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Here is an eclectic collection of poems by five women. Together, they have explored forms and themes and triggered ideas for each other. You will find poems following the unusual Golden Shovel form through to three on tomatoes … and much else beside. The title, a nod to the home address where the group meets, also suggests the sense of a safe place in which they practice their art. The content is a reflection of a workshop in action, experimental and friendly.
This is an innovative project continuing and developing the collaborative relationship between two fine poets, juxtaposing tanka in diary form.
Two of Australia's most accomplished tanka artists collaborate in this bi-lingual (English / Japanese) collection. Saeko Ogi, whose primary language is Japanese but who is at home in English, and Amelia Fielden, whose primary language is English with wide experience in Japanese, write their tanka, in both languages, in response to those of the other. By linking ideas, suggestions and atmosphere, they give their tanka an interpersonal dimension and a cross-national flavour. The poems are sensitive, delicate and varied. This collection will be a source of enjoyment to the tanka aficionados in both countries, as well as those coming new to the form.
The Way of Tanka is an approachable yet comprehensive examination of the Japanese form of poetry known as tanka. The author, Naomi Beth Wakan, discusses its roots in early Japanese courts where it was considered the poetry of lovers, as well as its adaptation to western culture and the characteristics that separate it from the more popular form of Japanese poetry: haiku. Throughout, Wakan weaves her story of personal self-transformation as she moved from the more disciplined writing of haiku to the more metaphorical and philosophical writing of tanka. Numerous examples of tanka are provided, and the rich explanation of the experience of writing tanka encourages readers to write their own tanka while remaining open to the possibilities it provides for personal growth.
how truthful the trees/outstretched and bare this winter/no leaves to clothe them/how honest your nakedness/here beside me in old age. A serene and very human voice emerges from a year-long tanka journal in which the changing seasons reflect the poet's thoughts on illness, love, and world events. The great delight of the tanka is the jewel-like images it produces: how a bowl captures moonlight, willow twigs flaring at sunset, a poet wandering into a fog, pumpkin shoots, playing checkers when the doorbell rings. Poems that chronicle the progress of illness, the black butterfly of cancer, alternate with visiting wild birds and animals and moments of humour, even in the hospital, where crutches are stolen by hospital terrorists, musings on the Israel/Palestine tragedy, and the nature of old age and love. Kituai may be one of those rare writers who reject the idea that illness and death are things that have to be worked through and then left behind; rather, by beginning and ending with winter, she suggests death and loss are where we begin and what we work towards. There's peace in that thought.
これは、豪州と日本の歌人が綴った短歌アンソロジー。 8世紀ごろに芽生えた日本の伝統的短詩のスタイル、短歌の形で、それぞれの国独特の自然を謳い、又、それぞれが抱く情緒をそれに託して詠いあげたアンソロジー。 日本の現代人が、この詩形を今なお日常的に楽しみ、又、英語国民が英詩の一つに昇華させたことを知るアンソロジー。 これらの短歌に、読者は未知の自然の姿を発見し、又、思いがけず、両国の人々の共通した感情を知るアンソロジー。 この短歌というスタイルが、短いながら、奥深い余韻を...
This is the first book whose subject is the music, sounds and silences of Antarctica. From 2011 until 2014, Australia marked its long-standing connection with Antarctica by celebrating the centenary of the Australasian Antarctic Expedition. The icy continent, with its extremes of climate and environment and unique soundscapes, offers great potential for creative achievements in the world of music and sound. This book demonstrates the intellectual and creative engagement of artists, musicians, scientists and writers. Consciousness of sounds — in particular, musical ones — has not been at the forefront of our aims in polar endeavours, but listening to and appreciating them has been as important there as elsewhere.
In this inspiring memoir, Naomi Beth Wakan takes the reader on a journey through her lifelong experiences writing various forms of Japanese poetry, especially haiku and its related genres. She explains the rules and structure that distinguish the various forms, providing many examples of her own work as well as poems from well-known historical and contemporary poets. Very importantly, however, Wakan shows by example that the "rules" are not to be taken as impediments, but rather as guideposts on the journey to discover and explore oneself. Looking back, Wakan realizes that her practice of poetry writing has enabled her to develop awareness, dispassionate interest, personal healing, and compassion. In her own words: "I have come to see that in creating poetry, I am creating myself."
Who was Semimaru? Whether he was a blind wandering lute player or a beggar who was once a prince, Semimaru's legend has inspired many of Japan's literary giants for over a thousand years.
Winner of the 2007 Japan-US Friendship Commission Prize for the Translation of Japanese Literature, Ferris Wheel delivers the world of modern Japanese tanka to Western readers.