night light
it was a good day
‘midst the realities of life
I caught her smiling
~kat
It’s the small things that keep me going. I collect these moments, keeping them close to my heart and at the ready to draw upon when the going is rough. Like a candle in the distance on a dark, dark night. Yes, it was a very good day.
Zephyrus
he softly whispered
tossed my hair, kissed my bare neck
warm breath on my skin
the ancients named him
Zephyrus, god of the west wind
warm breath on my skin
gentlest of the Anemoi
deadly when he is jealous
~kat
I have enjoyed this past week’s practice of the Hainka. Familiar and yet nuanced. This coming week’s micropoetry form will be the Bob and Wheel. It incorporates a trifecta of rules: line, syllable and rhyme, which should be challenging and fun…if you like a good challenge like I do. Until then, enjoy your week end.
The Hainka
The 17-syllable haiku is the shortest form of poetry, and the 31-syllable tanka is probably the second shortest format of verse. Precisely the new form of poetry, hainka, is an assimilation of objective sensitivity of haiku with the more subjective oriented of tanka poetry. The synthesis in hainka is based on the image linking (the ‘fragment’ of haiku acting as the ‘pivot line’ of the following tanka) to explore and interweave human nature, love, emotion, humor in a broader sense by juxtaposition of the imageries.
It is also interesting to see the syllabic coherency between the ‘fragment’ (5-syllable words) with the 5-syllable words of the ‘pivot line’ of tanka. The final structural configuration would be 5/7/5/5/7/5/7/7 (s/l/s/s/l/s/l/l) with the significance of the image linking. A breathing gap (swinging space) is preferred between the haiku and tanka for the reader to imagine and experience the essence of poetry.
This image-linking across time and space is the art of painting an integrated poetic expression and exhibiting the fervent elucidation of hainka writing. Moreover, it retains its focus on the beauty of genetic image-linking to explore the poetic spell within the broader structural framework of the aesthetic essence and rhythms of Japanese short forms of poetry. Echoing the spirit of Basho’s ‘atarashimi’ (newness), I wish that the new verse will entwine the art of gratitude encompassing nature, living beings, non-living beings, and humanity as a whole.
Read more about the evolution of this form at Poetry Digest here: https://www.writersdigest.com/write-better-poetry/hainka-haiku-tanka-new-genre-of-poetic-form
noise
the sound of thunder
makes earth tremble, but fear not
it is only noise
ignorant fools roar
Woke! Don’t tread on me! My rights!
it is only noise
the angry few, who reveal
the vile thoughts of souls gone dark
~kat
The Hainka
It is also interesting to see the syllabic coherency between the ‘fragment’ (5-syllable words) with the 5-syllable words of the ‘pivot line’ of tanka. The final structural configuration would be 5/7/5/5/7/5/7/7 (s/l/s/s/l/s/l/l) with the significance of the image linking. A breathing gap (swinging space) is preferred between the haiku and tanka for the reader to imagine and experience the essence of poetry.
This image-linking across time and space is the art of painting an integrated poetic expression and exhibiting the fervent elucidation of hainka writing. Moreover, it retains its focus on the beauty of genetic image-linking to explore the poetic spell within the broader structural framework of the aesthetic essence and rhythms of Japanese short forms of poetry. Echoing the spirit of Basho’s ‘atarashimi’ (newness), I wish that the new verse will entwine the art of gratitude encompassing nature, living beings, non-living beings, and humanity as a whole.
Read more about the evolution of this form at Poetry Digest here: https://www.writersdigest.com/write-better-poetry/hainka-haiku-tanka-new-genre-of-poetic-form
birds singing
how sweetly birds sing
at dawn, leaves still wet with dew
sparkling like diamonds
it’s always a choice
how we will greet each new day
sparkling like diamonds
where possibilities wait,
a clean slate, the birds singing
~kat
The Hainka
The 17-syllable haiku is the shortest form of poetry, and the 31-syllable tanka is probably the second shortest format of verse. Precisely the new form of poetry, hainka, is an assimilation of objective sensitivity of haiku with the more subjective oriented of tanka poetry. The synthesis in hainka is based on the image linking (the ‘fragment’ of haiku acting as the ‘pivot line’ of the following tanka) to explore and interweave human nature, love, emotion, humor in a broader sense by juxtaposition of the imageries.
It is also interesting to see the syllabic coherency between the ‘fragment’ (5-syllable words) with the 5-syllable words of the ‘pivot line’ of tanka. The final structural configuration would be 5/7/5/5/7/5/7/7 (s/l/s/s/l/s/l/l) with the significance of the image linking. A breathing gap (swinging space) is preferred between the haiku and tanka for the reader to imagine and experience the essence of poetry.
This image-linking across time and space is the art of painting an integrated poetic expression and exhibiting the fervent elucidation of hainka writing. Moreover, it retains its focus on the beauty of genetic image-linking to explore the poetic spell within the broader structural framework of the aesthetic essence and rhythms of Japanese short forms of poetry. Echoing the spirit of Basho’s ‘atarashimi’ (newness), I wish that the new verse will entwine the art of gratitude encompassing nature, living beings, non-living beings, and humanity as a whole.
Read more about the evolution of this form at Poetry Digest here: https://www.writersdigest.com/write-better-poetry/hainka-haiku-tanka-new-genre-of-poetic-form
weeds and rebels
my garden is like
a boarding school for flowers
four walls, boundaries, rows
it’s necessary
for sake of civility
four walls, boundaries, rows
coloring outside the lines,
reserved for weeds and rebels
~kat
The Hainka
The 17-syllable haiku is the shortest form of poetry, and the 31-syllable tanka is probably the second shortest format of verse. Precisely the new form of poetry, hainka, is an assimilation of objective sensitivity of haiku with the more subjective oriented of tanka poetry. The synthesis in hainka is based on the image linking (the ‘fragment’ of haiku acting as the ‘pivot line’ of the following tanka) to explore and interweave human nature, love, emotion, humor in a broader sense by juxtaposition of the imageries.
It is also interesting to see the syllabic coherency between the ‘fragment’ (5-syllable words) with the 5-syllable words of the ‘pivot line’ of tanka. The final structural configuration would be 5/7/5/5/7/5/7/7 (s/l/s/s/l/s/l/l) with the significance of the image linking. A breathing gap (swinging space) is preferred between the haiku and tanka for the reader to imagine and experience the essence of poetry.
This image-linking across time and space is the art of painting an integrated poetic expression and exhibiting the fervent elucidation of hainka writing. Moreover, it retains its focus on the beauty of genetic image-linking to explore the poetic spell within the broader structural framework of the aesthetic essence and rhythms of Japanese short forms of poetry. Echoing the spirit of Basho’s ‘atarashimi’ (newness), I wish that the new verse will entwine the art of gratitude encompassing nature, living beings, non-living beings, and humanity as a whole.
Read more about the evolution of this form at Poetry Digest here: https://www.writersdigest.com/write-better-poetry/hainka-haiku-tanka-new-genre-of-poetic-form
like mercury colliding... 