artwork: Robert D. Wilson
artwork: Robert D. Wilson
artwork: Robert D. Wilson
artwork: Robert D. Wilson
 

 

 

English-Language Editor and Selector: Robert D. Wilson

 

ANNOUNCEMENT OF THE BEST HAIKU OF THE ISSUE

 

The selector—Robert D. Wilson—has made his choices of the best haiku of the issue (23 authors from 9 countries submitted 113 poems).

Serbia (8), Romania (4), Croatia (2), Macedonia (2), India (2), China (1), B&H (1), Montenegro (1), and USA (1).

 

 

PROGLAŠENJE HAIKUA BROJA

 

Selektor—Robert D. Wilson—je izabrao najbolje haikue broja (23 autora iz 9 zemalja je poslalo 113 pesama).

Srbija (8), Rumunija (4), Hrvatska (2), Makedonija (2), Indija (2), Kina (1), BiH (1), Crna Gora (1) i SAD (1).

Dear Readers:


It is getting harder and harder to find quality haiku and hokku submissions. Due to the lack of a universal, let alone, consistent definition of haiku, the haiku world is an anything goes blender of this and that, lacking a clear understanding of the use and what for of Japanese aesthetic tools (styles). The result, on the most part, is drivel: amateurish semi-poetry that has no place in academia.

 

Poštovani čitaoci,

Sve je teže i teže doći do kvalitetnih priloga haikua i hokua. Kako ne postoji univerzalna, a kamoli konzistentna definicija haikua, haiku svet je postao mešavina svega i svačega, kojoj nedostaje jasno shvatanje upotrebe i značaja japanskih estetskih sredstava (stilova). Posledica toga je uglavnom baljezganje: polu-amaterska poezija, koja nema šta da traži u akademskim krugovima.

 

 

BEST OF ISSUE (First Choice)
Najbolji haiku broja (prvoplasirani)


Đurđa Vukelić-Rožić, Hrvatska (Croatia)

na peronu
moje mokre noge, vrana,
i dio mjeseca
 
on the platform–
my wet feet, a crow, and 
a part of the moon

 

 

 

 

 

 

 

 

A haunting action-biased hokku that begs to be read several times. The poem's focus is not the person on the platform. The poet's wet feet, a crow, and a part of the moon, each technically an object, join together to form a mental collage, a springboard to possibilities.

Vukelić-Rožić's third line is a catalyst to thought. "A part of the moon" is an illustrative modifier, pointing the reader towards a mystery (yugen) that every reader must solve. The interplay of thought, reflections, and impermanence in this poem give way to the unseen. A good poem lingers in a reader's mind, invoking interpretation. What an individual hokku means to one will be different to another, the reader's mind subjectively absorbing the poem into cognitive resonance.

This is a layered hokku, with a surplus of interpretational meanings. Each reading of this poem is fluid, hinting of change, impermanence, and becomingness.

 

***

Dirljivi hoku zasnovan na radnji koji zahteva da bude pročitan nekoliko puta. Fokus pesme nije osoba na peronu. Mokre noge pesnika, vrana i deo meseca, koji su svi, u suštini, predmeti, sjedinjuju se da stvore mentalni kolaž, odskočnu dasku za niz mogućnosti.

Treći stih Đurđe Vukelić-Rožić je katalizator za misao. "Deo meseca" je opisni modifikator, koji ukazuje na misteriju (jugen) u koju svaki čitalac mora da pronikne. Uzajamno dejstvo misli, razmišljanja i prolaznosti u ovoj pesmi ustupaju mesto onome što se ne vidi. Dobra pesma se zadržava u umu čitaoca, prizivajući tumačenje. Ono što jedan hoku znači nekome razlikovaće se od onog što znači drugome. Čitaočev um subjektivno upija pesmu u kognitivnu rezonancu.

Ovo je višeslojan hoku, koji se može tumačiti na više načina. Svako tumačenje ove pesme je drugačije, nagoveštava promenu, prolaznost i nastajanje.

 

 

BEST OF ISSUE (Second Choice)
Najbolji haiku broja (drugoplasirani)

Damir Janjalija, Srbija (Serbia)

ti, lastavice,
i ja nogom u blatu –
dve su jeseni

you, swallow,
and my foot in mud . . .
two autumns

Tr. S.V.

 

 

 

 

 

 

 

The poet's last line is well executed: two autumns. What is meant by "two autumns" in context with the rest of the poem? The juxtaposition nails it. Is it referring to a two year timespan? Is it metaphorical? The mere use of the two words evokes yugen (a Japanese aesthetic style having to do with depth and mystery). You, me, a swallow, mud? Their relevance to "two autumns"? Janjalija's hokku is anything but a word painting. It is layered, utilizing ma, yugen, and sabi. Contrary to what most of the world has been taught regarding hokku, it is not an easy, anyone can do it, poetic form. It is the hardest to write well. Reading this poem, I am invited to think, to interpret, and chew on its content.

***

Poslednji stih je dobro izveden: dve jeseni. Šta se pod tim misli u kontekstu sa ostalim delom pesme? Jukstapozicija to razjašnjava. Odnosi li se na raspon od dve godine? Ima li metaforično značenje? Prosta upotreba dve reči priziva jugen (japansko estetsko sredstvo u vezi sa dubinom i tajnom). Ti, ja, lastavica, blato? Od kakvog su oni značaja za "dve jeseni"? Daleko do toga da je hoku Janjalije slika od reči. On je višeslojan, koristi ma, jugen i sabi. Za razliku od onog što većina sveta smatra da je hoku, on nije laka pesnička forma, nešto što svako može da napiše. Najteže ga je dobro napisati. Dok čitam ovu pesmu, od mene se zahteva da razmišljam, tumačim, proučavam njen sadržaj.

 

 


BEST OF ISSUE (Third Choice)
Najbolji haiku broja (trećeplasirani)

 

 

Maria Tirenescu, Romania (Rumunija)

 

still snowing . . .  
it's time to bloom, 
crocus

još sneži ...

vreme je da procvetaš,

šafrane

Tr. S.V.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This hokku embodies the spirit of Kobayashi Issa. It is activity-biased and objective. Its focus is not the crocus (object) nor the snowfall. Centric is the second line: "it's time to bloom".

The poet, tired of winter, is anxious for spring to arrive. Spring is not an object. It is nonpermanent, always changing, always coming and going, in a continuum of becomingness.

Issa sometimes spoke to lifeforms via hokku, seeing them through a child's eyes.

 

***

 

Ovaj hoku oličava duh Kobajaši Ise. Zasnovan je na radnji i objektivan je. Ne fokusira se na šafran (predmet) ni na sneg. Najvažniji je drugi stih: "vreme je da procvetaš".

Pesnik, umoran od zime, jedva čeka da dođe proleće.  Proleće nije predmet. Ono je nestalno, uvek se menja, stalno dolazi i odlazi, u kontinuumu nastajanja.

Isa je ponekad razgovarao sa raznim oblicima života putem hokua, posmatrajući ih dečjim očima.

 

 

 

FAVORITES
Kandidati za najbolje haikue

 

 

Sandip Cahuhan, USA (SAD)

peeling paint –– 
the boughs are heavy   
with ripe mangoes

 

ljušti se boja

grane otežale

od zrelog manga

 

Tr. SV

 


Slavica Blagojević, Srbija (Serbia)

Sunce boje praske...
Skitnica korača sporo
duž planinske reke

peach-colored sun ...
a hobo walks slowly
along the mountain river

Tr. SV