Renhai Reflections 63: Whiteout

Whiteout
A Renhai by Janice Thomson (jt) & Vaughn Seward (vs)

Blustery winds —
I move the garbage can
closer to the wall. /jt

Pines plastered with seafoam — /vs
along the shore whitecaps break. /jt

Post blizzard —
a snowplow leaves a bank
past the driveway. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0110.htm

Renhai Reflections 62: Endeavouring Further

Endeavouring Further
A Renhai by Ron Seward & Vaughn Seward

Block & tackle —
the wagon box raised
onto the wheels.

North face ascent —
we tackle the last leg.

A new lure
for his tackle box —
will it help?

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0109.htm

[The idea behind this Renhai was conceived by Ron (father of Vaughn). He proposed using a word with several meanings (homonym) and have it appear in each of the three verses. Check the notes for further details about how this Renhai was written and some background info about each verse.]

Renhai Reflections 61: Shifting

"The main feature of all Japanese linked poetry is shifting: Shifting from place to place, action to action, mood to mood. There is no sustained narrative or setting as in most long poems of European tradition." (The Haiku Seasons by William J. Higginson, p. 46)

Renhai is based on principles of Japanese linked poetry including the shifting that William Higginson here speaks of. The concept of "theme" in Renhai, however, is intended to pull together a Renhai's verses and to create something that is more than a collection of three linked verses.

Renhai Reflections 60: Festive Expectations

Festive Expectations
A Renhai by John Daleiden (jd) & Vaughn Seward (vs)

Our last delivery
this quiet festive eve —
hugs and cheer. /vs

Coal and ash for our stockings — /jd
stomach in knots all night. /vs

An empty cookie plate
near the tree and wrap —
Christmas Morning. /jd

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0108.htm

[This Renhai was written with John Daleiden of Arizona who is one of the editors of Sketchbook. John was one of the early pioneers of Renhai and has written numerous Renhai including several with me; see his list Renhai here in the Archive of Writers.]

Renhai Reflections 59: The Night Before

The Night Before
A Renhai by Vaughn Seward (vs) & Janice Thomson (jt)

Winter bedtime —
the last child tucked in
for the night. /vs

Rising smoke from chimneys — /vs
distant mountain veiled in fog. /jt

Blazing fire —
children's gifts wrapped between
sips of cocoa /jt

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0107.htm

Renhai Reflections 58: The Year Passed

The Year Passed
A Renhai by Vaughn Seward & Ron Seward

A tattered kite
hangs high in the elm —
chilly wind.

A snowdrift covers
the pool's shallow end.

Almost hidden,
a wasp's nest in the feeder —
old thresher.

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0106.htm

[This renhai was written with my father, Ron Seward, at a face-to-face coffee meeting today. The work is unique in two ways, please check the notes for details.]

Renhai Reflections 57: Tiny Points

Tiny Points
A Renhai by Vaughn Seward (Solo)

Through branches
of willow: festive lights
from their house.

Moonlight on the frost
in shoots of wild grass.

Points of brightness
dot the heavenly dome
above this meadow.

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0105.htm

Renhai Reflections 56: Stirred

Stirred
A Renhai by Vaughn Seward (Solo)

An autumn wind
lashes the last rose
on the bush.

Home alone... a noise
downstairs stirs my heart.

Rustling sound —
every sparrow flees
except one.

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0104.htm

Renhai Reflections 55: Through Air and Space

Through Air and Space
A Renhai by Zhanna P. Rader (zh.r) & Vaughn Seward (vs)

25th story —
a dragonfly ascends
still higher... /zh.r

Some gossamer drifts up... /zh.r
through a tree house window. /vs

Space station —
another piece from earth
put in place. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0103.htm

[This Renhai was written with Zhanna P. Rader who was an early Rehai pioneer and was actually involved in writing the first Renhai with me.

Note: Check the notes for info about gossamer and some important linking information.]

Renhai Reflections 54: Moving Along

Moving Along
A Renhai by Jerry McKenzie (jm) & Vaughn Seward (vs)

Water trough race —
the crumple-horned boss prods
the other cows. /jm

The conductor tips his baton — /vs & jm
an oom-pah-pah from the tuba. /jm & vs

Rush hour —
a guy on a cell phone
blasts his horn. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0102.htm

[The crumple-horned reference is explained in the notes as well as a description of a unique aspect in the writing of this Renhai.]

Renhai Reflections 53: Winter Romance

Winter Romance
A Renhai by Janice Thomson (jt) & Vaughn Seward (vs)

On the frigid lake
pushing a homemade iceboat
his eyes meet mine. /jt

Down the hill on cardboard, /vs
her foot entangles his. /jt

I meet the girl
from class while skating at
the frozen creek. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0101.htm

[This is a spin-off of Renhai 100, see the notes for more information.]

Renhai Reflections 52: Frozen Fun

Frozen Fun
A Renhai by Vaughn Seward (vs) & Janice Thomson (jt)

Our family
goes out to skate on
the frozen creek. /vs

Down the hill on cardboard, /vs
a boot comes tumbling after. /jt

On the frigid lake
my brother nudges our
homemade iceboat. /jt

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0100.htm

Renhai Reflections 51: Autumn's End

Autumn's End
A Renhai by Yvonne Myers (ym) & Vaughn Seward (vs)

Dying leaves
from a fragrant tree fall on
the welcome mat. /ym

Clouds heavy with snow — /vs
mouths of children open, waiting /ym

First flakes —
a young girl marks out
a happy face. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0099.htm

[Yvonne Myers is the moderator of the Off-the-wall "haiku" group:

http://groups.yahoo.com/group/offthewallhaiku/

We have written rengay and other projects together since 2007.]

Renhai Reflections 50: Chilling Portents

Chilling Portents
A Renhai by Janice Thomson (jt) & Vaughn Seward (vs)

Maple tree —
through silent branches
crisper winds. /jt

Deepening morning fog — /jt
cackle of south-flying geese. /vs

Each afternoon
the sun dips earlier —
distant range. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0098.htm

Renhai Reflections 49: Chewing Things Over

Chewing Things Over
A Renhai by Daniela Bullas (db) & Vaughn Seward (vs)

A woodpecker knocks
on the family tree —
No one at home. /db

Off in the doghouse — /db
our pooch all chewed out. /vs

Bird feeder —
a squirrel reaches,
helping itself. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0097.htm

[Note: this Renhai has a unique aspect in it. Please check the notes for details.]

Renhai Reflections 48: Ekalfwons

Ekalfwons (Snowflake)
An acrostic Poem by Vaughn Seward

Evergreens catch them as they fall
Kids roll up a monster ball
Across the lake, ice exposed
Lilting skaters, juxtaposed
Friendly banter turns to clash
With pressed balls of alpine ash
Opened heart, a Christmas rose
Nippy breeze, a droplet froze
Settles on her tiny nose

[We have several Renhai in different stages of development which I hope to start posting in the next few days. In the meantime here is a little reverse acrostic winter poem I recently wrote.]

Renhai Reflections 47: Summer

Summer
A Renhai by Vaughn Seward (vs) & Janice Thomson (jt)

Driftwood tangle —
gentle tongue of the tide
steals the beach. /jt

Weathered fence post — /vs
a straw hat sways in the wind. /jt

We cross the field
in Grampa's model T -
sun-tinged hood. /vs

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0096.htm

[Note: this Renhai involved an experiment in a specific type of verse linking. Please check the notes for details.]

Renhai Reflections 45B: Leaving Behind

[Adjusted]

Leaving Behind
A Renhai by Jerry McKenzie (jm) & Vaughn Seward (vs)

A tuft of coyote
with a strand of horse hair —
barbed wire. /vs

Motionless ski-lift chair — /jm
a mit snagged in the rungs. /vs

Zipline view —
a wild goat vaults into
a dogwood thicket. /jm

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0092.htm

[This Renhai was originally posted November 15, 2008. A reader suggested that the phrase "on a sliver" in verse 2 seemed to say too much and be too deliberate. The word "wild" in the final verse seemed as well be too deliberate.

I reviewed these comments with Jerry and we have come to the following decisions:

1. We agree that "sliver" says too much. We were trying to convey that the mit was left behind but not just laying there as the wind would have, over time, surely blown it away. We have decided to replace the second line with "a mit snagged in the rungs"

2. We envisioned that the zipline rider was in a wilderness setting here in the Canadian Rocky Mountains. We chose "wild goat" to distinguish it from a dometic one and as we wanted to emphasize the goat's wildness. The goat was perhaps surprised by the zipline rider and was making an effort to get away. We could have used "Mountain Goat" as this is the exact species we had in mind but it seemed unnecessary to name the species in this case as we feel it throws off the rhythm of the verse. We will therefore retain "wild goat"

Thanks to Patrick Gillespie (upinVermont) for making these suggestions.]

Renhai Reflections 46: A Glimpse Within

A Glimpse Within
A Renhai by Vaughn Seward (Solo)

My upside down
and backwards face in this
new spoon.

Clouds float across
an alpine valley lake.

The puppy's nose
grows huge upon each
Xmas bulb.

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0094.htm

Renhai Reflections 45: Moist Potentials

Moist Potentials
A Renhai by Vaughn Seward & Janice Thomson
Written November 11-15, 2008

The sound of a slap...
on the beaver pond's surface
ripples radiate. /vs

A steep coastal cliff - /vs
playing the thermals, a hawk. /jt

Steam engine -
above the buried coalfields
a rising fog. /jt

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0093.htm

Renhai Reflections 44: Leaving Behind

Leaving Behind
A Renhai by Jerry McKenzie (jm) & Vaughn Seward (vs)

A tuft of coyote
with a strand of horse hair —
barbed wire. /vs

Motionless ski-lift chair — /jm
a mit snagged on a sliver. /vs

Zipline view —
a wild goat vaults into
a dogwood thicket. /jm

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0092.htm

[Note that I have added an index of Seasons, Writers, and Themes to the Renhai Archives. Just click on the links at top of any archive. I will also be gradually converting the other 60 or so renhai that have been written to this new archive format.]

Renhai Reflections 43: On the Tip

On the Tip
A Renhai by Vaughn Seward (solo)

Steep cliff —
a tiny spruce seedling
clings to life.

Early morning Frost —
each blade coated.

A first flake
settles on the tip —
Pine needle.

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0091.htm

Renhai Reflections 42: Twilight Trappings

Twilight Trappings
A Renhai by Janice Thomson (jt) and Vaughn Seward (vs)

Plumes of mist
rise from the river valley —
pre-dawn stillness. /vs

Pensive twilight clouds — /jt
a crow gazes east. /vs

Soft shadows —
a sand-crane collars
his last fish. /jt

Click here for notes and linking details:
http://cflat7.drivehq.com/Renhai_0090.htm

Renhai Reflections 41: Crossing Overhead

Crossing Overhead
A Renhai by Vaughn Seward (solo)
Written October 30, 2008

A high-flying jet
intersects honking geese —
southward bound.

His toy airplane again
misses the old cat.

The police chopper
circles back overhead —
dead of night.

Click here for notes (in the new archive format):
http://cflat7.drivehq.com/Renhai_0089.htm

Instead of posting a Renhai on one day and its notes on the following day, we shall provide a link to the archive copy with accompanying notes with a single post as was done today.

Renhai Reflections 40: Quiet Rhythms

(With notes)

Quiet Rhythms
A Renhai by Gillena Cox (gc) & Vaughn Seward (vs)
Written Oct 29 - Nov 4, 2008

The rippling river —
a blue morpho butterfly
glides across. /gc

Silk cotton leaves undulate — /gc
a spider spins out below. /vs

From the footbridge
the boy pulls out a penny...
the sound of ploop! /vs

Theme: River
Season: Summer
Process: Reverse

Link 1-2: Motion; water and leaves.

Link 2-3: Falling off something overhanging (bridge / branch); Insect (Spider / Butterfly).

Link 3-1: Across the river; Through the air (Butterfly / Penny); Small object (Butterfly / Penny).

Note 1: Copper, which pennies are commonly made of, is associated with the colour blue as when it oxidizes it turns a bluish/greenish colour.

Note 2: There is the *Trini superstition that silk cotton trees are a haven for spirits called douens.

*People of the Republic of Trinidad and Tobago.

Renhai Reflections 39: Quiet Rhythms

Quiet Rhythms
A Renhai by Gillena Cox (gc) & Vaughn Seward (vs)
Written Oct 29 - Nov 4, 2008

The rippling river — a blue morpho butterfly / glides across. /gc
Silk cotton leaves undulate — /gc a spider spins out below. /vs
From the footbridge / the boy pulls out a penny... the sound of ploop! /vs

Renhai Reflections 38: Chromatic Transitions

Chromatic Transitions
by Vaughn Seward (vs) & Toshiaki Koike (tk)*,
Written: Oct 1 to Nov 5, 2008

Rain puddle —
the traffic light changes
green to yellow. /tk

Tall downtown building — /vs
coloured leaves in the window. /tk

Withering bush —
a branch's image ripples
in the pond. /vs

Theme: Reflections
Season: Autumn
Link 1-2:
-Green & yellow / to Coloured
-Traffic / Downtown

Link 2-3: Leaves / Branch
Link 3-1: Pond / Puddle

*Toshiaki Koike was born in Iwakura, a town near Nagoya, Japan. Toshiaki attended Shizuoka University where he studied Japanese Literature and was the leader of the University's haiku circle. It was there that he met his future wife Carol who had come to Japan from Canada as an exchange student. Through a later exchange of tanka and haiku poems a romance developed and they were eventually married. Ten years later they moved to Edmonton, Alberta, Canada where Carol's mother was living. Their story is more fully described here:

http://www.ualberta.ca/~publicas/folio/34/20/06.html

Masago met Toshiaki at the 2006 Edmonton Summer Arts Festival where Toshiaki was displaying some of his artwork. They became fast friends and have been meeting regularly every two weeks since then to discuss English language, Japanese language & culture, and haiku poetry. You may remember the Rengay that Toshiaki and I wrote together last January:

http://tinyurl.com/6qvb9g

Renhai Reflections 37: Chromatic Transitions

Chromatic Transitions
by Vaughn Seward (vs) & Toshiaki Koike (tk)*,
Written: Oct 1 to Nov 5, 2008

Rain puddle — the traffic light changes / green to yellow. /tk
Tall downtown building — /vs coloured leaves in the window. /tk
Withering bush — a branch's image ripples / in the pond. /vs



*Toshiaki, originally from Iwakura, Japan, currently lives in Edmonton, Alberta, Canada.

Renhai Reflections 36: Sounding

(With Notes)

Sounding
A Renhai by Trish Shields (ts)* & Vaughn Seward (vs)
Written October 22 to 29, 2008

A small crab
races across mudflats —
autumn squall. /ts

Honeymoon cruise ship stroll — /vs
a kiss on his red cheek. /ts

Its barnacled snout
breaks the calm surface —
gushing blowhole. /vs

Theme: Sea Life
Season: Autumn
Link 1 to 2a:
-Racing / Cruising & strolling.
-Motion across mudflats / Motion across the sea and across the deck.

Link 2b-3:
-Part of the face (Cheek / Snout). Barnacles, typically on whales, also have mouths.
-Calm / Red; Opposites (Calm: sedate; Red: flushed with excitement).
-Blowhole / Kiss; the shape is round, one inhales through the mouth and a whale through its blowhole. Kisses can also be blown to a loved one, "gushing" with excitement at the greeting.

Link 3 to 1: Blowing

Notes: The "sea life" in verse two is, of course, humans on board a cruise ship. The kiss in verse two hearkens to the whale rising to the surface corresponding to the man out of the depths of loneliness. In this case, the depths being plunged into are emotions. The crab could be a metaphor for being alone, vulnerable, caught by life unawares.

*Trish lives on Vancouver Island, in British Colombia, Canada.

Renhai Reflections 35: Sounding

Sounding
A Renhai by Trish Shields (ts)* & Vaughn Seward (vs)
Written October 22 to 29, 2008

A small crab / races across mudflats — autumn squall. /ts
Honeymoon cruise ship stroll — /vs a kiss on his red cheek. /ts
Its barnacled snout / breaks the calm surface — gushing blowhole. /vs

*Trish lives on Vancouver Island, in British Colombia, Canada.

Renhai Reflections 34: Tiny Voices

(With Notes)

Tiny Voices
A Renhai by Vaughn Seward (Solo)
Written 2008 Oct 28-29

Dusk deepens —
the first tiny voices echo
across the neighborhood.

Carved autumn gourd —
a candle lit in its head.

Porch light —
a werewolf's face reflects
in the glass door.

Theme: Halloween
Season: Autumn
Process: Reverse
Link 1 to 2: Starting (First / Candle lit).
Link 2 to 3: Head / Face.
Link 3 to 1: Reflect / Echo.

Renhai Reflections 33: Tiny Voices

Tiny Voices
A Renhai by Vaughn Seward (Solo)
Written 2008 Oct 28-29

Dusk deepens — the first tiny voices echo / across the neighborhood.
Carved autumn gourd — a candle lit in its head.
Porch light — a werewolf's face reflects / in the glass door.

Renhai Reflections 32: As They Sleep

(With Notes)

As They Sleep
A Renhai by Vaughn Seward (Solo)
Written 2008 Oct 25-27

A bright half-moon
as I start the early shift —
vacant street.

Empty Doughnut shop —
a police car rolls up.

A full moon
rises behind an oak —
leafless branches.

Theme: Bare/Empty
Season: Autumn
Kigo: Moon, Leafless
Process: Reverse
Link 1 to 2: Street/Car.
Link 2 to 3: In front / Behind; Rolling up / Rising.
Link 3 to 1: Lunar.

Renhai Reflections 31: As They Sleep

As They Sleep
A Renhai by Vaughn Seward (Solo)
Written 2008 Oct 25-27

A bright half-moon / as I start the early shift — vacant street.
Empty doughnut shop — a police car rolls up.
A full moon / rises behind an oak — leafless branches.

Renhai Reflections 30: Moving On

(With Notes)

Moving On
A Renhai by Vaughn Seward (Solo)
Written 2008 Oct 17-21

A bear scrounges
on the steep hillside —
shriveled berries.

Vase of dried roses —
good times, now passed.

The scent of leaves
burning in the backyard —
oil drum.

Theme: Shriveled
Season: Autumn
Process: Reverse
Link 1 to 2b: Good times passed (v3, bear's summer).
Link 2a to 3: Vase / Drum.
Link 3 to 1: Consumed (Berries / Leaves).

Notes: In the "old days" (circa 1950?) one could burn leaves and/or garbage in one's backyard. There was often a ubiquitous aroma of stuff being burned. Note that this was the first solo Reverse Renhai.

Renhai Reflections 29: Moving On

Moving On
A Renhai by Vaughn Seward (Solo)
Written 2008 Oct 17-21

A bear scrounges / on the steep hillside — shriveled berries.
Vase of dried roses — good times, now passed.
The scent of leaves/ burning in the backyard — oil drum.

Renhai Reflections 28: On the Sand

(With Notes)

On the Sand
A Renhai by Gillena Cox (gc)*, and Vaughn Seward (vs)
Written Oct 10-18, 2008

A stroll on the beach —
another flip-flop among
the high tide debris. /vs

Chip-chip shells splayed on the sand — /gc
the fishermen spread their nets. /vs

An empty bucket
beside the sculptured castle
giant sandy feet. /gc

Theme: Beach
Season: Spring
Format: 5-7-5, 7-7, 5-7-5
Process: Reverse
Link 1-2: Shells / washed-up flip-flops.
Link 2-3: Bucket / Shellfish
Link 3-1: Feet / Slippers

Notes: Chip-chip Butterfly Shells, small wedge shaped clams of assorted colours and patterns, usually found at low tide on the Trinidad East Coast beaches of Mayaro, Manzanilla and Balandra during chip-chip season, February through April. They make excellent cocktails and shellfish dishes.

http://www.flickr.com/photos/10997119@N07/1019661544

Gillena is from Trinidad in the Caribbean and so is Vaughn's wife, Janice. This Renhai is therefore based on common experiences.

Renhai Reflections 27: On the Sand

On the Sand
A Renhai by Gillena Cox (gc)*, and Vaughn Seward (vs)
Written Oct 10-18, 2008

A stroll on the beach — another flip-flop among / the high tide debris. /vs
Chip-chip shells splayed on the sand — /gc the fishermen spread their nets. /vs
An empty bucket / beside the sculptured castle giant sandy feet. /gc

*Gillena lives in Trinidad, West Indies.

Note: Inspired by a recent blog comment (thanks JEM), I have decided that from now on we'll post just the Renhai and on the following day post the related notes.

Renhai Reflections 26: On Another

On Another
A Solo Renhai by Vaughn Seward
Written Oct 17, 2008

Side of the road —
the flat tire is placed
against the car.

An old broken poplar
leans hard on another.

The senior gent
raises a knobbly cane —
passing bus.

Theme: Leaning, support
Season: All Season
Link 1 to 2: Flat / Broken.
Link 2 to 3: Tree / Wooden.
Link 3 to 1: Bus / Car.

Renhai Reflections 25: Highbush Gleanings

Highbush Gleanings
A Renhai by Jerry McKenzie (jm), and Vaughn Seward (vs)
Written Oct 10-16, 2008

The dust and roar
of the old Case thrasher —
field of barley. /vs

Highbush cranberry aroma — /jm
sound of chickadee staccato. /vs

We make toast
from whole grain rye —
boiling jelly pot. /jm

Theme: Harvesting
Season: Autumn
Link 1 to 2: Roar / Staccato; Dust / Aroma.
Link 2 to 3: Cranberry / Jelly.
Link 3 to 1: Grain (Rye / Barley).

This Renhai was written with Jerry McKenzie who owns a farm not too far from Edmonton, Alberta, Canada. Highbush cranberries can be made into a delightful jelly preserve despite its distinct and somewhat unpleasant odour. Perhaps the chickadee will harvest these berries in the coming weeks and months. The last verse is a word image of Jerry's kitchen the day he and his wife turned their highbush cranberry gleanings into jelly.

Renhai Reflections 24: On the Edge (Reverse Renhai)

A few weeks ago I got to thinking about the process of how we have been writing Renhai. In those early days, over a year ago, it made the most sense to start with the middle verse and work out, as if the Renhai was a seed that was sprouting. I wondered, "Did it have to be this way? Could a Renhai actually be written in a reverse manner?" I subsequently sketched out a way it could be done and Hortensia, who wrote "Miles Around" with me, agreed to give it a try. We were delighted with the experience. Here is the result:

On the Edge
A Renhai by Hortensia Anderson (ha), and Vaughn Seward (vs)
Written Sep 13 - Oct 10, 2008

Autumn equinox —
golden sun pours over
the crimson maples. /ha

Floating scented candles — /vs
Peach oil streams into the bath. /ha

Mountain waterfall —
a leaf at the very edge
clings to a rock. /vs

Theme: Pouring
Season: Autumn
Link 1 to 2a: Sun / Candle (flames).
Link 1 to 2b: Sun / Peach (colour & shape).
Link 3 to 2a: Floating (Leaf / Candle).
Link 3 to 2b: Waterfall / Bath (water related).
Link 3 to 1: Under, below.

The process we used in writing this Reverse Renhai is described in the following steps:

1. Each partner chooses 3 or 4 themes/links.
   
   
2. Each partner chooses one theme/link they like from their partner's list. In this case Vaughn chose "Pouring" from Hortensia's list, and Hortensia chose "Under, below" from Vaughn's list.
   
   
3. Each partner writes a 3-line haiku referencing both themes/links (i.e. "Pouring" and "Under, below"). Vaughn wrote the verse about a leaf clinging at the edge of the waterfall and Hortensia wrote about the sun pouring over maples. These verses were written in parallel but they could have, of course, been written in succession. However, I think it is more fun to write the two 3-line verses independent of each other.
   
   
4. The partners jointly choose one of the themes/links to be the central theme. In this case Hortensia and I chose "Pouring". The other theme/link automatically becomes the link between the two 3-line verses (in this case "Under, below").
   
   
5. Each partner writes a single line that references the theme and links to their partner's 3-line haiku. In our case we decided to link our lines to both of the 3-line haiku (as was first done in the "The First Time" Renhai with Betty Kaplan). The resulting two lines together form the middle verse. In this case it is important that the two lines be written one after the other so that the middle verse is formed as a proper 2-line haiku. In this case Hortensia wrote about the poured peach oil and Vaughn then wrote about the scented candles.
   

The end result is a Renhai that is indistinguishable from a "normal", forwardly written Renhai. As with yesterday's Renhai the final arrangement of lines and verses was adjusted according to our poetic tastes.

Renhai Reflections 23: Festive Table

Festive Table
A Renhai by Polona Oblak (po), and Vaughn Seward (vs)
Written Oct 7-10, 2008

Stubble field —
deer tails flash
in the mist. /po

A bed of withering grass — /vs
wasps feed on windfall apples. /po

Festive table —
forks appear as mother
brings out the pie. /vs

Theme: Covered
Season: Autumn
Link 1 to 2: Grass / Stubble; Crop (Stubble / Apples).
Link 2 to 3: Food, eating.
Link 3 to 1: Appearing (pie) / Disappearing (deer).

This Renhai was written with Polona Oblak of Ljubljana, Slovenia. The theme, "Covered" in this Renhai is a little on the subtle side. In verse 1 fields are covered with mist and the deer are somewhat covered or hidden from view (deer, when sensing danger, expose their white hind side as a warning to others, and dash for cover). In verse 2 the fallen apples cover the grass and the wasps to some extent cover the apples. In verse 3 the food, dishes, cutlery, and the elbows of the hungry eaters cover the table.

Technical note: Polona actually wrote the first line, "wasps feed on windfall apples." and then Vaughn wrote the other line, "A bed of withering grass". It was agreed that the verse reads better with Polona's line appearing second. The 1st and 3rd verses were also switched around for poetic reasons (function trumps form).

Renhai Reflections 22: Full Middle Verse Linking

The First Time
A Renhai by Betty Kaplan (bk), and Vaughn Seward (vs)
Written Apr 21-22, 2008

First time milking —
he squeezes hard but
nothing comes. /vs

Home from the strawberry farm — /bk
each finger stained winy red. /vs

Bake class 101 —
small noses coated in flour,
dough ready for tarts. /bk

Theme: Food Collection/Preparation
Season: Spring/Summer
Link 1 to 2a: Farm
Link 1 to 2b: Fingers
Link 3 to 2a: Tart/Strawberry
Link 3 to 2b: Body part covered/stained
Link 3 to 1: Learner(s)

This Renhai was written with Betty Kaplan of Florida. It is unique in that it was suggested by Betty that the three-line verses link to each of the 2 middle lines. It was therefore the first time that this was done with a Renhai.

Renhai Reflections 21: As a Flock

As a Flock
A Solo Renhai by Vaughn Seward
Written Sep 19, 2008

Morning sun —
boulevard trees laden
with yellow.

A gust takes up leaves,
carries them as a flock.

Each leaf
finds a place to land —
school yard.

Theme: Falling leaves
Season: Autumn
Link 1 to 2: Coming down (sun-rays / Leaves)
Link 2 to 3: Motion (off the tree / into the yard)
Link 3 to 1: Before / After (in the trees / on the ground)

This Renhai is somewhat narrative in that it depicts a scene I recently observed on the way to work one morning.

Renhai Reflections 20: Participation

Want to Try?

If anyone would like to give this Renhai form a try, please send me an email at this address:

vaughn [at-sign] sewardconsulting [dot] com

Renhai Reflections 19: Three-way #3, Skaters Hold Hands

Hortensia & Vaughn

This is the third and last Renhai in this three-way series.

Skaters Hold Hands
A Renhai by Vaughn Seward (vs), and Hortensia Anderson (ha)
Written Jan 6-14, 2008

Across blue skies —
ice crystals in cirrus clouds
go flying. /ha

Skaters at the pond hold hands — /ha
a chilly breeze fills the air. /vs

He pours her a cup
of marshmallows and cocoa —
pine wood flames. /vs

Theme: Filling
Season: Winter
Link 1 to 2: Movement (Ice crystals / Skaters & Breeze).
Link 2 to 3: Chilly breeze / Warming flames
Link 3 to 1: Marshmallows / Cirrus clouds

The second line of the middle verse, "A chilly breeze fills the air" is the same line that Vaughn wrote for the middle verse of yesterday's "Hanging in There" Renhai. As with the first two Renhai, these last two Renhai share a common line, this one written by Vaughn.

Note that the other line in the middle verse is the "Skaters at the pond hold hands" from the first Renhai in the series. In summary, here are three common lines:

a chilly breeze fills the air /vs; Shared between:

• Skaters Hold Hands (Hortensia & Vaughn)
• Hanging in There (Vaughn & Zhanna)

crows perch on ice-glazed branches /zr; Shared between:

• Hanging in There (Vaughn & Zhanna)
• Ice-Glazed Branches (Hortensian & Zhanna)

skaters at the pond hold hands /ha; Shared between:

• Skaters Hold Hands (Hortensia & Vaughn)
• Ice-Glazed Branches (Hortensian & Zhanna)

Click here for the three Renhai shown as a unit:
http://tinyurl.com/yp25zk

Renhai Reflections 18: Three-way #2, Hanging in There

Vaughn & Zhanna

The following is the second Renhai in this three-way series. Note that the second line, "crows perch on ice-glazed branches" is the same line that Zhanna wrote for the middle verse of yesterday's "Ice-Glazed Branches" Renhai. These two Renhai therefore share a common line written by Zhanna.

Hanging in There
A Renhai by Vaughn Seward (vs), and Zhanna P. Rader (zr)
Written Dec 26 - Jan 6, 2008

Dark, musty cave —
Big Brown bats hang in their
hibernating stupor. /zr

A chilly breeze fills the air — /vs
crows perch on ice-glazed branches. /zr

Snow-covered meadow —
a deer scratches out
a patch of grass. /vs

Theme: Winter survival
Season: Winter
Link 1 to 2: Hang / Perch; Bats inside / Crows outside
Link 2 to 3: Feet
Link 3 to 1: Light, snow-filled / Dark, hollow

Renhai Reflections 17: Three-way #1, Ice-Glazed Branches

Zhanna & Hortensia

[Note: In the last post I mentioned we'd be looking at the three-way Renhai. However, I mistakenly said that the "Miles Around" Renhai with Hortensia was the first renhai of the three-way. It was in fact the first renhai Hortensia and I had written together. The actual first renhai of the three-way was written by Zhanna and Hortensia.]

A three-way Renhai consists of three inter-related Renhai written by three different writers in which each pair of Renhai share a common line in their middle verses. In other words, each writer writes one middle line that is used in two of the renhai. It is as if the Renhai have a shared DNA and are true siblings even though they have different and distinct themes. Here is the first Renhai in this three-way series:

Ice-Glazed Branches
A Renhai by Hortensia Anderson (ha), and Zhanna P. Rader (zr);
Dec 13 - Jan 3, 2008

Scrape of blades —
by a line of evergreens
the snowplow stops. /ha

Crows perch on ice-glazed branches — /zr
skaters at the pond hold hands. /ha

Frozen river —
an early-bird fisherman
drills a hole. /zr

Theme: Ice
Season: Winter
Link 1 to 2: Blades
Link 2 to 3: Crows / Early bird; Pond / River
Link 3 to 1: Drilling / Plowing

The first verse has a pun in it — the most basic stop in ice skating is called the "snowplow stop".

Renhai Reflections 16: Miles Around

Miles Around
A Renhai by Vaughn Seward (vs), and Hortensia Anderson (ha)
Written Nov 29 - Dec 6, 2007

Dawn's cloud cover —
the pale grey sky deepens
with the dusk. /ha

Untouched snow for miles around — /ha
faint tree line in the distance. /vs

Empty nest —
a weathered bit of string
hangs from a twig. /vs

Theme: Untouched
Season: Winter
Link 1 to 2: Sky / Horizon
Link 2 to 3: Tree / Twig
Link 3 to 1: Weathered / Pale

The untouched theme is referenced in verse 1 by the feeling of the sky being normally out of reach. "We had been fishing in the winter (the whole day - but in a boat) and at dawn, the sky was nothing but cloud cover. On our way back, as the sky darkened, I noticed we never had seen a sun. That 'dawn's pale cloud cover' was still there and grey, only deepening with dusk. It was like a rippling sky - like washable silk."

In verse 3 "untouched" is portrayed by the empty nest of the birds that had flown south for the winter.

This is another early Renhai written with Hortensia Anderson of New York city. It is the first of a three-way set of Renhai with Hortensia, myself, and Zhanna P. Rader (of Georgia). We'll look more into what a three-way is all about after posting the other two Renhai.

Renhai Reflections 15: But One

Yet Another Solo Renhai

But One
A Renhai by Vaughn Seward
August 18, 2008

Picket fence —
a missing board lying
on the grass.

Roadside loosestrife,
one stalk flat down.

Birds in the hedge —
all of them bluebirds
but one, a sparrow.

Theme: One among, different
Season: Summer
Link 1 to 2: Lying flat; Herbiage.
Link 2 to 3: Blue.
Link 3 to 1: Hedge / Fence.

This solo Renhai was inspired by a clump of loostrife that grew across from our backyard most of this past summer. Loostrife is considered a weed but I love their beautiful little bluebell-like blossoms that run up each stalk:

http://tinyurl.com/4x2ra6

Renhai Reflections 14: Impressed

Another Solo Renhai

Impressed
A Renhai by Vaughn Seward
August 25, 2007

Baking Tortillas —
one comes out just like
the map of Spain.

Impressed patch of underbrush,
the size of a bull moose.

A night's sleep —
she awakes with graffiti
on her cheek.

Theme: Impressions
Season: Summer/Autumn
Link 1 to 2: Flattened.
Link 2 to 3: Sleep.
Link 3 to 1: Outlined image.

This is another solo Renhai that was written at the end summer. In this case the middle verse was written at one sitting and not the line-at-a-time approach which is necessary with Renhai* written with a partner.

*As with Haiku, the plural of 'Renhai' is just 'Renhai'.

Renhai Reflections 13: Sailing On

A Solo Renhai

Sailing On
A Renhai by Vaughn Seward
July 23-27, 2008

Giant sequoia —
a butterfly's wings open
then close...

Distant waves shimmer —
a tiny speck sails on.

Blue sky —
his red balloon slips
out of his hand.

Season: Summer (Butterfly; Sailing; Balloon)
Theme: Contrasted Size
Pattern: Verse 1=Land; Verse 2=Water; Verse 3=Air
Link: 1 to 2: Waving.
Link: 2 to 3: Sailing.
Link: 3 to 1: Flying.

In writing this solo Renhai I took on the role two imaginary partners and actually worked through the seven steps of writing a renhai in yesterday's post (starting with "Distant waves shimmer" as the first line of the middle verse).

Renhai Reflections 12: Renhai Summary

Renhai: What & How

Before moving on to further Renhai examples, here is a summary of what Renhai is and how it is usually written:

A Minimum Definition of Renhai:

1. Three independent haiku (formatted as 3-lines, 2-lines, 3-lines).

2. Each haiku (verse) links uniquely to the other two verses in some way.

3. Each verse references at least one common theme.

4. A seasonal reference (kigo) is desired. If there is a season then only one season is referenced by at least one verse. If there is no kigo then the renhai should be nature-based and would be considered "Non-seasonal" or "All seasonal".

5. There is an appropriate title.

How the verses link, what constitutes an appropriate title, and other details such as format and style are refinements that are left up to the writers.


Seven Basic Steps to Composing a Renhai:

1. Agree on a season in which to write.
2. Write the Middle Verse, First Line (partner 1).
3. Write the Middle Verse, Second Line (partner 2).
4. Choose a Theme.
5. Write the Third Verse (partner 1).
6. Write the First Verse (partner 2).
7. Choose a Title.

Although Renhai was intended as a collaborative verse form, some members of the Renhai Studio spontaneously started writing Renhai on their own, perhaps while waiting for a partner to come free. Tomorrow I'll present a summer solo Renhai I recently wrote.

Renhai Reflections 11: Renhai Summary

Renhai: What & How/a>

Before moving on to further examples, here is a summary of what Renhai is and how it is usually written:

A Minimum Definition of Renhai:

1. Three independent haiku (formatted as 3-lines, 2-lines, 3-lines). 2. Each haiku (verse) links uniquely to the other two verses in some way. 3. Each verse references at least one common theme. 4. A seasonal reference (kigo) is desired. If there is a season then only one season is referenced by at least one verse. If there is no kigo then the renhai should be nature-based and would be considered "Non-seasonal" or "All seasonal". 5. There is an appropriate title. How the verses link, what constitutes an appropriate title, and other details such as format and style are refinements that are left up to the writers.

Seven Basic Steps to Composing a Renhai:

1. Agree on a season in which to write.
2. Write the Middle Verse, First Line (partner 1).
3. Write the Middle Verse, Second Line (partner 2).
4. Choose a Theme.
5. Write the Third Verse (partner 1).
6. Write the First Verse (partner 2).
7. Choose a Title.

Although Renhai was intended as a collaborative verse form, some members of the Renhai Studio spontaneously started writing Renhai on their own, perhaps while waiting for a partner to come free. Tomorrow I'll present a summer solo Renhai I recently wrote.

Renhai Reflections 10: Fairy Ring

Renhai Example: Fairy Ring

Fairy Ring
A Renhai by Vaughn Seward (vs), and Zhanna P. Rader (zr)
Renhai #2, Nov 16-23, 2007

Totem pole —
a lone eagle circles
high above. /vs

A fairy ring on the lawn — /zr
the gnome, to his chin in leaves. /vs

Easter Island —
tourists walk around moai,
necks craned, mouths open. /zr

Theme 1: Mythical, statue-like object.
Theme 2: Circular.
Season: Autumn
Link 1 to 2: Up in the sky / Low on the ground.
Link 2 to 3: Gathered around (Leaves / Tourists).
Link 3 to 1: a) Aboriginal; b) Living creatures (Eagle / Tourists).

Notes: Moai are monolithic human figures carved from rock on Rapa Nui / Easter Island, mostly between 1250 and 1500 CE.

Renhai Reflections 9: Introduction #9

Renhai Anatomy: The First Verse

In this Renhai the last verse written was actually the first verse in the Renhai:

Still autumn night —
each patch of the forest,
full of darkness. /vs

Blanket of velvet-gray fog — /zr
a crow pierces the silence. /vs

Coffee aroma
permeates the morning air —
sudden rain... /zr

This creates a balanced alternating pattern of authors: /vs, /zr, /vs, /zr. However, this is not an essential requirement of renhai and sometimes the writers will find that after writing a renhai that it reads better having verses 1 & 3 switched around.

The theme in verse 1 above is supported by the darkness permeating the forest. The link from verse 1 to the middle verse is the concept of stillness/silence, i.e.:

• First verse: still autumn night.
• Middle verse: Silence.

And the link between verse 1 and verse 3 is morning/night, i.e.:

• First verse: autumn night.
• Middle verse: morning air.

It isn't necessary for a reader to understand the season, theme, and linking aspects of Renhai but these elements pull the three stand-alone haiku into a intuitive, unified whole.

Here is the associated worksheet for this renhai:
http://tinyurl.com/677fv6

One last note about Renhai is that, like Rengay, the verses show a linked series of stand-alone haiku which all reference a common theme. There is no need for them to be narrative, although writers are free to do so.

Next: Another Renhai Example

Renhai Reflections 8: Introduction #8

Renhai Anatomy: The Third Verse

With a season of autumn and a theme of "Permeating", Zhanna wrote the following third verse:

Blanket of velvet-gray fog — /zr
a crow pierces the silence. /vs

Coffee aroma
permeates the morning air —
sudden rain... /zr

You can see that the theme is supported by the coffee aroma permeating the morning air. The link back to the middle verse is the concept of interruption, i.e.:

• Middle verse: crow interrupting the silence.
• Third verse: sudden rain interrupting the morning.

The last verse to be written, the first verse, must now support the theme of "Permeating" as well as somehow link back to both of these verses.

Next: Renhai Anatomy: The First Verse

Renhai Reflections 7: Introduction #7

Renhai Anatomy: Theme and Linking

Blanket of velvet-gray fog — /zr
a crow pierces the silence. /vs

This middle verse not only portrays an image of nature but it also contains a number of potential themes and things that could be used for linking with other verses. I.e.:

• Flat, Blanket-like.
• Covering, Permeating.
• Velvety, Soft.
• Gray-coloured.
• Black-coloured, Dark.
• Fog, Mist, Rain, Steam, Cloud-like.
• Stillness, Silence.
• Crow, Bird, Animal.
• Cawing, Bird call.
• Piercing (sound), Interruption.

For the season, we had previously chosen "autumn". But although this middle verse does not have a specific reference to autumn, it can support not only autumn but also summer and spring. In some locations it could even occur in winter. The other verses will therefore have to strengthen the autumn feel in this Renhai.

After some discussion, at this point Zhanna and I decided that we liked the idea of "Permeating" and decided to write the other verses to this theme. The other verses would therefore support this theme and also reference one or more of the above objects, actions, and descriptions in their linkages.

As Zhanna wrote the first line of this middle verse, it was her turn to write the next verse.

Next: Renhai Anatomy: The Third Verse

Renhai Reflections 6: Introduction #6

Renhai Anatomy: Middle Verse

Let's go back to the Renhai posted in this blog last Sunday and work through its creation step by step. A Renhai is started with the writing of the middle verse. Typically, a season is chosen and one partner writes one line of the two-line middle verse. Most often the season chosen is the one that you are in at the time of writing. In this Renhai it was late August so we chose late summer / early autumn for the season.

To kick things off, Zhanna wrote the following line:

blanket of velvet-gray fog

This describes a setting, leaving open numerous possibilities for the second line. After some consideration I decided to contrast the serene feeling with the following line:

a crow pierces the silence

Together these lines present the following haiku image:

Blanket of velvet-gray fog — /zr
a crow pierces the silence. /vs

As in Rengay, the middle verse in Renhai is a two-line haiku with typically two images or concepts in juxtaposition. The next step after writing the middle verse is the consideration of the theme and then the partner who wrote the first line then writes the next 3-line haiku verse.

Next: Renhai Anatomy: Theme and Linking

Renhai Reflections 5: Introduction #5

Renhai Origins: Renhai is Born

How did the idea of Renhai come about? Well, it all started one day in August last year (2007), around the time the year-long Rengay project was getting started. I got to thinking, "what if a Rengay-like poem was even shorter than six verses?" Of course, one verse is a Haiku and two verses is a Tanka. What about three verses?

This idea was appealing as it nicely corresponded with the three "lines" of Haiku. Could it be possible to write such a short rengay-like poem? Could this be successfully accomplished by two writers? In the weeks following this epiphany, Zhanna P. Rader and I experimented with the idea and after a couple of tries found a good way to write them.

The final approach intrigued us in that the middle verse was truly collaborative and that the entire poem was so short yet was themed and fully linked. We also found that you could write Renhai quickly, many of them often being completed within a day.

In December, 2007 we created a Renhai Studio Yahoo group for the purpose of incubating our ideas, conducting experiments, and sharing the results:

http://groups.yahoo.com/group/renhai/

Since then, over 60 Renhai have been written by 15 different writers. I hope to share with you in the coming weeks and months some of our experiments and results as well as new Renhai Reflection creations that will be written during this time.

Next: The Anatomy of a Renhai

Renhai Reflections 4: Introduction #4

Renhai Origins: Renku & Rengay

Basho (1644-1694) and his disciples settled upon writing renga-like poems with 36 stanzas. Each verse had to link back to the previous verse in some way. For example, if a verse took place near a lake, the next verse might be about a boat on the sea.

Since the first verse, which was called the hokku, did not have a verse to link back to, it needed to have an internal device to start off the poem and set things in motion. The way this was accomplished was that two word-pictures were placed in juxtaposition within the same verse. Typically, one part of the verse was noun-like and often provided a context for the other part which was usually a verbal phrase. The other verses in a Renku were usually complete sentences describing some image or event.

Writing the first verse was considered a great honour and so poets in time started collecting personal hokku that they could use if called upon in a writing session. Renku in those days were typically written at renku-writing "parties" (now they are most often written over the Internet). Eventually writing and collecting hokku as stand-alone poems for their own merit became popular. Somewhere along the way they came to be called Haiku.

In 1992 when Gary Gay came up with idea of Rengay, he wanted a simpler, shorter Renku. Six verses seemed long enough to be interesting and for developing a theme but not too long that readers would grow tired. He also wanted simpler rules that provided the writers more freedom. Rengay became very popular up until the present day and they appear regularly in various poetry magazines.

As you may know, last year we went through the seasons with a Rengay posted each week:

http://haikuworkshop.pbwiki.com/RengayThroughTheSeasons

Next: Renhai Origins: Renhai is Born

Renhai Reflections 3: Introduction #3

Renhai Origins: Haiku & Renga

Before we jump further into the anatomy of a Renhai poem let's review briefly how Renhai came into being. Since Renhai consists of Haiku verses and because Renhai shares characteristics of Rengay, it might be a idea good to briefly review these other poetic forms.

Most of you, I'm sure, are familiar with Haiku. It is the Japanese verse form consisting of 17 Japanese-language syllables, in a 5-7-5 pattern, most often incorporating nature themes and with a seasonal reference. In English Haiku the "rules" are roughly the same but there are a number of minor variations.

The origins of Haiku actually go back to a form called Renku and before that Renga. Renga was a dignified academic poetry form that started in Japan in the 1300's. Several poets would cooperatively create a poem of typically 100 verses, each verse being added by a different poet in rotation. The first verse had a 5-7-5 format the second 7-7, the third 5-7-5 and so on. There were many other rules following medieval aesthetics and the writers tended to reference and/or allude to Japanese classical literature.

By the 1400's Rengay was the dominant form of poetry in Japan and it became a popular pastime among common people by the 1600's. Around this time a famous Japanese poet named Basho came on the scene. He perfected the modern form of Renga which we now call Renku. Tomorrow we'll take a closer look at Renku and explore how it led to Rengay in 1992 and then to Renhai in 2007.

Next: Renhai Origins: Renku & Rengay

Renhai Reflections 2: Introduction #2

Renhai's Uniqueness

A Renhai consists of three haiku verses that are typically a collaboration of two writers. The final result is similar to the first three verses of a Rengay with each of the three verses having one or more common themes. Renku-like links exist between each verse including between the first and the last. In later posts this week we will explore the anatomy of Renhai. For those who can't wait and want a sneak preview of what is ahead, have a look at the worksheet for yesterday's Renhai, "A Night Out".

What is unique about Renhai is that the middle two-line verse is jointly written. That is, the first line is written by one writer and second line is written by the the other writer. In the example posted yesterday, the middle verse appeared as:

Blanket of velvet-gray fog — /zr
a crow pierces the silence. /vs

As you can see, the first line was written by Zhanna and the second line by Vaughn. In fact, the middle verse was actually written first and the first and third verses were written afterward. A proper Renhai is therefore written in this inside-out manner.

What this means is that a Renhai is organically derived. The middle verse is like a seed that germinates and sprouts a root (3rd verse) and a stem (1st verse)

Next: The origins of how the new Renhai poetic form came to be.

Renhai Reflections 1: Introduction #1

Kick-off

Starting this week we will be embarking on a new linked-verse project for the coming year. We will be working with a new poetic form that I created a year ago called Renhai. Renhai has some similarities with Rengay as you may observe in the following Renhai. However, Renhai has some important differences and some unique qualities. The following Renhai was written with Zhanna P. Rader and is the first Renhai that was ever written:

A Night Out
A Renhai by Vaughn Seward (vs), and Zhanna P. Rader (zr)
Renhai #1, Aug 10-25, 2007

Still autumn night —
each patch of the forest,
full of darkness. /vs

Blanket of velvet-gray fog — /zr
a crow pierces the silence. /vs

Coffee aroma
permeates the morning air —
sudden rain... /zr

Over the next few days I plan to describe how this new form came into existence, what its essential features are, and how Renhai are typically written.

Rengay Through the Seasons #52 Summary

by Gary Gay (gg), and Vaughn Seward (vs);
Rengay #52 (Aug 24-30, 2008) Summary

Finding the Sun

Summer thunder —
fireflies blink among
the tall corn. /gg

Corndogs in each hand —
we wade through the crowd. /vs

From the top
of the ferris wheel —
so many stars. /gg

Up-turned bike —
a ladybug on a spoke
of the spinning wheel. /vs

Between the fence slats —
a daisy finds the sun. /gg

Journey's end —
the lighthouse among the rocks
flashes a welcome. /vs

The central theme in this rengay is "Among" which is appropriate for this last rengay in the year-long series as it is one rengay among the 52 written, we are each among many writers of poetry, and we are among the many creatures in this amazing creation.

Please click here for link details and other notes:

http://spreadsheets.google.com/pub?key=pcytHc47X3uAxb9JhF9qGXg&gid=0

Click here for the previous rengay in the series.

Rengay Through the Seasons #52 [1-6]

by Gary Gay (gg) and Vaughn Seward (vs);
Rengay #48 (Aug 24-30, 2008) Verses 1-6 (of 6):

Summer thunder — fireflies blink among / the tall corn. /gg
Corndogs in each hand — we wade through the crowd. /vs
From the top / of the ferris wheel — so many stars. /gg
Up-turned bike — a ladybug on a spoke / of the spinning wheel. /vs
Between the fence slats — a daisy finds the sun. /gg
Journey's end — the lighthouse among the rocks / flashes a welcome. /vs

Click here for the previous rengay in the series.

Rengay Through the Seasons #52 [1-5]

by Gary Gay (gg) and Vaughn Seward (vs);
Rengay #48 (Aug 24-30, 2008) Verses 1-5 (of 6):

Summer thunder — fireflies blink among / the tall corn. /gg
Corndogs in each hand — we wade through the crowd. /vs
From the top / of the ferris wheel — so many stars. /gg
Up-turned bike — a ladybug on a spoke / of the spinning wheel. /vs
Between the fence slats — a daisy finds the sun. /gg

Click here for the previous rengay in the series.

Rengay Through the Seasons #52 [1-4]

by Gary Gay (gg) and Vaughn Seward (vs);
Rengay #48 (Aug 24-30, 2008) Verses 1-4 (of 6):

Summer thunder — fireflies blink among / the tall corn. /gg
Corndogs in each hand — we wade through the crowd. /vs
From the top / of the ferris wheel — so many stars. /gg
Up-turned bike — a ladybug on a spoke / of the spinning wheel. /vs

Click here for the previous rengay in the series.

Rengay Through the Seasons #52 [1-3]

by Gary Gay (gg) and Vaughn Seward (vs);
Rengay #48 (Aug 24-30, 2008) Verses 1-3 (of 6):

Summer thunder — fireflies blink among / the tall corn. /gg
Corndogs in each hand — we wade through the crowd. /vs
From the top / of the ferris wheel — so many stars. /gg

Click here for the previous rengay in the series.

Rengay Through the Seasons #52 [1-2]

by Gary Gay (gg) and Vaughn Seward (vs);
Rengay #48 (Aug 24-30, 2008) Verses 1-2 (of 6):

Summer thunder — fireflies blink among / the tall corn. /gg
Corndogs in each hand — we wade through the crowd. /vs

Click here for the previous rengay in the series.

Rengay Through the Seasons #52 [1]

by Gary Gay (gg), and Vaughn Seward (vs);
Rengay #48 (Aug 24-30, 2008) Verse 1 (of 6):

Summer thunder — fireflies blink among / the tall corn. /gg

[This rengay was written with Garry Gay who was born in Glendale, California in 1951. He received his B.P.A. degree in photography in 1974 and has been a professional photographer for the past 33 years. Gary started writing haiku in 1975 and was greatly influenced by Basho’s Narrow Road To The Deep North. He has steadily written haiku ever since.

He is one of the co-founders of the Haiku Poets of Northern California and became their first president in 1989 and again served as president between 2001-2008. As president in 1989 he founded the "Two Autumns" haiku reading series. In 1991 he was elected president of the "Haiku Society of America". In 1991 he co-founded "Haiku North America". In 1996 he also co-founded the "American Haiku Archives" in Sacramento, California. He is the creator of the poetic form called "Rengay" and is the author of several works including: "The Billboard Cowboy", "The Silent Garden", "Wings of Moonlight", "River Stones", "Along The Way." The work "The Unlocked Gate" was recently been published with John Thompson. Gary currently lives in the California wine country in a small town called Windsor with his wife Melinda and daughter Alissa.

Gary's photography web site:
http://www.photogarry.com/

Gary's online haiku book, "The long Way Home":
http://www.brooksbookshaiku.com/ggayweb/

When Masago started writing Haiku in 2005 he had heard of Gary Gay as being the creator of the Rengay form. When planning this one-year project of "Rengay Through the Seasons" it was thought it would be appropriate to have a rengay written with Gary. When he replied to the affirmative it seemed appropriate and an honour that this last rengay in the project be written with him.]

Click here for the previous rengay in the series.