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A curious person at play.

She enjoys exploring the creative life with readers, writers, and artists of all ages. Robyn's haiku regularly appear in leading contemporary haiku journals such as Frogpond and Modern Haiku as well as in anthologies, and she has presented several workshops on haiku for all ages.

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She has also written nature profiles of animals for a character education curriculum, Core Essentials, for many years. Robyn enjoys sharing her passions for writing, art, and animals through school visits and speaking engagements. That's if you don't want to look it up. Tice and Jack Lyon became the editors in , publishing irregularly from Magna, Utah, until Early in the first issue appeared of Cicada , a new Canadian haiku magazine edited and published by Eric Amann. The final issue appeared in , but the periodical was reborn in Japan: New Cicada made its debut in , edited and published by Tadao Okazaki and with Amann and Lilli Tanzer as consulting editors.

Two notable journals began in the early s on the East Coast. In the journal was passed to Francine Porad in Washington state.

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  5. Porad continued to publish high quality haiku and black-and-white artwork until Forrester in Connecticut, which was launched in Among the several journals that were established as membership publications, a few later assumed national importance. Williams at the time of the creation of the Haiku Poets of Northern California in , evolved into a full-fledged journal, especially when Michael Dylan Welch replaced Williams as co-editor in and took over full editorial responsibilities in Woodnotes and HPNC soon parted ways, but the journal continued publishing independently through autumn Claire Gallagher and Ebba Story and later by Story alone.

    Four periodicals of primarily regional interest sprang up in the early s, and two are still in existence. Seaoats was a twice-yearly publication of the Haiku Poets of South Florida, begun and edited by Robert Henry Poulin, that was active in the mids. Northwest Literary Forum was launched by Ce Rosenow in Oregon in and lasted for seven or eight years. South by Southeast was begun by Kenneth C.

    It was taken over by the Richmond Haiku Workshop in Self-help and teaching have always been important to the haiku movement. In the Haiku Appreciation Club was organized by Edna Purviance to share ideas and help, especially with beginners. A newsletter provided a forum and publication outlet, being superseded in a couple of years by the magazine Portals.

    A Monthly Newsletter of Haiku and Senryu, in the spring of Acorn is an amazing success story, immediately catapulting into the top rank of haiku journals. In editor A. Missias recognized a need for a straightforward, soundly produced haiku-only journal and proceeded to fill that need very well. Three supplements to Acorn containing theoretical work on seasons in haiku , tanka , and linked forms have also been published. By the same token, a few journals have been [self-]consciously experimental in one way or another.

    Clarence Matsuo-Allard, in Manchester, N. Begun in and lasting until , Point Judith Light , edited by Patrick Frank, welcomed social-themed haiku. Raw NerVZ Haiku , published since in Quebec by Dorothy Howard, is the enfant terrible of the haiku publishing world, with a no-holds-barred editorial policy regarding form and content, absence of censorship some would say editorial discretion , and junkyard layouts and graphics. Another journal on the cutting edge is ant ant ant ant ant , which earlier was the epitome of a boutique publication when each copy was handmade by editor Chris Gordon.

    Recent issues have presented a dozen or more haiku each from a limited number of poets. A few publications have been concerned with the relationship of the haiku to mainstream poetry, especially the short poem.

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    Phyllis Walsh inaugurated Hummingbird , a handsomely produced chapbook-sized journal dedicated to short poems, including haiku, in A second number appeared in June , but publication apparently stopped with that issue. Seer Ox , edited and published by Michael McClintock from to in Los Angeles, brought out the wry humor, occasional vulgarity, and sometime parody of senryu with a refreshingly light touch.

    To date this has been the only journal exclusively devoted to senryu, that kissing cousin of haiku. Mirrors , published from spring by Jane Reichhold in Gualala, Calif. This was taken over by Terri Lee Grell T. Kelly in , expanded to include other materials, and renamed Lynx. It was passed on to Jane and Werner Reichhold in mid They added tanka, subtracted haiku and fiction, and put up a Web version beginning in , then discontinued the ink-and-paper version a few years later. Chameleon was originally conceived by Zane Parks as an annual print magazine devoted to renga that was to launch in , but by early only the Web site seemed to be active.

    Journeys , the first periodical devoted exclusively to haibun, appeared in An indication that American haiku had come of age and was beginning to develop its own canon came with the publication of the first comprehensive haiku anthology in The introduction by van den Heuvel limning something of the early history of Western haiku, the biographical sketches, and materials from the Haiku Society of America toward a definition of haiku added immeasurably to the worth of the book. Publication of the anthology was also the first recognition of original, Western haiku by a major commercial publisher.

    The second edition contained nearly haiku and senryu by 66 poets and included valuable examples of linked forms and haibun as well as biographical and bibliographical notes.

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    The third edition of The Haiku Anthology appeared in , published this time by W. Norton, initially in a clothbound edition. The contents had grown to include about haiku and senryu by 89 poets. The introductory essays to the first two editions were included, as was a new foreword. In its three editions spanning twenty-five years, The Haiku Anthology cemented its position as the Blue Book of American haiku. Ross included an essay on Northern American haiku as an introduction to the haiku by poets. The result has been a pleasing series of volumes of very good haiku, senryu, haibun, linked forms, and essays that very nearly represents a chronicle of the year in haiku.

    A number of American regional anthologies have been published, typically the project of a local haiku group. Local haiku groups such as the Haiku Poets of Northern California, the Northwest Region of the Haiku Society of America, and the Boston Haiku Society also publish periodic anthologies that showcase the recent work of their members. Surprisingly, only a handful of topical haiku anthologies have been compiled.

    In this vein, Alexis Rotella brought together a sampling of butterfly haiku in , Rod Willmot in Canada put together an erotic anthology in and Hiroaki Sato compiled a bilingual Japanese-English anthology of erotic haiku in , and Leroy Kanterman honored the scarecrow in Still, they proved quite popular with the general public.

    In the early s, the brevity and bite of these translations were a welcome contrast to the wordy and often sentimental translations that abounded at the time. Noted Midwestern poet and Zen poetry specialist Lucien Stryk produced books of translations of haiku and other Japanese verse beginning in Haiku of Issa , and Cage of Fireflies: Modern Japanese Haiku The book contains prose works and haibun by the three Japanese masters, as well as essays and explanations by Hass.

    In William J. How to Write, Share, and Teach Haiku , compiled with the aid of Penny Harter, made accessible for the first time in English a concise, eminently readable compendium of haiku history, modern developments, and information on both writing and teaching haiku and related forms.


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    Now twenty years old, it is still essential reading for the American haiku poet. In Haiku World Higginson presented hundreds of season words kigo and, using more than 1, haiku as examples, demonstrated how these concepts are employed by poets around the globe For the first time English-speaking haiku poets had adequate tools for studying the Japanese kigo system and could debate the adequacy of these conventions for non-Japanese haiku. Objets d'Art and Vertu. Silver, Flatware and Silverplate.

    Delete by Haiku: Poetry from Old SMS Messages

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