MEGA Update: Haiku News for April, May and June

I really didn’t mean to go so long without an update, but here I am, and I don’t know where to begin.

I had three new poems published in three different issues of the Haiku Windows column at The Haiku Foundation. The themes were outhouse window, train window, and spaceship window:

March mud
the outhouse window
stuck shut

prairie darkness–
what a child’s breath reveals
on the train window

cardboard spaceship–
making fish lips at my son
through the window

The spaceship window theme inspired me to write a number of senryu about a cardboard spaceship that I hope to publish individually and/or turn into some kind of sequence.

I published two new poems in Mariposa #38:

distant owl
a barn tipping
toward no return

the heartbeat
of a painted pony
winter prairie

Turns out this was the last issue with Cherie Hunter Day as editor. Many thanks to Cherie for publishing these as well as a handful more of my haiku during her editorship.

I recently published four new poems in a new haiku journal, Wales Haiku Journal, edited by Paul Chambers. Here are a couple of them:

from inside
this illness
waving at trains

rust on the tracks
the lonely landscape
of a harmonica

I’ve been writing lots of haiku about trains lately in response to a call for submissions to an anthology of haiku and related poetry about trains. I’ve sent my submission which consists of a few published poems and the rest brand new.

I’ve also had some poems republished recently. One appeared on Charlotte Digregorio’s Writers’ Blog, and the other appeared in the Earthrise Rolling Haiku Collaborative 2018 (on the theme of birds) to celebrate Haiku Poetry Day on April 17 (the pdf is available for free from The Haiku Foundation). In addition, I had six poems republished in Echoes 2, an anthology from Red Moon Press with updates on the accomplishments of the poets who have appeared in Red Moon Press’s A New Resonance series. It’s available in print, but also free to read online. Lots of great haiku, and definitely worth your time.

In the works is an anthology of poetry about small towns, edited by Tom Montag and David Graham. I have three previously published haiku accepted for the anthology. Not sure about when the anthology will be available, but my guess is 2019. Definitely looking forward to it.

A Word about Rejections

Shortly after submitting to Wales Haiku Journal, I sent a submission to another journal that recently appeared on the haiku landscape. Unfortunately I didn’t have any work selected, but what was more unfortunate was the rejection letter I received. The editor is an accomplished and highly respected haikai poet which made the rejection letter all the more shocking to me. I suspect the editor wrote it as a form rejection letter. Still, I was insulted at the questioning of my connection to nature and my haiku sensibility. Count’em: I have published 485 poems since 2003, all of which are haiku, senryu and tanka; I have published three contest/award winning haiku chapbooks; and I’ve even given a little back to the haiku community by being a contest judge and regional coordinator (not to mention all the money I’ve spent subscribing and buying books from the small haiku presses and individual authors). I don’t consider myself an expert in anything, but it seems to me that my haiku sensibility is just fine. I hope no one takes offense to what I’m about to say next, but it’s how I feel. I don’t care who you are or where you think you rank on the haiku hierarchy, I will not change the way I write or what I write about to match an editor’s or a journal’s haiku sensibility. You either like what I submit or you don’t. I will eagerly consider suggested revisions as long as it’s done in the spirit of kindness and generosity and I get the feeling that the editor genuinely wants to help make my work better. Furthermore the rejection letter didn’t even say thank you for submitting. It made me feel like my submission was irritating and a hardship. My suggestions to the editor: 1. scrap the letter and re-write it; 2. say thank you. You might even go so far as to say that, even though you didn’t select anything this time, it was an honor to read their submission. After all, without ANY submissions you wouldn’t have a journal to publish; 3. allow poets to submit 5-10 poems instead of only 3. Some poets just need a little more room to stretch out. Anyway, maybe I shouldn’t even say anything about it. I’ve been doing this long enough to know better, but what about that poet just starting on the publishing path? A rejection letter like this may make them turn away from haiku. I’d hate to see that happen.

Moving on.

And so it goes in publishing. About a month after receiving such a crappy rejection letter I learn that a haiku of mine won The Heron’s Nest Award in the June issue of The Heron’s Nest!

tornado siren
the wind lifts a sneaker print
from home plate

And on top of that my other haiku in the June issue was selected as an Editor’s Choice haiku!

snow starting to stick
the carriage horse
clears its nostrils

I’ve said it before: It’s an honor just to be published in The Heron’s Nest. To receive either of these awards is really exciting and fulfilling. Many thanks to the editors and to Fay Aoyagi for writing the commentary for the “tornado siren” haiku. I am grateful for both honors.

Many thanks to the editors of all the publications mentioned above.

And the work continues. I’ve got a couple submissions under consideration at the moment, and I’m planning more submissions as I write this. Stay tuned!

Edit. Allow me to clarify my comments about rejections. It is not my intention to speak negatively about anyone or any publication. That is the last thing I want to do. The haiku community has been kind and generous to me. As I have stated before, haiku has allowed me to be the published poet that I’ve wanted to be since I was 14 years old. I am not at all upset that my submission was rejected. That is something I prepare for each and every time I send a submission. But the rejection letter I received was poorly written to say the least. The purpose of this blog is for me to share my experiences as a haiku poet with a larger audience. To only share the successes is not an honest representation of my haiku path. I appreciate having a place where I can be honest and share my ups and downs as a poet. But being honest means I have to walk a fine line. My apologies to anyone who took offense to my comments above. Thank you for your understanding.

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Acorn and Other News

I recently received the spring issue of Acorn that includes a new poem of mine. As always, I’m thrilled to be in another issue of Acorn. It’s such a fantastic haiku journal. With thanks to Susan Antolin, here is my contribution:

it’s cancer . . .
the tips of the tall grass
brush my palms

by Chad Lee Robinson, Acorn No. 38, Spring 2017

In other news, I feel kinda bad that I wasn’t able to participate in this year’s EarthRise Rolling Haiku Collaboration for International Haiku Poetry Day, but the theme of reconciliation just didn’t spark anything for me. So hopefully next year’s theme will be more inspiring.

The Touchstone Awards for Individual Poems were announced yesterday. I was honored to have a poem on the shortlist, this one which was originally published in Mariposa 35, 2016 (thanks to editor Cherie Hunter Day):

restringing fence wire–
the meadowlark’s song one post
ahead of the wind

by Chad Lee Robinson

Unfortunately, the Touchstone judges did not select my poem as a winner. Since the Touchstone Awards began, I have been fortunate enough to have had four poems shortlisted, one of which (this one) actually won:

migrating geese–
the things we thought we needed
darken the garage

by Chad Lee Robinson, first published in The Heron’s Nest Vol. XIII, Number 1: March, 2011.

This haiku can also be found in my award-winning collection from Turtle Light Press, The Deep End of the Sky.

Thanks to the Touchstone judges for shortlisting my poem.

National Poetry Month, Publication News, and Acceptances

Today, Saturday, April 1st, kicks off National Poetry Month, 30 days dedicated to celebrating poetry. I hope you will participate at some point during the month, even if only in a small way. You can celebrate in a number of ways, such as by reading a poem a day, or by writing one, or by buying a book of poetry which you could do at your local book shop (the book could even be by a local poet), or by celebrating Poem in Your Pocket Day on April 27 when you can carry a favorite poem with you and share it with family and friends and coworkers. Head over to the website for the Academy of American Poets to read 30 ways you can celebrate National Poetry Month. But let’s not forget the most important day during National Poetry month: International Haiku Poetry Day on April 17th. Click the link to read about ways you can participate in haiku activities near you, courtesy of The Haiku Foundation.

What better way to celebrate National Poetry Month than by announcing the publication of brand new poems. I am pleased to share that I have three new tanka published in the spring/summer issue (#25) of Gusts, the official publication of Tanka Canada. This is my first appearance in Gusts. Many thanks to the editors. Here are two of those tanka:

a song from my youth . . .
on the strength
of old feelings
I bench press
a personal best

in my son’s dream
I am the monster . . .
for everyone else
the day’s darkness
is rain clouds

And if that isn’t exciting enough, I am pleased to announce that Chris Patchel, editor of Frogpond, the journal of the Haiku Society of America, recently accepted two haiku for issue 40.2, Summer 2017. Also, the spring issue of Acorn: a journal of contemporary haiku should be released in April which will include a haiku by yours truly. Many thanks to the editors of these journals.

Let’s get celebrating!

International Haiku Poetry Day

Today is International Haiku Poetry Day, and to celebrate I have participated in The Haiku Foundation’s Earthrise Rolling Haiku Collaboration, the world’s largest collaborative poem. This year’s theme is foodcrop haiku, so I contributed this verse:

the Big Dipper–
rows of corn connect
farm to farm

Runner-up, Contemporary Category, HaikuNow! International Haiku Contest 2010 and The Deep End of the Sky (Turtle Light Press, 2015)

The following haiku of mine was shortlisted for a Touchstone Award for Individual Poems but didn’t ultimately win. I know how selective these awards are, so it’s an honor just to be shortlisted.

in a rush to reach stillness whitewater

The Heron’s Nest XVII:4, December 2015

And since the results of the Touchstone Distinguished Book Awards were announced today, that marks the end of my three-year term as a judge. The Haiku Foundation put its trust in me to use my knowledge of haiku and my experience as a haiku poet to choose the very best books, and for that I am grateful. I also had the opportunity to interact with a number of the best poets writing and thinking about haiku today, the best part of the whole process aside from reading lots of books.

If you’re interested in reading more of the haiku from the Earthrise Rolling Haiku Collaboration or watching haiku videos or reading the complete results of the Touchstone Awards, The Haiku Foundation has all you need to celebrate International Haiku Poetry Day here. Happy Haiku Poetry Day!