Swimming in Lines of Haiku: AHG

Welcome to March, dear readers! Below is this month's page from my 2014 calendar of haiku and photography, which I did with my husband this time round, for our family and friends. Hubby, Cameron Elliot, took this photo last year in Cambridge, and his haiku is previously unpublished. (click to enlarge)

Haiku & photo by Cameron Elliot

February was a great month for me on the haiku front. I put out my first poetry chapbook, thinking of you, as a gift of love for Valentine's Day. (Read my post about it here.) My eChapbook of twenty haiku and tanka on the theme of love is free to read and download here. Enjoy! And don't forget to pass it on.

I also began an online shop called Haiku On where I'm selling t-shirts, cards, and later this year, my 2015 calendar. Haiku poets around the world have responded favorably buying "Trust me, I'm a haiku poet" and "Every Haiku is an Act of Environmental Activism!" t-shirts. I am so grateful for the support I've received from the haiku community on my new venture. More t-shirt designs coming soon! If there is something that you'd like to see in the shop that isn't there then please ask, and I'll try to create it for you.

I've also been flooding my Facebook page with positivity this month, and doing a daily post on what I'm grateful for each day. It's been amazing to see people's positive response, and even joining in with the gratitude posts. I couldn't have wished for better. :-) Come join me!

March is already full of haiku and tanka promise. I have a haiku in the March issue of The Heron's Nest here.See a collaborative haiga here that I did with Seánan Forbes, which appears in the March issue of A Hundred Gourds. We hope to do some more collaborating this month. I've been asked to write a commentary for Haibun Online about my tanka prose piece, The Taste on My Tongue, which first appeared in Skylark 1:1. And I'll be adding more to my online shop Haiku On - Taking you on a haiku journey. Stay tuned . . .

Monday, September 30, 2013

NZPS Feature Article for September: Collaborative Poetry

Inspiration through Collaboration

by Kirsten Cliff

I never thought I'd need a prompt to get me writing. I always seemed to have new ideas, and could easily draw from what was happening around me. Then some dark days arrived – cancer, mostly – and it seemed that the act of writing got harder. I was writing less. Maybe that was okay? But being generally uninspired in my play with words did not feel good. So when a haiku friend (who'd also survived cancer) asked if I wanted to write with her, I welcomed the opportunity to expand my writing world.

Cara Holman and I started writing rengay together: a modern form of linked haiku verse. I found that writing to the prompt of her haiku lead me to write poetry that I wouldn't have penned otherwise. On really hard days – when the chemotherapy was stripping me bare – collaborating was what helped me get out of bed in the morning. Why? Because I knew that the next link in the poem would be waiting in my email inbox.

I quickly became excited about writing again. I was inspired in a way I hadn't been before. My writing was taken in new directions. It was still my writing voice, but it was brought to life through the links of my poetry with Cara's. I got instant feedback on my work, often in the form of her next haiku verse. This was highly positive as it meant I had inspired my writing partner, too. We were on a roll.

The Scent of Pine

Cara Holman & Kirsten Cliff

evening sky

the moon cradled

in the ginkgo's branches

the scratch of pencil

on paper

hushed dawn

bird tracks

in the snow

fallen fence post

counting out pills

for the day

a hawk scatters

the flock of starlings

cloud cover

the scent of pine

from the wood pile

Our first two rengay, “The Scent of Pine” and “Turning a Corner”, were quickly accepted for publication, appearing in the on-line journal A Hundred Gourds (June 2013). Over the course of that year we wrote 13 rengay together, including four on our joint experiences of cancer, and all were well received by editors. Every time we completed a rengay, we'd start another. It was addictive. And so much fun!

Then I got the itch to try a tanka sequence and asked another writing friend, Margaret Dornaus, if she'd like to work with me. We quickly found a subject we could both get stuck into: our overseas travels. We took inspiration from photos of our journeys abroad, and wrote our first sequence of tanka linked by that travel bug. Margaret and I have since written together several times and I find her feedback invaluable. I'm learning all the time in this world of poetry and she is one of my teachers.

So the positives of collaboration continued, and the desire to do more never waned. After each project I'd feel the need for a break – it was time to return to my own writing. But these 'breaks' never lasted long. My hunger for this new type of inspiration would rapidly grow, and before I knew it I'd be emailing a friend with a new idea for a rengay or tanka sequence. I soon grew bolder and began asking others to write with me. I've now written with six different people.

Lost & Found

Margaret Dornaus & Kirsten Cliff

crossing the river

into this new year, alone

I stop

to look at every turn

before I carry on

first dream of the year

diagnosing her pain

as leukaemia . . .

could I find the strength

to do it over again

on the bench

at the foot of her bed

a clutch of tissues . . .

abandoned like the words

she can no longer recall

I hear her say

she's lost the will to live . . .

the waves

keep on cresting

keep on breaking

winter fog—

the lighthouse steps

we climb

to see whatever

we might see

all day long
the peacock's cry

once again
I fail to listen
to my intuition

Part of a tanka sequence published in LYNX (March 2013)

Experimentation was part of the joy. Cara and I played with the rengay form creating what we called 'rengay sequences': four rengay linked together. This developed from that drive to keep writing with one another, and wanting to explore all avenues of a particular theme. Now I'm breaking new ground with Seánan Forbes: we are writing tanka sequences using repeating lines. This occurred the first time naturally when I was so inspired by Seánan's starting tanka verse that I wanted to use one of her lines in my linking tanka. It can be quite a challenge to use your writing partner's first line as your third line, for example, but, once again, I can't seem to say no!

A very different experience was my first time writing face-to-face, and as part of a group, at the June 2012 Haiku Festival Aotearoa in Tauranga. It was a session filled with laughter, and where I realised I wasn't too good at writing haiku under pressure! Sandra Simpson lead ten of us in writing a junicho: a longer and stricter form of Japanese linked haiku verse. It was also a 'competitive' write, which meant that we all contributed verses for each new spot, and Sandra choose the one that linked best. Although this began in real-time, it was completed on-line, which gave me more space to become inspired by the preceding verse. The experience of working face-to-face in a group setting is one I would definitely repeat, though. After all, it is how linked verses were traditionally written in Japan.

I've since gone on to create collaborative haiga (putting haiku with a photographic image) with two of my haiku friends. I was also part of Ruth Arnison's 'Poems in the Waiting Room' fundraiser, which saw the haiku of North Island poets paired with South Island artists. In this collaboration I was a silent partner, but was excited by the artists' interpretations of my haiku. I look forward to future collaborations with other people outside the world of haiku, as well as those within it.

First published in a fine line, The Magazine of the New Zealand Poetry Society (September 2013); reprinted at NorthWrite

Friday, September 13, 2013

Persistent Rain

bone marrow biopsy --
through my internal tears
a doctor talks
of the persistent rain
on his summer holiday

Kokako 19 (September 2013)

Thankfully all my treatments (and related procedures!) for leukaemia ended a year ago this month. Although I'm still considered high risk, a label that will stay with me for life, I have remained in remission for three years now, so all is looking good. I have also finally completed my collection of haiku and tanka that explore my journey through this experience. It is now with some very generous readers, and then I hope to enter it in the Snapshot Press Book Awards.

My work has just come out in Kokako, A Hundred Gourds and A Fine Line. I've recently had work accepted for Skylark, Presence and Contemporary Haibun Online. And have submitted work to The Heron's Nest, A Hundred Gourds, and the Australia-New Zealand Haiku Anthology. Now I'm getting my entry ready for the Kokako Haiku and Senryu Competition, as well as making haiku cards to take to the fair. Collaborations are still continuing, with Seanan Forbes writing haiku and tanka for some of my photos from Fiji. Never a dull moment!

Don't forget about the Svetlana Marisova Memorial Kukai 2013 (closing September 14th), which marks two years since Sveta's passing from cancer.

waking
from a dream --
on my lips
I find the word
arohanui*

*Maori for with love/deep affection
RIP Svetlana Marisova