Geraldine Clinton Little taught and published creative writing, fiction and poetry. This chapbook is perhaps typical: full of sharp observation, mordant wit, and heartfelt homage . . .
Ross le Haye, like many others, showed up one spring or summer or autumn/winter issue, lingered a few years, left a few notes, and then moved on . . .
This volumees is subtitled “poems for my father,” full of personal reminiscence, coming to terms with the roles the author has played: daughter, friend, enemy, caregiver.
Proof that Marshall’s irreverence (much of it self-referential) dates back decades can be had from his first writings, such as this early chapbook . . .
In the 1990s Elizabeth Hazen totally lost her sight . . .
Tombo was founder and president of Western World Haiku Society, and a prolific author. Many of her books were theme-based, as this one . . .
Lee Gurga edited Modern Haiku but he is best known as a poet. This earliest of his chapbooks, though modest, is in some ways still his most satisfying collection . . .
Alan Gettis, a devotee of Zen and a practicing psychotherapist, produced 2 chapbooks in a similar format: translations of Japanese haiku, followed by original poems . . .
Garry Gay is a photographer, and his visual orientation strongly affects his way with haiku, well exhibited in this middle-period collection . . .
This volume takes as one of its themes the confrontation with illness and, in a larger sense, recovery from it, as well as from what is . . .
Stanford M. Forrester is one of our most consistent voices, gentle and often lightly humorous tinged with melancholy . . .
Angelee Deodhar--poet, editor, organizer, translator and representative around the world--has brought Indian haiku to the attention of the world . . .
“Haiku Elvis” has long been one of the comedians of the haiku scene, but he has made his real mark through his innovative “eye-ku” . . .
Jean Calkins is a prolific author, with dozens of titles to her name, including this most unusual creation, an book-length haibun . . .
John Brandi and Steve Sanfield’s voices meld into a continuity, the working premise of this volume where poems are not identified by author, but presented in an ensemble voice . . .
Brett Brady’s haiku is probably best described as “things just as they are,” but that doesn’t fully explain his often cheeky humor . . .
Nasira Alma’s work always gave off a kind of glow, as though she was tuned in to some other reality. See for yourself . . .
Denis M. Garrison here offers haiku noir and crystallines, as well as telling you what they might be . . .
A lighter side of a poet known mostly for his plangent protest haiku . . .
What did the 1960s know of haiku? One thing it knew wasn’t to take it too seriously . . .