Richard Gilbert, The Disjunctive Dragonfly: Lorin Ford:


Vol. 11, No. 19, Winter 2014

Dietmar Tauchner, noise of our origin / rauschen unseres ursprungs: Lorin Ford

Milenko D. Ćirović Ljutički, Здраво 'свануо/Happy Wake Up: Zoran Raonić


Vol. 11, No. 18, Spring 2014

robert d. wilson, A Soldier's Bones: Boris Nazansky

Charles Trumbull, A Five-Balloon Morning: Marian Olson

Damir Janjalija, Sloboda u izmaglici / Freedom in the Mist: Dimitar Anakiev


Vol. 10, No. 17, Summer 2013

Issa's Best: A Translator's Selection of Master Haiku by Issa Kobayashi; English translation by David G. Lanoue

Vesna Oborina, Proljeće u srcu / Spring in the Heart: Zoran Raonić, Milenko D. Ćirović Ljutički


Vol. 9, No. 16, Summer 2013


Damir Janalija, Otisci snova/Imprints of Dreams: Dimitar Anakiev

David G. Lanoue, Frog Poet, Red Moon Press: Curtis Dunlap, Michael McClintock, Marjorie Buettner


Vol. 8, No. 15, Winter 2011

George Swede, Joy in Me Still: Haiku: Michael Dylan Welch

Helen Buckingham, Armadillo Basket: Liam Wilkinson

Ljubomir Dragović, Uska staza/ A Narrow Road: Robert D. Wilson

Tomislav Maretić, Leptir nad pučinom (Butterfly over the Open Sea): Dubravko Marijanović


Vol. 8, No. 14, Summer 2011

Helen Buckingham, Christmas City: A Haiku Sequence: Anatoly Kudryavitsky

Zlata Bogović, Pjesma slavuja / Nightingale's Song: Vladimir Devidé, Vasile Moldovan, Đurđa Vukelić-Rožić, Zvonko Petrović

Petar Tchouhov, Safety Pins: Morelle Smith

Slavko J. Sedlar, Таквост 3 (Suchness 3): Mileta AĆIMOVIĆ IVKOV, Nadja Brankov, Zoran Raonić

Ljubomir Dragović, Uska staza/A Narrow Road: Vladimir Devidé, Mileta Aćimović Ivkov, Dragan Jovanović Danilov, Dimitar Anakiev




In Borrowed Shoes, Fay Aoyagi, Blue Willow Press, San Francisco, 2006









Clelia Ifrim, Romania


Stone bridge

    In the summner of 2010 I wrote Fay Aoyagi to ask her permission to translate some haiku from her book In Borrowed Shoes into Romanian. She agreed and asked me if in Romanian it is possible to keep the 5-7-5 syllables form. I answered her that her haiku sound very beautiful in Romanian in their perfect form of 17 syllables.
   Someone could write a screenplay or a filmscript based on Fay's book. In one of her haiku the name of film producer Kurosawa appears as a ”hint  of autumn“.
     The principal character of this  possible script may be “Her shadow on Hiroshima Day. A blind woman.“
      Scene: A nightclub where maybe Fay works.
     Action:  The blind woman enters the nightclub and sits down at a table. A boy who is with her takes off the Astro Boy mask from the festival that has ended. The guardian angel about whom Fay writes in the haiku that opens her book can be seen in the mirror of the nightclub.
     Let us remember a very old  Oriental reflection: The angels are transparent mirrors.
     Sound of  the pennies in the tip jar. Or a glass box. Mist. Glasses. Full or empty.
     Fay counts in her native language, as she says later in her book. It makes no matter what she counts. The aniverssaries, the “court summons“, the falling leaves, small change, canned soups. She always counts in her native language. Fay goes into the small room at the back of the night club and takes off her shoes. On a table two “split-open chesnut“ burrs. The hint is clear: the thorns of the chesnuts are like a pincushion. The borrowed shoes pinch.

She returns to the nightclub and goes to the table where the blind woman and the boy are setting. They tell her who they are. Fay says nothing but writes this haiku:

              persimmons --
              I ask myself why
              I burned the bridge

      The blind woman tells her that  all the things are retained  in the memory of the sky.  Even burnt ones. On the earth they might be erased, they can be lost or forgotten. In the sky they last as long as the sky lasts. She tells more to Fay, that she has the right to ask what she wants. Once in a lifetime she has this privilegie. Fay asks for a bridge.
       The blind woman and the boy stand up and leave. Fay follows them. Althought the woman is blind, she knows the way.

               budding trees
               a stone bird's eyes
               locked in the sky

          All this you will find in Fay Aoyagi's book, in haiku form. The end of this possible screenplay might be following: the three persons, Fay, the blind woman, and the boy, stay a moment on a bridge and look at the river. Fay places a pebble in the river current.
         A book of love, life and death. A movie of love, life and death. A stone bridge. The three people cross the bridge and go to free the stone bird locked in the sky. At the gate of the sky an angel as a transparent mirror.



Translating into English by Clelia Ifrim and Charles Trumbull