the same repetition in his haiku had a much lighter feel to it. Anette Chaney’s tendril after tendril worked so well with entanglements, fantastic word choice. Valentina Ranaldi-Adams’ yada, yada, yada not only had repetition but alludes to Seinfeld as well. Overall, impressive haiku by all. I feel grateful for being included in this mix; thanks, Alex.
    This series of the use of literary devices in haiku has been eye-opening because I now see them in other haiku I read as well as in my own.
    One other thing I noticed was where Zelyko Funda’s hails from, and I had to look it up. Glad I did because I learned something today–thanks!

    1. I had to look it up, too. My time here always teaches me something new.

      And yes, I see these devices all the time when reading through haiku in journals or on Twitter. Poets are always finding ways to make them work!

  4. Thank you, Alex, for commenting on my haiku! I have really enjoyed this series of literary devices prompts, and I have learned so much!

    Congratulations to all the featured poets!

  5. Thank you, Alex. These are enjoyable prompts. This one in particular has contributed to my collection of memes in haiku; especially the recursive ones.

  6. Also bravos to the lovely Guest Editor Alex Fyffe for his hard work with great descriptions. Bravo!!
    secretly i study. Thank you…

  7. Congratulations to all dear friend..
    I am happy to read all the results of the post sequence. Learned a lot in this space. Thank you ❤️

  8. Thank you Editor Fyffe for selecting my haiku. I am so enjoying this series of prompts! And the selection of haiku inducing a range of reactions: from giggles to tears, wonderful! Repetition is indeed a powerful device. Thank you for this exercise.

  9. flower moon
    in full bloom
    Pippa Phillips
    Kansas City, Missouri
    I enjoyed how the sound of the words in this haiku flowed from one line to the next.

  10. I will be sad to see this series end, Alex. Thanks for including my haiku. It’s always such a thrill. Thank you Kathy and Lori for this amazing space.

    Shoutout to my haiku friends, Jerome Berglund and Kimberly Kuchar for both gaining special mention!

    1. Thank you! I’ll be sad to see it end, too, but also relieved to finally have time on the weekends to catch up on grading (^o^;)

  11. Sorry this was for the haiku dialogues submission on rhyme. I did really enjoy this theme, and the poems. Thanks Alex for all your effort, and please excuse me for posting this in the wrong place. This website has been a wonderful resource for me, and comments on submitted poems is very helpful. I have now used the entry form, but can’t figure out how to remove this post.

  12. Thank you Alex for including my haiku this week! It is such a pleasure and congratulations to all the poets here. So fun reading these haiku using parallelism/repetition for both humorous and serious meanings.

  13. What a pleasure reading through this week’s collection of haiku highlighting the use of repetition. So many talented poets. Thank you Alex and team and THF for providing this opportunity to expand my haiku writing techniques.

  14. What a wonderful surprise to see my haiku included in this article! Made my day to be here with so many incredible poems!

  15. Many thanks Alex for the explanation on rhymes, that was very helpful and congrats to all of the authors.

  16. Thank you so much, Alex, for selecting my poem. Really, what’s going on on that misty bridge, between two shores?

    I congratulate my compatriot, Mona Iordan, for the beautiful poem.

  17. Alex, thank-you once again for including my haiku. My gratitude also to Kathy, Lori, and
    the Haiku Foundation. Congratulations to my fellow Ohio poets, Matt Cariello and Nancy Brady. Congrats also to all the other poets.

    1. Thank you, Alex, for this series! You have gotten me more engaged in further exploring the literary devices you have discussed. It was a very enjoyable experience. Thanks for selecting my poems and for the commentary on this segment.
      Congrats to all poets! Thank you to Kathy & Lori for their continuing efforts to keep HD going, as well.

  18. Thanks to Guest Editor Alex Fyffe for mentioning my haiku. Congratulations to the authors, there are some verses very full of meaning.

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