The eleventh Haiku North America conference, a biennial series of meetings of haiku poets and scholars, took place August 3–7, 2011, at the Seattle Center at the foot of the Space Needle in Seattle, Washington. The conference organizers were Michael Dylan Welch, Tanya McDonald, Dejah Léger, and Angela Terry. The conference theme was “Fifty Years of Haiku.” Eighty-five poets from the United States, Canada, and Japan attended.
At Haiku North America 2009—Ottawa it had been announced that HNA 2011 would be held in Decatur, Illinois. Owing to organizational conflicts, however, this was not possible, and an alternate venue was found at Rochester, New York. This too proved impracticable, so in early February 2011, the Haiku North America Board announced the final choice of location would be Seattle, Washington.
Thus Haiku North America 2011 convened on August 3, 2011, at the Seattle Center at the foot of the iconic Space Needle. Eighty-five poets from the United States, Canada, and Japan registered. The conference theme was “Fifty Years of Haiku,” in honor of the fiftieth anniversary of the Seattle World’s Fair for which the Space Needle was built, and in celebration of the time period when haiku has flowered in North America.
A large number of people and organizations were involved in realizing the conference. The conference program listed the members of the Haiku North America 2011 Organizing Committee and their areas of responsibility: Michael Dylan Welch, director; Tanya McDonald, deputy director, volunteer coordinator, note-taker, etc.; Dejah Léger, website, graphic design, logo, posters, T-shirts, stickers, notebooks, badges; Angela Terry, registration, registration packets, and finances. Key volunteers were Dianne Garcia, facilities/displays, hospitality; Katharine Hawkinson, blog, website, boat trip, haiku walks; and Tracy Koretsky, book fair, silent auction, and raffle. Additional volunteers included Terran Campbell, monorail trip; William Scott Galasso, publicity; Garry Gay, group photo; Mary Harris (Park Place Books), book fair; Connie Hutchison, haiku tree; Angie Johnson, book fair; Martha Lucas, book fair; Paul Miller, budget/finances; Nell Puryear, book fair; Ann Spiers, book fair; Joan Stamm, book fair; Carmen Sterba, book fair; Kathleen Tice, book fair; Mark Williams, setup; and Rebecca Willow (Parkplace Books), book fair.
Sponsors named in the HNA 2011 program were Haiku Canada; Haiku Northwest; the Haiku Society of America; the JAL Foundation; Modern Haiku; The Haiku Foundation; and the Washington Poets Association. Financial and in-kind donors included Fay Aoyagi; Argosy Cruises; Don Baird; Big Dipper Waxworks; Peggy Booth; Margaret Chula; Wanda D. Cook; Ernesto Epistola; Marco Fraticelli; William Scott Galasso; Dianne Garcia; Glassworks Northwest; Carolyn Hall; Katharine Hawkinson; Gary Hotham; Connie Hutchinson; Ikebana International, Chapter 19; Jim Kacian; Tracy Koretsky; Liberty Orchards; Tanya McDonald; Microsoft; Paul Miller; Emiko Miyashita; Momo, Japantown, Seattle; Makoto Nakanishi; Minako Noma; Daphne Ashling Purpus; Kala Ramesh; Red Moon Press; Marilyn Sandall; Maria Schuchardt; Sheila Sondik; Carmen Sterba; Cor van den Heuvel; Julie Warther; Michael Dylan Welch; Ruth Yarrow; and Mia Yoshihara-Bradshaw.
The registration fee was $200 for the full conference, including all events from Wednesday through Saturday (including the conference anthology and banquet). Most registrants arranged their lodging at two hotels near the meeting facility. Apart from the banquet and the optional post-conference boat trip, meals were not included in the conference events.
HNA 2011 Program
All events were held in the Seattle Center unless otherwise indicated.
Wednesday, August 3
Morning
❖ 9:00 — Setup of book fair, registration tables, and special exhibits
Afternoon
❖ 1:00 — Registration begins
❖ Free time — optional ginkō (haiku walk) to Olympic Sculpture Park and the Seattle waterfront, led by Katharine Hawkinson
❖ Dinner at liberty
Evening
❖ 6:00 — Dessert reception sponsored by Modern Haiku
❖ 8:00 — Don Baird, “Tai Chi Ch’uan—Waking your Haiku Mind”
Gentle and meditative morning exercises—and haiku. Participants learned the parallels between writing haiku and practicing tai chi, and how tai chi mind is also haiku mind. These daily sessions, different each day, moved between readings of haiku and training in tai chi, chi kung, and a little stretching. Each session concluded with a haiku writing and sharing exercise based on an engaging photograph.
❖ 9:15 — Reading of Standing Still, the HNA 2011 conference anthology, led by editors Michael Dylan Welch and Ruth Yarrow
❖ 10:00 — Ruth Yarrow: “Putting Our Own Early Awareness of Race into Haiku”
In this workshop participants shared memories of early awareness of race, and used the feelings they raise to write haiku and share their work.
❖ 10:00 — Minako Noma: “Shiki’s Haiku Revolution”
A brief history of haiku and Shiki’s contribution to it, breathing new life into Japan’s traditional poetic form. This revolution has expanded around the world with haiku now being written in many languages.
❖ 10:00 — Jim Kacian: “Monophilia: The History and Practice of One-Line Haiku in English”
The one-line haiku has become one of the “newer” ways forward in English-language haiku, but it is hardly a new idea. Kacian presented a brief history of the one-line form in English, explored ways it distinguishes itself from its prototype, the single-line Japanese haiku, and suggested a nomenclature by which we might identify the form’s techniques and effects.
❖ 11:00 — Richard Tice: “Location, Location, Location! Place in Haiku”
An examination of the sense of place in haiku, ranging from hokku, which evoked the place of composition, to the most common use of place as suggested by images. Also included are the use of a locale, the naming of places, and the use of tag lines identifying a place.
The creator of the rengay poetic form led a hands-on workshop for poets to write collaboratively in twos or threes. The rengay form dates from 1992, and it is now written around the world.
❖ 12:00 — Lunch at leisure in neighborhood restaurants
Afternoon
❖ 1:30 —Terry Ann Carter, chair: “What Makes Canadian Haiku Canadian?”
Carter led panelists Bruce Ross, Jessica Tremblay, and Michael Dylan Welch in a discussion of the Canadianness of Canadian haiku.
❖ 2:45 — Free time
Groups were organized to ride the Seattle Monorail downtown and visit the Seattle Art Museum, take in the Pike Place Market, and/or attend a free blues-rock concert at Olympic Sculpture Park, and have dinner along the way.
Evening
❖ 7:30 — Cor van den Heuvel: “Featured Haibun Reading”
The author read selections from his latest book, A Boy’s Seasons: Haibun Memoirs.
❖ 8:30 — Michael Dylan Welch, panel chair: “Developing Haiku Book Manuscripts”
A good book isn’t just a collection, but a set of poems given shape and tone and purpose. Welch served as moderator for panelists Jim Kacian, Ce Rosenow, Charles Trumbull, and Don Wentworth, who explored the characteristics of a strong haiku manuscript. Attendees learned how to make this possible with their own work and could share what several leading editors and publishers look for in the books they publish.
Experienced renku practitioner Billie Dee conducted a guided yet freewheeling renku writing session, with templates provided to help novices learn renku and write as best they can. Note: this session took place in the meeting room of the MarQueen Hotel.
Friday, August 5
Morning
❖ 8:00 — Don Baird, “Tai Chi Ch’uan—Waking your Haiku Mind,” second daily session
Welch chaired the proceedings as panelists Deborah P Kolodji, Abigail Friedman, Carmen Sterba, and Tanya McDonald offered advice and anecdotes about starting and running a haiku group.
❖ 10:00 — Wanda D. Cook: “Some Like It Hot: Erotic Haiku”
A look at sensual and erotic haiku: what is it, who likes it, who writes it, and where is its place in the haiku world? Cook conducted a well-attended presentation/reading with audience participation and handouts.
Conference-goers learned about Japanese edible-kigo (season word) haiku, with well-known delicious recipes to experience the haiku! This presentation provided an understanding of the heart of Japanese haiku by having participants “eat” the kigo—an opportunity for poets in Western salt-and-pepper culture to experience soy-sauce culture.
❖ 10:00 — Bruce Ross: “Spaciousness as a Key Element in Haiku”
What makes haiku a special kind of poetry? If one acknowledges the short-long-short phrasing (5–7–5) of most Japanese poetry and the remarkable charge, long recognized, brought on by the so-called cut (kireji), one is left with the traditional keyword or reference (kigo, kidai). That the keyword is directly or indirectly (through seasonal reference to holidays, etc.) connected to nature offers a focus to a deep structure of haiku. This deep structure and its resonance through imagery, sentiment, sound, and phrasing often centers around the affective nature of spaciousness. By relying on Japanese aesthetics and poetics, particularly mu (emptiness) and especially ma (emptiness and expansive possibilities that surround objects), as well as Shunryu Suzuki’s concept of big vs. little mind, and Shinto animism, Ross uncovered the possibility that a poetics of haiku should include the issue of spaciousness that enhances haiku beyond the privileging of the cut asserted in Japanese discussions of the form.
A reading and multimedia presentation of poems by leading haiku poets who had passed away since the 2009 Haiku North America conference, with a commemorative handout of poems by the remembered poets.
❖ 12:00 — Lunch at leisure in neighborhood restaurants
Afternoon
❖ 1:30 — Emiko Miyashita: “JAL Foundation Contest: Reading of Haiku by Children”
The JAL Foundation haiku contest for children had just released its latest anthology, Impressions of School. Miyashita read a selection of poems from this book and made a number of copies available to HNA attendees.
❖ 1:30 — Eve Luckring: “Video Renku: Link and Shift in Visual Language”
Luckring explored the rich relationship between text, image, and sound in this presentation of experimental short videos. Similarities between renku composition and film editing techniques were discussed as well as issues that have arisen for the artist in the translation of one medium to another. The presentation featured the screening of a series of short videos based on the jūnicho renku form, followed by a workshop discussion of how Russian filmmaker and theorist Sergei Eisenstein was inspired by Japanese poetry in developing his “montage” methods of film editing. These techniques were examined in relationship to the ideas of “link and shift” in renku, and participants were given the opportunity to experiment with the “translation” of visual language into writing.
❖ 1:30 — Carlos Colón: “Exploring Concrete Poetry and Haiku”
Concrete poetry and haiku have aesthetic similarities in addition to brevity. Many examples that are haiku-like exist in the history of concrete poetry, and many examples of minimalist haiku employ concrete techniques. Attendees were invited to explore the intersection of concrete poetry and haiku through the work of such poets as E. E. Cummings, bpNichol, Nick Avis, LeRoy Gorman, Marshall Hryciuk, Raffael de Gruttola, and Marlene Mountain as well as through their own compositions.
❖ 3:00 — Penny Harter: “Exploring Haibun”
Experienced haibun writer Penny Harter led a generative workshop focusing on the writing of haibun, the combination of prose with haiku. Following inspiration and writing exercises, workshop participants shared their newly created haibun.
❖ 3:00 — Makoto Nakanishi: “Fight for Haiku! The Annual Haiku Tournaments Fought by High Schools Nationwide in Matsuyama, Japan”
Haiku Kōshien (俳句甲子園), the National High School Haiku Tournament held every August in Matsuyama, shows how seriously high school students in Japan take haiku—and learn from it as well. The winner of this tournament is designated the top haiku high school in the country. The championship aims to make high school students who are not necessarily intrigued by the genre take an interest in haiku; it could serve as a model for people anywhere who wish to promote haiku among young people.
❖ 3:00 —David Lanoue: “Frogs and Poets: What’s the Difference (to Issa)? A Presentation and Discussion”
Kids love frogs and Issa’s frog poems. For teachers, a discussion of such poems represents an enjoyable gateway into the world of haiku. Issa specialist Lanoue shared his favorite froggy haiku by this frog-loving poet, then turned to a discussion of what the real difference is between a frog and a poet.
❖ 4:00 — The Poetry Continuum: Anything But Haiku Reading
Haiku isn’t the only poetry on earth. Haiku poets are also skilled at writing longer poetry. This open-mic session was scheduled to share and hear longer poetry (tanka was okay, but no haiku, senryu, haibun, or linked verse).
❖ 5:00 — Dinner at liberty
❖ 6:00–8:00 — Free concert at the Mural Amphitheatre: musical groups The Maldives, Hey Marseilles, and Black Whales performed
Evening
❖ 7:00 — “Open Reading for Poets with New Books and Anthologies”
❖ 8:10 — Richard Gilbert, “Social Consciousness and the Poet’s Stance in 21st Century Haiku: From Kaneko Tohta to the Present,” the inaugural William Higginson Memorial Lecture.
The poet’s stance in relation to society is crucial, yet needs to be addressed critically within haiku culture in English. The term “social consciousness” sounds ponderous. In Japanese, shakaisei includes broader dimensions of sociality, social sense, social awareness, life, and social reality. For Kaneko Tohta, widely considered among the most notable contemporary poets in Japan, shakaisei became a key theme when, in the 1950s, following the WWII defeat and atomic bombing of Japan, he investigated whether haiku as a traditional Japanese poetic had any existent relevance to society. This question of relevance, and the question of the poet’s stance—resulting in the poet’s ability to critique society—sparked the postwar haiku movement known as gendai (contemporary) haiku. These questions, first raised in Japan some 60 years ago, are timely topics for critical discussion in English-language haiku.
Conference-goers were challenged to test their haiku knowledge. Modeled after the 1950s College Bowl television show, Haiku Bowl featured two teams competing for nonvaluable prizes by trying to identify the authors of classic and modern haiku and answering questions on haiku history, form, and personalities. Audience participation was encouraged! Teams to be determined on site. The “Birds” team comprised Emiko Miyashita, Cor van den Heuvel, Richard Gilbert, and Melissa Allen; the “Frogs” were Eve Luckring, Michael Dylan Welch, David Lanoue, and Fay Aoyagi. Jim Kacian moderated and Charles Trumbull served as scorer/timekeeper/adjudicator. Haiku Bowl was sponsored by The Haiku Foundation.
Old Pond Comics, @Jessica Tremblay on site at HNA 2011
❖ 8:00 — Don Baird, “Tai Chi Ch’uan—Waking your Haiku Mind,” third daily session
❖ 9:00 — Margaret Chula, moderator: “Who Wrote That? How My Haiku Has Changed Over Three Decades
Long-time haikuists Margaret Chula, Jerry Ball, Garry Gay, and Penny Harter reminisced about their haiku journeys, beginning with their first haiku.
❖ 10:00 — Terry Ann Carter: “Lighting the Global Lantern: A Teacher’s Guide to Haiku and Related Literary Forms”
An exploration of the challenges and rewards of teaching haiku to students, based on Carter’s new book, Lighting the Global Lantern. The audience came away with practical lessons on how to teach haiku more effectively.
❖ 10:00 — Lidia Rozmus: “Between a Word and a Brush Stroke: A Traditional Approach to Haiga”
Haiga has become very popular in America. Artists are expressing themselves in a variety of media: in addition to traditional sumi-e (black-ink painting), one finds watercolor, oils, collage, photography, and computer-generated images accompanying a haiku text. Rozmus’s session presented a traditional approach to haiga. She also unveiled the mystery of “haibunga” (a haibun plus one or more images).
❖ 10:00 — Paul Miller: “Stretching Western Haiku (Gendai Haiku in the West)”
Responding to an increasing number of gendai-like poems being submitted to Western haiku publications, an editor once posed the question: How far can a haiku deviate from the norm and still be called a haiku? Miller’s presentation explored that question by comparing features of Japanese and Western gendai haiku to a normative Western definition of haiku. Topics included realism vs. fantasy, public discourse vs. private discourse, and more. The pros and cons of each were examined.
Jessica Tremblay’s Old Pond comic strip features the adventures of Kaeru, a young frog who becomes the apprentice of haiku master Kawazu, the wise frog who inspired Bashō’s famous poem. This presentation covered the origin of Old Pond comics, presented comics and cartoon animation, and discussed the similarities between comics and haiku.
❖ 11:00 — Hana Fujimoto: “The Symbolic Function of Kigo (Season Words)”
Haiku International Associationrepresentative Hana Fujimoto of Tokyo provided an overview of the role of kigo (season words) in haiku based on her experience in submitting haiku to the Bouquet of Lilacs online kukai and explained by why season words are so important in the world’s shortest form of poetry. She also gave an introduction to the HIA, which sponsored this event and provided green tea and sweets for the attendees.
Ce Rosenow led a discussion with panelists Fay Aoyagi, Melissa Allen, Gene Myers, and Don Wentworth on the topic of haiku blogging and how internet technology is changing the face of the American—and worldwide—haiku community. Sponsored by the Haiku Society of America.
Evening
❖ 7:00 — Terry Ann Carter: “From Internment Camp to Contemporary Landscapes: A History of Haiku in Canada”
An exploration of Canada’s haiku voices, including Japanese Issei poets, and French Canadian and English Canadian contributions to the development of haiku in Canada. Carter’s presentation explored the early years, the forming of Haiku Canada, pivotal players in Canada’s haiku history, important publications, and current haiku groups across the country.
This slide-and-narrative presentation traced the evolution of haiku in North America, from the earliest attempts at interpreting the Japanese genre in English to the upcoming issue of Modern Haiku. Against a background of key questions and problems of haiku history were displayed the milestones of development: the people, poems, places, and publications that have made haiku the most popular verse in America—and worldwide.
❖ 10:30–12:00 — Clean-up of conference rooms and striking all displays, book fair materials, etc.
Sunday, August 7
The Sunday following the formal conference was devoted to an optional day-long boat trip to the Tillicum Village complex on Blake Island in Puget Sound, to experience Northwest Coast Indian arts, culture, and food. Once on the island, the group enjoyed walks around the island, a meal of oysters and a salmon bake, Native American arts and crafts displays and a dance performance, and a stunning sunset back on the Seattle waterfront to end the conference weekend.
Other Events and Attractions
Cover of the HNA 2011 anthology
Conference Anthology
Michael Dylan Welch and Ruth Yarrow were editors for the HNA 2011 conference anthology, Standing Still. Seventy-four poets had each sent in a handful of haiku in advance, and the editors selected one by each poet for inclusion. Copies were distributed to each participant at the beginning of the conference, and the poets had an opportunity to read their haiku aloud during a session on the opening day.
Book Fair
The HNA 2011 book fair was held in the Fidalgo Room of the Northwest Rooms of the Seattle Center. The event was overseen by Tracy Koretsky and run in conjunction with the independent retail bookseller Park Place Books of Kirkland, Wash. Park Place Books brought poetry titles from major publishers for sale and also facilitated the sale of books and chapbooks from conference poets and small publishers. For the first time at an HNA conference, credit cards (as well as cash and checks) could be used to pay for purchases.
Exhibitors were required to submit a form in advance specifying titles and prices and to make sure each book had the price marked on it or that a price list was provided to be displayed with the books. There were no fees due from vendors to rent space on the book sales tables. Shoppers could browse during conference hours, but sales were conducted only during two- or three-hour blocks each day.
Connie Hutchison set up a Haiku Tree in the book fair room. Attendees were invited to write haiku on paper tags and fasten them to the tree.
Art Exhibits
One wall of the book fair room was devoted to exhibitions of haiku-related artwork. Chicago-based artist Lidia Rozmus showed about two dozen of her abstract sumi-e (black ink drawings).
SEMI-ORGANIZED ACTIVITIES AND GINKŌ
Conference organizers arranged for a good deal of free time in the schedule and informed attendees, family members, and friends of opportunities to enjoy non-haiku activities in Seattle. Visitors enjoyed visits to the Chihuly Garden and Glass, parks, and fountains in the Seattle Center complex and could take in free late-afternoon concerts at the Mural Amphitheatre. An outing led by Terran Campbell was organized on the Monorail from Seattle Center to downtown Seattle, where members of the group visited the Pike Place Market, the Seattle Art Museum, and the Olympic Sculpture Park where they could attend an evening concert. Participants were urged to consider these activities as ginkō (walks to compose haiku) and to submit their best work to the urban kukai.
Urban Kukai
A kukai—a type of haiku competition—was held during the conference. Haiku were submitted anonymously, then voted upon by participants. Haiku written anytime during the HNA conference were permitted, and it was suggested that particular inspiration might happen on the ginkō. A box for entering up to two poems was placed in the book fair room. Winners were announced at the banquet on Saturday.
Silent Auction and Raffle
HNA 2011 featured both a silent auction and a raffle. All proceeds went to benefit Haiku North America. For the silent auction, donated books and other items were displayed during the week in the book fair room; bidding was open during morning hours. The winners were determined in a not-so-silent manner at the Saturday banquet, where live bidding was allowed.
Raffle tickets were sold at 1 for $3, 2 for $5, 5 for $10 and $2 per ticket thereafter, and the winning ticket was drawn at the banquet.
List of Attendees
Melissa Allen — Madison, Wis. Astrid Andreescu — Hampden, Maine Susan Antolin — Walnut Creek, Calif. Fay Aoyagi — San Francisco, Calif. Don Baird — Palmdale, Calif. Maria Baird — Palmdale, Calif. Jerry Ball — Walnut Creek, Calif. Johnny Baranski — Vancouver, Wash. Joshua Beach — Sammamish, Wash. Marjorie Buettner — Chisago City, Minn. Terran Campbell — Seattle, Wash. Terry Ann Carter — Ottawa, Ont. Margaret Chula — Portland, Ore. Carlos Colón — Shreveport, La. Wanda Cook — Hadley, Mass. Cherie Hunter Day — Cupertino, Calif. Billie Dee — San Diego, Calif. Mike Dillon — Indianola, Wash. Susan Diridoni — Kensington, Calif. Ernesto Epistola — Sarasota, Fla. Jay Friedenberg — New York, N.Y. Abigail Friedman — Arlington, Va. Hana Fujimoto — Tokyo, Japan William Scott Galasso — Edmonds, Wash. Dianne Garcia — Seattle, Wash. Garry Gay — Santa Rosa, Calif. Jay Gelzer — Seattle, Wash. Richard Gilbert — Kawachi, Japan Tina Grabenhorst — Vancouver, B.C. Carolyn Hall — San Francisco, Calif. Penny Harter — Mays Landing, N.J. Katharine Hawkinson — Seattle, Wash. Marilyn Hazelton — Allentown, Pa. Christopher Herold — Port Townsend, Wash. Cara Holman — Portland, Ore. Connie Hutchinson — Kirkland, Wash. Angie Johnson — Seattle, Wash. Jim Kacian — Winchester, Va. Deborah Kolodji — Temple City, Calif. Tracy Koretsky — Bellevue, Wash. David Lanoue — New Orleans, La. Dejah Léger — Shoreline, Wash. Martha Lucas — Seattle, Wash.
Eve Luckring — Los Angeles, Calif. Janis Luckstein — Rancho Palos Verdes, Calif. Doris Lynch — Bloomington, Ind. Tanya McDonald — Woodinville, Wash. Curtis Manley — Bellevue, Wash. Paul Miller — Bristol, R.I. Emiko Miyashita — Kawasaki, Japan Katharine J. Munro — Whitehorse, Y.T. Gene Myers — Rockaway, N.J. Sarah Myers — Rockaway, N.J. Makoto Nakanishi — Matsuyama, Japan Minako Noma — Matsuyama, Japan Shuji Noma — Matsuyama, Japan Merilyn Peruniak — Athabasca, Alta. Geoff Pope — Renton, Wash. Daphne Ashling Purpus — Vashon, Wash. Nell Puryear — Seattle, Wash. Ce Rosenow — Eugene, Ore. Bruce Ross — Hampden, Maine Lidia Rozmus — Vernon Hills, Ill. Raul Sanchez — Seattle, Wash. Marilyn Sandall — Seattle, Wash. Maria Schuchardt — Tucson, Ariz. Fredericka Shapiro — Seattle, Wash. Judt Shrode — Tacoma, Wash. Sheila Sondik — Bellingham, Wash. Ann Spiers — Vashon, Wash. Joan Stamm — Eastsound, Wash. Carmen Sterba — University Place, Wash. Angela Terry — Lake Forest Park, Wash. Kathleen Tice — Kent, Wash. Richard Tice — Kent, Wash. Jessica Tremblay — Burnaby, B.C. Charles Trumbull — Santa Fe, N.M. Inga Uhlemann — White Rock, B.C. Cor van den Heuvel — New York, N.Y. Julie Warther — Dover, Ohio Michael Dylan Welch — Sammamish, Wash. Mark Williams — Kirkland, Wash. Don Wentworth — Pittsburgh, Pa. Jim Westenhaver — Tacoma, Wash. Ruth Yarrow — Seattle, Wash.
Photo Gallery
Haiku North America 2011 participants Group photo by Garry GayHigginson Lecturer Richard Gilbert and HNA cofounder Michael Dylan WelchTanya McDonaldand Kathy MunroTerry Ann Carter and Deborah KolodjiCor van den Heuvel and Inge UhlemannErnesto Epistola and Bruce RossMaria and Don Baird (in the Chihuly Garden) Margaret Chula, Garry Gay, Penny Harter, and Jerry BallMelissa Allen, Fay Aoyagi, Gene Myers, and Don Wentworth Don Wentworth, Ce Rosenow, Jim Kacian, and Charles Trum ullTerry Ann Carter, Bbruce Ross, Michael Dylan Welch, and Jessica TremblayJerry Balland Ruth YarrowJudt Shrode, Cara Holman, Johnny Baranski, Bruce Ross (hidden), Astrid Andreescu, and Julie Warther(Back to front) Marilyn Hazelton, Don Wentworth, Susan Diridoni, and Marjorie BuettnerHaiku Elvis (Carlos Colón) and Julie Warther at the Space NeedleEmiko Miyashita and Makoto NakanishiThe Saturday night contra dance with music by La Famille LégerDianne Garcia with Minako and Shuji Noma en route to Blake IslandDejah Léger, Angie Terry, and Lidia Rozmus at Tillicum VillageMichael Welch, Abigail Friedman, Deborah Kolodji, Carmen Sterba, and Tanya McDonaldWanda Cook, Paul Miller, Garry Gay, Billie Dee, Carolyn Hall, Carlos Colón, Melissa Allen, and Susan Antolin at the Pike Place Market
Note: Images from Michael Dylan Welch, selected from the thousands of photos of HNA 2011 accessible via his Graceguts website:https://www.graceguts.com/photographs.
Sources / Further Reading
Carter, Terry Ann. Lighting the Global Lantern: A Teacher’s Guide to Writing Haiku and Related Literary Forms. Yarker, Ont.: Wintergreen Studios Press, 2011.
Cook, Wanda D., Larry Kimmel, and Jeffrey Winke. One Thing Leads to Another. Windsor, Conn.: Bottle Rockets Press, 2012.
“Gene Myers to Panel at HNA,” Haiku North America blog, July 22, 2001.
“Haiku North America 2011 was held August 3 to 7, 2011, in Seattle, Washington.” Haiku North America blog (n.d. (July 2001))http://www.haikunorthamerica.com/2011-conference.html; n.d. (July 2001).
Hall, Carolyn. “Haiku North America, Day 1, 2, 3.” Red Dragonfly blog, August 4–7, 2011: https://haikuproject.wordpress.com/tag/carolyn-hall/. Personal account of the conference.JAL Foundation. がっこうのうた / Impressions of School. Bronze Publishing for the JAL Foundation, 2011. Haiku by World Children, Vol. 11. In Japanese, English, and original languages.
Harter, Penny. “Circling the Pine: Haibun and the Spiral Web.” Scott Wiggerman and David Meischen, eds., Wingbeats: Exercises and Practice in Poetry. Albuquerque, N.M.: Dos Gatos Press, 2011.
Kacian, Jim, and Dee Evetts, eds. A New Resonance 7: Emerging Voices in English-language Haiku. Winchester, Va.: Red Moon Press, 2011.
Kacian, Jim. “Monoku: Its History and Practice.” World Haiku 11 (2015), 116–25.
Kacian, Jim. Waar ik ophoud: eenregelige haiku en haibun /Where I Leave Off: One-Line Haiku and Haibun. Translation by Max Verhart. ’s-Hertogenbosch, Netherlands: ’t Schreijverke, March 2010. In English and Dutch.
Rozmus, Lidia. My Journey. Evanston, Ill.: Deep North Press, 2004. Haibun, haiku, photographs, sumi-e, and book design by the author.
Rozmus, Lidia. Twenty Views from Mole Hill: the Last Haibun-ga of the Twentieth Century. Evanston, Ill.: Deep North Press, 1999.
Van den Heuvel, Cor. A Boy’s Seasons: Haibun Memoirs. Portsmouth, N.H.: Single Island Press, 2010.
Welch, Michael Dylan. “Haiku North America.” Graceguts website: http://www.graceguts.com/digressions/haiku-north-america. Personal history of the conference series and a list of the venues, directors, and conference anthologies.
Welch, Michael Dylan, and Ruth Yarrow, eds. Standing Still: An Anthology of Poems Commemorating the 2011 Haiku North America Conference. Illustrations by Dejah Léger. Sammamish, Wash.: Press Here, 2011. One poem each by 74 poets.
Wentworth, Don. Past All Traps. Pittsburgh: Six Gallery Press, 2011.
Related Haikupedia Articles
Haiku North America. Information about the Board of Directors and a list of the conferences with dates, venues, organizers, and themes.
Haiku North America 2009—Ottawa, Ontario. The previous HNA conference.
Haiku North America 2013—Long Beach, California. The next HNA conference.
