Search results
Results from the WOW.Com Content Network
Van den Heuvel has published several books of his own haiku, including one on baseball.He is the editor of the three editions of The Haiku Anthology; the original Haiku Anthology published in 1974 by Doubleday, the second edition published in 1986 by Simon & Schuster, and the third edition published in 1999 by Norton.
The Haiku Handbook: How to Write, Share, and Teach Haiku (with Penny Harter). McGraw-Hill, 1985 [3] The Healing. From Here Press, 1986; Ten years' collected haiku : volume 1. From Here Press, 1987; Seasoned haiku : a report on haiku selected by the seasons for publication in Frogpond in 1990, with an invitation to participate. Fanwood, 1990
Jim Kacian in Kumamoto, Japan, in mid-September 2007, while reading his haiku for a film in development by Slovenian filmmaker Dimitar Anakiev.. James Michael Kacian (born July 26, 1953) [1] is an American haiku poet, editor, translator, publisher, organizer, filmmaker, public speaker, and theorist.
Book of Haikus is a collection of haiku poetry by Jack Kerouac. It was first published in 2003 and edited by Regina Weinreich. It was first published in 2003 and edited by Regina Weinreich. It consists of some 500 poems selected from a corpus of nearly 1,000 haiku jotted down by Kerouac in small notebooks.
"In a Station of the Metro" is an Imagist poem by Ezra Pound published in April 1913 [1] in the literary magazine Poetry. [2] In the poem, Pound describes a moment in the underground metro station in Paris in 1912; he suggested that the faces of the individuals in the metro were best put into a poem not with a description but with an "equation".
Failed Haiku [7] is edited by Bryan Rickert and Hemapriya Chellappan. Simply Haiku [8] archives (final publication in 2009) contain a regular senryū column edited by Alan Pizzarelli. Additionally, one can regularly find senryū and related articles in some haiku publications. For example, the World Haiku Review [9] has regularly published senryū.
Ruth B. Bottigheimer catalogued this and other disparities between the 1810 and 1812 versions of the Grimms' fairy tale collections in her book, Grimms' Bad Girls And Bold Boys: The Moral And Social Vision of the Tales. Of the "Rumplestiltskin" switch, she wrote, "although the motifs remain the same, motivations reverse, and the tale no longer ...
[3] The poem's haiku-like austerity is striking. Affinities to imagism and cubism are evident. Buttel proposes that the title "alludes humorously to the Cubists' practice of incorporating into unity and stasis a number of possible views of the subject observed over a span of time". [4] Sight is the dominant perceptual modality.