Tag Archives: anthology

A Poem and a Commentary

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That is the haibun that I mentioned yesterday. It’s 98 words, which is why I don’t mind describing myself as a poet, but hesitate to claim to be a writer.

I’ve just been reading a book on writing poetry.  It is very scornful about Japanese forms, and about tanka in particular. And about the sad old men, he says, that write them. I checked the internet but, so far, have been unable to find evidence of the book’s author setting the world of poetry aflame. This is so often the case.

There is an expression that those who can, do, and those that can’t teach. Or criticise. But teachers and critics both have important places in the world, and both have sets of skills related to the job. People who write books about how to write poetry (and I have read a few now) seldom have much to offer. In the old days you could at least have given the book to charity or used it as emergency toilet paper, but in the digital age these satisfactions are no longer available.

Anyway, the poem – first published in Blithe Spirit, the journal of the British Haiku Society, in 2025 and then anthologised in Contemporary Haibun 21.

Living Art

In the lull between lunch and the afternoon shoppers, one cup of coffee is all it takes to secure two hours of peace. The cafe does not do “cheerful” but you can’t have everything for this price. For happiness and choice you need the more modern American-style coffee shops. Here the choice is limited to “with” and “without” milk. Sometimes I imagine myself in one of Hopper’s paintings, or stare at Rodin’s Thinker on another table. Today, sagging in in summer heat, Dali comes to mind.

bitter coffee
and the radio news
—rehearsing for The Scream

 

Tomorrow, I will publish the other poem that was nominated for the anthology. I actually think it was better than this one, and would be interested in what people think.

For people who like to know a bit more, the idea came whilst I was reading about the life of Edward Hopper. The idea of the half-empty cafe came from Nighthawks and the coffee cam from some tanka i had written on the subject after submitting some tanka written around a theme. I can’t remember the theme. In my hands it became about disappointment, though it may have been something more cheerful originally. I imagined myself in a typical English cafe, rather than an American diner, re-used the coffee/disappointment motif, and thought of Dali’s melting clocks. It was July and heat was on my mind. From there I added a bit more art and that was it.

I had previously submitted it to another magazine. The original version had a different title, a different haiku and 31 more words.  It also only mentioned Hopper. I took out about 60 words, replaced them with 30 different ones and added the extra artists.

Looking at it now, I don’t know how I thought the original version was good enough to submit, but that’s the way it happens. That’s why poems need time to mature. However, if you don’t send them out, you don’t always have the urge to improve.

No photos today. Can’t think of anything suitable to use.

That Whisper in my Ear

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Yesterday I received my copy of Contemporary Haibun 21. I may have mentioned a few months ago that I wanted to buy a poetry book from the USA but didn’t want to pay $30 for postage on top of the $30 cost of the book.

My Orange Parker Pen

However, I checked an old email account and found an email with the offer of a $10 discount on the book, because I am in it. Vanity got the better of me, and despite the combined costs being enough to buy two takeaway meals for the two of us, I gritted my teeth and paid the price.

It is “an annual anthology of English-language haibun (and haiga) gleaned from the best practitioners from around the world”. (Haiga are pictures paired up with a haiku for those of you who are lost in the sea of foreign words that begin with hai).

It’s not a bad thing to be in, but when I look, I can’t help thinking about the people who are in it three times where I am only in it once. Are they three times better than me?  How much better do I need to become? Three of them are editors who have been very active in rejecting me over the years. They are also editors of the anthology, so it makes it miraculous that I actually made the cut. One of them seems far too enthusiastic in rejecting me when I submit to the journal where he is a newly appointed editor. He’s new to this job, but I wonder if his zeal will be reflected in the selections next year. If it is, I may be able to save a lot of money.

Two pens – one made by my wife

On the other hand, if they left out the last 50 pages, which are reprints of articles I have already read, it might have been cheaper to print and post.

Tricky.

How much do I crave publication? How much is it worth? Is it worth worrying about when a significant number of the editors are generally not keen on my work? Why does something I should be happy about become a matter for deep thought and depression? If I were Roman general I would have someone next to me whispering in my ear to bring me down to earth, but I don’t, and I can do it all by myself.

One in Three

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Primrose Mencap Garden

To be honest, my latest break was just because I am lazy. Given the choice of sitting watching TV or working on writing, I took the easy way.

The current situation is both good and bad.

One, I have just had a selection of poems turned down. It’s the last but one batch that I sent out in January. No big deal. I often get turned down by traditional poetry magazines. There’s a lot of competition with ordinary poetry and this particular magazine had around a thousand poems submitted. I will have to up my game.

Two. The final set of January submissions are waiting for a decision. They are currently on the Long List. I’ve been there before and failed to make the cut so I am not building any false hopes. They had over 3,000 poems submitted. I am not sure whether the long list is a couple of thousand or a couple of hundred. Doesn’t really matter, as it’s nice to tke the extra step.

Three. Contemporary Haibun 19 is now out. It’s been  a long process from first being told by an editor that they had submitted me for this year’s edition back in the autumn. I didn’t say anything at the time because I’m always afraid that something will go wrong. In fact they didn’t select that piece, they selected another. That’s nice to know, because it means at least two editors think I’m worth nominating. It’s also nice because, as I think I wrote some time last year, after being in the book once, I felt under pressure to produce something good enough for inclusion this year. Now that I’ve put that one to rest I can relax. Even if I never get selected again, I can say I was selected twice and that tastes have changed. There are 113 poems and 32 haiga (pictures with haiku). As several people had multiple entries that puts  me in or about the top 100 writers of haibun and tanka prose (though that is a subjective judgement and a number of  better writers than me may have slipped through the net). It’s good to know I seem to be doing OK.

And with that thought, I’d better get on and submit some poetry.

Apple Blossom Mencap Garden

 

Boasting, Bragging and Blowing My Own Trumpet

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You’ve read the title, so brace yourself for a lack of modesty and some tasteless self-promotion.

Normally I wouldn’t warn people, but having recently seen that the University of Greenwich is issuing warnings to students about the disturbing content of jane Austen’s Northanger Abbey, I felt I’d better follow the trend. I’ve never actually read Northanger Abbey, though I was traumatised by previous attempts to read Austen. Her books are just so dull when compared to the films and TV series. However, if I had read it, I doubt I would be distressed by the “gender stereotyping” I encountered. If they find that distressing how are they going to cope with Orwell, Hemingway and H P Lovecraft? Or even Beatrix Potter, Winnie the Pooh and the Mr Men, who all cover some hardcore issues compared to jane Austen and gender stereotyping? If they need a warning about the horror of reading jane Austen, what about Shakespeare? Yes, Titus Andronicus, I’m thinking about you . . .

Love Locks at Bakewell

You see more gender stereotyping on reality TV than you do in a classic novel, and so far, unfortunately, nobody has thought to issue a warning about Love Island. I was going to add a link here, but have decided against advertising it.

Anyway, back to my warning.

I had another acceptance. That’s three from the seven I sent out. Allowing for the fact that three are competition entries (where I expect to wait months to find I wasn’t shortlisted) it’s really three from four. I’m happy with that.

That’s the warm-up bragging.

Peak Shopping Village

The other comes in the form of Contemporary Haibun 18, which is an annual anthology. Entries are sent in by the editors of magazines and poems are selected for inclusion. The goal, according to the Forward, is to present “some of the finest haibun, tanka prose and haiga created over the past year”.

Right at the back of the book, lurking in the “W” section, is one of mine. I know it’s not a mistake, because they wrote and asked. Waiting for the book to be published I was quietly smug, and when it actually arrived today I was, for a moment, very pleased with myself. However, it’s important to note that there are 91 other writers in there, and 24 of them have multiple entries, so I am going to show off now by telling everyone, and then I’m going to start making notes for new poetry.

That’s the problem with things like this – you have to keep working harder and harder to make sure the feeling of happiness continues.

An attempt at artistry

Book Review – Some Desperate Glory

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Some Desperate Glory

Max Egremont

Picador (2015)

Paperback 335 pp  £9.99

ISBN-10: 0374280320

ISBN-13: 9780374280321

This book is trying to do too much at once. It’s a history of the Great War, a book of biographies, a poetry book and, cynically, a book to take advantage of the centenary.

As eagle-eyed readers will have deduced from the £1 sticker in the picture, booksellers obviously found it difficult to shift.

My first observation, before even opening it, is simply that I can’t think why any writer would re-use such a well known title. I know it’s a good quote, but when I hear it I always think of Edwin Campion Vaughan’s memoirs. It’s confusing, to say the least.

It was heavy going to start, though it did get easier towards the end, and proved to be worth the effort. Trying to fit history, biography and poetry into a flowing narrative is tough, and it isn’t helped when you have to fit the origins of the war in too. It flows better towards the end: by then the history is simpler and many of the poets are dead  or recovering from wounds.

There are eleven of them in the beginning – in the army, joining the army or thinking about joining the army. By the Armistice there are five left. It’s a tragedy, but it does help the flow of the book.

Finally, why just eleven poets? The eleven selected subjects are all listed on the War Poet Memorial in Westminster Abbey. What’s wrong with the other five? No Aldington, no Binyon, no Gibson, no Jones and no Read.

Then of course, there is the question of the war poets who weren’t amongst the 16 on the memorial. I won’t try to address the question, as it would double the length of the review and the internet is already bulging with material of dubious worth.

Anyway, to cut to the chase. I enjoyed it in the end, though I did struggle at first. It felt like I was being lectured at times, and the way the narrative was interwoven made it difficult to get into a reading rhythm. It was worth reading for the information and context, but wasn’t really a pleasurable read.

I’m currently halfway through reading And All Roads Lead to France. It concentrates on Thomas and poetry preceding the war, so it isn’t a direct replacement for Egremont’s book. But it is a pleasure to read, and proves that it is possible to cover a broad area and still keep it readable.

I’d recommend Some Desperate Glory as an overview of some of the poetry of the Great War with the proviso that it is limited in scope and you will have to work at it.