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The Chained Hay(na)ku Project
The hay(na)ku poem's swift popularity would not have been possible without internet-based communication. With the internet's capacity for engendering collaborations, it was inevitable that a collaborative hay(na)ku project such as THE CHAINED HAY(NA)KU would arise. It, of course, was fitting that THE CHAINED HAY(NA)KU began with an invitation from a blog. On June 24, 2007, an invitation was posted on http://chainedhaynaku.wordpress.com/ for poets to participate in hay(na)ku collaborations. Nearly a hundred poets and artists from around the world responded, and this anthology is one result, along with friendships and much fun!
168 pages, Paperback
First published August 9, 2010
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September 3, 2010
The Growing Popularity of the Poetic Form - Hay(na)ku
Eileen Tabios, who created the fascinating form of poetry called Hay(na)ku, curated this collection of works in tandem with Ivy Alvarez, John Bloomberg-Rissman, and Ernesto Priego. They published a call for entries to poets all over the world, stating the requirements were that the form had to be hay(na)ku, and be the collaborative work of several people, and this collection of both written poetry and illustrated forms of this poetic style fill the pages of this very excellent book.
Eileen Tabios created this form which can be described as a tercet of three lines, a total of six words (1 in the first line, 2 in the second line, and 3 in the third line - or the reverse of order of the lines/words) with no restriction on syllables or stressed words or rhymes. This particular collection contains 29 works of Hay(na)ku written by collaborators - between three and eighteen poets collaborate, each taking lines of the long poems adding and embellishing the flow of the poem. It is indeed community poetry and reading some of the works in this collection will remind the reader of stories of ancient and historic and contemporary tale tellers who would sit around a fire adding to the oral history of the world - or their versions of it! Some may feel that this communal effort would dilute the resulting finished poem, but instead it seems to grow and enhance with the addition of each new voice. For this reader the initial poem by Tabios and the other curators entitled 'Four Skin Confessions' is the most well constructed and the most enchanting, but then this poem comes from practiced hands.
The uses of illustration and photographs with captions in hay(na)ku or with the poem incorporated into the graphic presentation are less successful than the 'pure poems', but these elements add interest and variation and another dimension to this well conceived project. This is experimental poetry now, but there were days when sonnets and villanelles were considered experimental....Very successful book, this.
Grady Harp
Eileen Tabios, who created the fascinating form of poetry called Hay(na)ku, curated this collection of works in tandem with Ivy Alvarez, John Bloomberg-Rissman, and Ernesto Priego. They published a call for entries to poets all over the world, stating the requirements were that the form had to be hay(na)ku, and be the collaborative work of several people, and this collection of both written poetry and illustrated forms of this poetic style fill the pages of this very excellent book.
Eileen Tabios created this form which can be described as a tercet of three lines, a total of six words (1 in the first line, 2 in the second line, and 3 in the third line - or the reverse of order of the lines/words) with no restriction on syllables or stressed words or rhymes. This particular collection contains 29 works of Hay(na)ku written by collaborators - between three and eighteen poets collaborate, each taking lines of the long poems adding and embellishing the flow of the poem. It is indeed community poetry and reading some of the works in this collection will remind the reader of stories of ancient and historic and contemporary tale tellers who would sit around a fire adding to the oral history of the world - or their versions of it! Some may feel that this communal effort would dilute the resulting finished poem, but instead it seems to grow and enhance with the addition of each new voice. For this reader the initial poem by Tabios and the other curators entitled 'Four Skin Confessions' is the most well constructed and the most enchanting, but then this poem comes from practiced hands.
The uses of illustration and photographs with captions in hay(na)ku or with the poem incorporated into the graphic presentation are less successful than the 'pure poems', but these elements add interest and variation and another dimension to this well conceived project. This is experimental poetry now, but there were days when sonnets and villanelles were considered experimental....Very successful book, this.
Grady Harp
Displaying 1 of 1 review