A Commemorative 15th Year Anniversary Anthology
Edited by Eileen R. Tabios
Release Date: September 2018
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The hay(na)ku is a 21st century diasporic poetry form invented in 2003 by Ms. Tabios. Since its debut, the hay(na)ku has been taken up by poets around the world, generating five anthologies and numerous single-author collections as well as appearances in a wide variety of literary journals. In 2018, the hay(na)ku’s 15-year-anniversary will be celebrated with exhibitions and reading at the San Francisco Public Library and Saint Helena Public Library as well as with a new anthology, HAY(NA)KU 15, which presents 128 poets and translators from 13 countries as well as eight languages.
ABOUT THE EDITOR & HAY(NA)KU INVENTOR:
Eileen R. Tabios loves books and has released over 50 collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Her 2018 poetry collections include HIRAETH: Tercets From the Last Archipelago; MURDER DEATH RESURRECTION: A Poetry Generator; TANKA: Volume 1; and the bilingual edition (English/Spanish) of One, Two, Three: Selected Hay(na)ku Poems. Translated into nine languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays as well as served as editor or guest editor for various literary journals. Her writing and editing works have received recognition through awards, grants and residencies. More information is available at http:// eileenrtabios.com
Selected Responses to the Hay(na)ku:
Watching the birth & evolution of a new form is fascinating. And, unlike flarf, which is a process, hay(na)ku is a form. But what kind of form is it? Poem or stanza? Again, I think the answer lies in looking at the quatrain, which is more stanza than finished work. That, ultimately, is what I think this first generation of hay(na)ku writers have created–not a poem, but a stanza, simple, supple, elegant, capable of considerable variations. That’s quite an accomplishment.
…a way of revealing…a “thinking” form–emotional as well as intellectual thinking. By allowing a lot of space on the page it keeps things tight and loose. Hay(na)ku creates or pushes certain syntactical structures, potentially disruptive through its arbitrariness. Forms aren’t games, or just games–they are ways of paying attention.
…an elegantly minimalist form (a bit like the tip of an Oulipian “snowball”)
The diasporic nature of the hay(na)ku attracted me from the very beginning because it allowed me to express myself in English without being a native speaker…I feel the hay(na)ku is a form that grants a common space for poetic practice in different languages; a way of writing in English without completely obliterating one’s “mother tongue.” Instead of the conquest and influx that has defined English in relation to other “less powerful” languages, the hay(na)ku is open and flexible, an invitation to share different ways of thought and writing.
Review by Veronica Montes:
“I found that the best way for me to engage with this collection was to simply—pun intended!—flip…
“I’ll end with a poem that I found unexpectedly moving. Written by Gabby Pascual Bautista, who was age 5 at the time of composition, it’s a set of simple, plaintive questions:
About the Hug
What about the
“Upon re-reading, Gabby’s poem expands to include us all because don’t each of us—no matter our age—spend much of our lives asking a version of these very same questions?”