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Joseph Kirschner

Joseph Kirschner, 2017
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Joseph Kirschner (born December 5, 1930, Dallas, Texas, U.S.A.; died February 27, 2021, Hartly, Delaware, U.S.A.), American professor of the history of education and, following retirement, a haiku and senryu poet. A longtime resident of Evanston, Illinois, he was an active member of the Haiku Society of America, served as its Midwest Region Coordinator and participated in the HSA members’ anthologies, coediting the 2009 edition. He was also a cofounder of Chi-ku, the Chicago-area Haiku Group and co-organizer of the Haiku North America conference in 1999. Kirschner published two collections of his haiku and senryu as well as an anthology of others’ dream haiku and analyses. He last resided in Hartly, Delaware.

Table of Contents

Joseph Kirschner as Academic

Joseph Kirschner was born on December 5, 1930, in Dallas, Texas, to Stephen Kirschner and Hermine Deutsch, both natives of Hungary. Stephen Kirschner was employed as a clerk at the Brunswick-Balke-Collender Co., a billiard equipment company, but Joseph later recalled that his father was also involved with gaming machines (which were legal in Texas until 1937) and had some unsavory business associates. After Stephen’s death, Hermine married Frank F. Rockvoen, a ship repair mechanic in New Orleans. Joseph and his younger brother Edwin kept the surname Kirschner.

Joseph finished high school in New Orleans and graduated from Tulane University pursuing a B.S. in chemical engineering. In college he was a member of Alpha Phi Sigma professional chemistry fraternity and the American Institute of Chemical Engineers. He was also an active member of the Channing Club of the Unitarian Church and served as its representative on the Tulane Interfaith Council.

Following a short hitch in the U.S. Navy, Kirschner went to work as an engineer in the oil and gas industry out of New Orleans, but neither of these situations proved satisfactory. He returned to Tulane where he earned a teaching certificate and a Master of Arts in Teaching in 1960. He took a position with the New Jersey public schools, then, in 1965, gained an Ed.D. in social and philosophical foundations of education at Rutgers University. Joseph Kirschner and Marlyn Frankle, called “Betty,” were married in Newark, N.J., in 1962, and they adopted an infant girl about 1969, but the union ended in divorce.

Kirschner’s professorial career took him to the University of Alabama and Kansas State and finally to Youngstown State University in Ohio. He was coauthor of a book on the history of education and published articles in The Educational Forum, Teachers College Record , and the Wall Street Journal, among others. He received a National Endowment for Education summer grant on the history of children and youth at Ohio State University and support to attend a year-long seminar on the history of the family at Princeton University. He also served on executive boards of learned societies and on journal editorial boards.

Following his retirement from Youngstown State in 1992, Kirschner lived in Evanston, Illinois, where he continued pursuing his academic interests in the history of education as technology, anarchism and educational thought, the free school movement—especially A. S. Neill’s experimental Summerhill School in Leiston, England—and the Oneida Community in New York, focusing on the status of women in the perfectionist communal society.

Beyond his purely scholarly interests, Kirschner studied Jungian psychology and dream interpretation at the C. G. Jung Center for Psychotherapy in Evanston and played viola and violin in string quartets. Most of all he enjoyed his daily several-block walk from his apartment to the Unicorn Café, where he would spend mornings over cups of coffee composing haiku, discussing the state of the world with other patrons, and simply enjoying the jazz playing in the background.

Joe Kirschner moved to Delaware about 2019 to live closer to his daughter and grandson. He was under hospice care in Hartly, Delaware, at the time of this death, on February 27, 2021.

Kirschner’s Haiku Practice

It is not entirely clear when Joe Kirschner began to compose haiku or what inspired him to do so, but in the Introduction to his first book he credits a good friend with nudging him “to assemble some of my haiku—therefore the genesis of this little book. Thus motivated, I began to do some reading on the subject.” That would have been about 1992, just as he was retiring from the university. The book was A Ribbon of Silver Thread: Twenty Haiku: 1985–1989 published in 1995.

Cover of
A Ribbon of Silver Thread, 1995

Comprising haiku written before Kirschner was well grounded in haiku theory and without having had much contact with other haiku poets, A Ribbon of Silver Thread did not make a big splash in the haiku pond. The small book received only a perfunctory mention in the Books Received section of Frogpond 18:4 (Winter 1995). In Modern Haiku 27:2 (Summer 1996), Editor Bob Spiess devoted half a page of faint praise to the chapbook, spending an untoward amount of space on the custom font Kirschner had used (and described in a note in the book: “The fact that it is computer generated echoes the irony inherent in haiku’s attempt to put Nature’s sensations and human mood into words.”) Spiess capped his mini-review in his characteristic way, with a randomized sampling—“every fifth haiku.” The first of these was:

crumpled notes burning—
      glowing red embers
        cast long shadows1

Significantly, 1995 was also the year when Kirschner made first contact with what might be called the haiku mainstream. He attended the watershed Haiku Chicago conference in October of that year, which brought together for the first time delegations from the principal haiku organizations in Japan and the United States. Directly influenced by the experience of Haiku Chicago, local haiku poets Kirschner, Lidia Rozmus, and Charles Trumbull founded Chi-ku, the Chicago-area Haiku Group, the following January.

Kirschner joined the Haiku Society of America in 1996. He served as the HSA Midwest Region Coordinator from 2002 to 2008, was an organizer and reporter of the HSA quarterly meeting in Evanston in 2003, and was a regular contributor to the HSA Newsletter and members’ anthologies. His work began appearing in print journals in this period as well: Frogpond and Heron Quarterly in 1997; Modern Haiku,The Heron’s Nest, and Persimmon in 1998; South by Southeast in 1999; Acorn in 2000; and Bottle Rockets in 2009. Kirschner’s involvement in haiku activities on the Internet was limited to submissions to Japan-based haiku contests and kukai. He was an avid participant in the Shiki Internet Kukai, submitting 68 haiku from 1997 through 2009 and taking home 1st through 4th Place awards 12 times during that period. He also won recognition in the International People’s Haiku Contest for 1997–98, and The English Tanka & Haiku on Water, River, Lake and Sea Contest in 2001.

Cover of Edges, 1999

A second haiku collection, Edges, was published in 1999. An entry in the Haiku Notes section of Chuck Easter’s journal Black Bough (No. 14, 1999) quoted from the author’s preface where Kirschner had hinted at the rationale of the book: “Edges are unsettling places. One thing ends, another begins. Abrupt boundaries are encountered. Dissimilar entities abut each other. There are surprises everywhere.… The feeling of edges, in all their various connotations, typifies what a poet tries to express in haiku.” One of the four sample haiku in the Black Bough review was:

old maple 
a freshly severed limb 
buds anyway

Brian Tasker, reviewing the book in the British Haiku Society journal Blithe Spirit (9:4, (December 1999), was not impressed, however. He quoted from the same place in Kirschner’s preface, adding italics to one passage: “Kirschner says that ‘the feeling of edges, in all their various connotations, typifies what a poet tries to express in a haiku.’ This may be so, but it doesn’t really come across in what he expresses as a haiku moment. There is a flatness that pervades throughout this book.” As one example, Tasker pointed to

winter storm; 
the falling rains 
melt the snow

Josh Hockensmith treated Edges more positively in South by Southeast (6:3, 1999). He was also the only reviewer who sensed that the 36 haiku in the collection had been deliberately selected and sequenced by the poet and the editor so that they flowed in the manner of a traditional renku. Hockensmith also used the quote from Kirschner’s preface, continuing:

It is an accurate way to describe the poems contained in the book. Not only do the poems themselves contain surprise and tension, but the movement from haiku to haiku is calculated to keep the reader on edge. And so:

     bare trees
     stark against the twilight sky—
     silence

leads into:

     chilly gray morning
     shattered pumpkin in the street …
     dream fragments

From classic austerity to near-surrealism, the ordering of the poems carries the same type of twist and tension that the haiku themselves do. The broad range they cover is impressive in such a small book.

John Stevenson filed a review in Frogpond (23:1, 1999) of three books that featured illustrations as well as haiku, two with black ink drawings by Lidia Rozmus and one of haiga by Jeanne Emrich. Of Edges he wrote:

Featuring Kirschner’s flair for juxtaposition of of images and Lidia Rozmus’s generosity, in not having saved all of her best sumi-e for her own book.

     scattered blossoms
     apartment gardeners
     quickly rake them up

The most detailed review of Edges was the page-and-a-half provided by Yvonne Hardenbrook in Modern Haiku (31:1, Winter–Spring 2000). She highlighted yet another passage from Kirschner’s preface and continued with a few sample haiku:

“In juxtaposing two startling images or quickly shifting moods, a haiku captures the element of surprise and the tension of the unexpected,” writes Kirschner. An implicit promise of what is to come? Two of the few strong poems:

     the road to Jerome:
     sharp mountain curves
     in shade and sun

     startled
     the ducks flutter apart
     rejoin

Hardenbrook perceived the sequence of the poems, but in a curious, unintended fashion: ”With a few senryu mixed in, the haiku are arranged seasonally in two sequences. Thus the brevity of each season is disappointing, the collection too small to cover two full years.”

Hardenbrook identified as her favorite poem of the collection as this one, which has undoubtedly become Kirschner’s signature haiku:

  one seated
at a table for two —
  shadows lengthen2

The year 1999 was the occasion for members of Chi-ku, the Chicago-area Haiku Group, to host the biennial Haiku North America conference, this year at Northwestern University in Evanston, Ill. Kirschner served on the organizing committee with primary responsibilities for the program of presentations and events. He also monitored a panel of leading haiku editors and publishers.

Cover of
Inside Out: Haiku and Dreams, 2003

Joe Kirschner’s last book, Inside Out: Haiku and Dreams, published in Evanston by Deep North Press in 2003, was not a collection of the poet’s haiku, but rather compendium of dream haiku that he had solicited from friends and colleagues together with commentary or interpretation by the dreamers themselves. The book was a direct result of Kirschner’s own dream work and independent study at the C. G. Jung Center for Psychotherapy in Evanston. One chapter, titled Snakes and Other Surprises, contained the following introduction by Kirschner and haiku plus explication by Ohio-based haiku poet Stephen Amor:

Snake imagery resonates powerfully in human culture. The image in Kekule’s dream, a snake swallowing its tail, is called an uroboros and is found in diverse cultures. It suggests renewal and oneness and therefore can be a potent religious symbol for evoking the divine. 

          a snake stirs
          at a bend in the path;
          gathering darkness


Several months after having this dream, I commissioned an artist who specializes in personal mandala paintings to do a mandala for me. While she meditates on one of my photos, the snake image keeps returning to me on an inner level. I also see snakes in the outer world as I contemplate the process. The image of a snake grasping its own tail figures prominently in the rim of my mandala.

H. F. Noyes—who identified himself rather modestly as ”retired psychologist and active haiku poet and theorist“—provided a back-cover blurb for the book:

David Grayson provided a substantial review of Inside Out in Modern Haiku (34:3, Autumn 2003) and pointed to a number of engaging aspects of the book. For example:

According to Kirschner, dreams have a long history in haiku. For instance, Bashō mentioned dreams in at least fifty haiku. To explore this connection, Kirschner solicited dream haiku, along with commentary to provide context, from more than three dozen haiku poets.

night chill—
the hand on my thigh
is my own

Lee Gurga’s vivid senryu has the same ingredients that make dreams powerful: strong imagery, and the element of surprise. As Kirschner declares, “No surprise? No poetry!”

A Mini-anthology of Joe Kirschner’s Haiku and Senryu

Most of Kirschner’s haiku, especially in the earlier years, were composed on traditional nature themes. 

cottonwood fluff
moves every which way;
an unanswered letter3


       at dusk
tree limbs fade …
    street noises4


 cicadas
nibbling
  away
  night5


I listen in vain
for the sound of crickets
harvest moon6

One of Kirschner’s favorite devices was to employ the formula: “this is what happened; but I wished or expected it to be otherwise”:

awakened by thunder
rain beats on my door —
not you7

His favorite flowers were surely the crocus and the bluet:

melting snow
first crocuses
and one purple mitten8


spring bluets
along a cobble-stone path —
cul-de-sac9

He was also fond ofsenryuand had a well-developed sense of irony:

columns with
astrological carvings —
Yerkes Observatory10


daffodils
bend in the cold;
Holy Redeemer Church11


John Cage concert
I sit in silence12


in the next stall
doing his business …
on the cell phone13

He wrote most of his haiku in the café near Northwestern University, and that place, as well as the other patrons and passers-by, often figured in his work:

jazz singer wails
in the empty coffeehouse —
spring break  (Shiki Internet Kukai, March 29, 1998.))


hot and muggy
the gap widens
between pen and paper14


writer’s block …
a sparrow waits
for crumbs15

Kirschner regretted that he only retained a few words of his ancestral language, especially when he traveled to Budapest with his close friend Beverly Bloom to listen to, study, and play the quartets of Béla Bartók.

settling fog
an airport announcement …
in Hungarian16



cloudy Mother’s Day …
I make chicken paprikás
from her recipe17

Joe Kirschner was not particularly concerned about aging. In fact, he was fit and physically active well into his eighties, so this wistful haiku of his is somewhat unusual:

how quiet the first snow … turning eighty18

His last published haiku is believed to be:

autumn dusk
the hum of a tuning fork
fading19

Sources / Further Reading

Kirschner’s Publications

Books and chapbooks

  • Kirschner, Joseph. Edges. Evanston, Ill.: Deep North Press, 1999. 36 haiku.
  • Kirschner, Joseph. A Haiku Dozen. Evanston, Ill.: Deep North Press, April 9, 2000. Broadside gift edition for Haiku North America, 2000; 12 haiku.
  • Kirschner, Joseph. A Ribbon of Silver Thread: Twenty Haiku: 1985–1989. Johnstown, Ohio: Little Stone Books, 1995.
  • Kirschner, Joseph, Bill Lerz, and Charles Trumbull. 3 x 3 x 3: A Triple Rengay Sequence. Evanston, Ill.: Deep North Press, 1999. 9 rengay in a 6-fold sheet.
  • Kirschner, Joseph. Inside Out: Haiku and Dreams. Evanston, Ill.: Deep North Press, 2003.
  • Kirschner, Joseph, Lidia Rozmus, and Charles Trumbull, eds. A Travel-worn Satchel: The Haiku Society of America Members’ Anthology 2009. New York: Haiku Society of America, 1st edition, 2009.

Articles, reviews, and conference presentations on haikai

  • Kirschner, Joe. “Haiku Butchers.” Chicago Reader 30:32 (May 10, 2001): https://chicagoreader.com/news-politics/haiku-butchers/. Critique of Sasha Frere-Jones, “Haiku for Eminem” Chicago Reader, May 3, 2001.
  • Kirschner, Joseph. “Book Review: The Haiku Apprentice: Memoirs of Writing Poetry in Japan by Abigail Friedman.” Modern Haiku 38:1 (Autumn 2007), 85–87. 
  • Kirschner, Joe, George Swede, Paul Watsky, and Joel Weishaus. “The Psychology of Haiku.” Panel discussion at Haiku North America 2005—Port Townsend, Wash. 
  • Kirschner, Joseph, moderator. “Editors and Publishers Panel.” Haiku North America—Evanston, Ill., July 11, 1999. Discussion by Randy Brooks, Jim Kacian, Robert Spiess, and Michael Dylan Welch.
  • Kirschner, Joseph. “A Haiku Bridge from the Unconscious: Using Dreams in Haibun.” Presentation at Haiku North America—Winston-Salem, N.C., August 17, 2007.
  • Kirschner, Joseph. “Showing, or Displaying: The Bejeweled Finger Syndrome.” Presentation at Haiku North America 2009—Ottawa, Ont., August 6, 2009.
  • Kirschner, Joseph. “Third 2003 HSA Quarterly Meeting, Evanston, Ill., September 19–21, 2003, HSA Newsletter, 18:4(November 2003).

Haiku and senryu in anthologies and articles by others

  • Ball, Jerry, Naia, and Wendy Wright, eds. Bits of Itself: Haiku Society of America Membership Anthology 2002. New York: Haiku Society of America, 2003. 1 haiku.
  • Beary, Roberta, and Ellen Compton, eds. Fish in Love: Haiku Society of America Members’ Anthology 2006. No place [New York]: Haiku Society of America, 2006. 1 haiku.
  • Brooks, Randy M., and Lee Gurga, eds. A Solitary Leaf: 1996 Members Anthology, Haiku Society of America. Decatur, Ill.: Brooks Books for the Haiku Society of America, 1997. 1 haiku.
  • Colón, Carlos, ed. Voices and Echoes: Haiku Society of America Members’ Anthology 2001. New York: Haiku Society of America, 2001. 1 haiku.
  • Dancy, Carolyn Coit, ed.. This World: Haiku Society of America 2013 Members’ Anthology. New York: Haiku Society of America, 2013. 1 haiku.
  • Forrester, Stanford M., ed. Seed Packets: An Anthology of Flower Haiku. Windsor, Conn.: Bottle Rockets Press, 2010. 1 haiku.
  • Gallagher, D. Claire, ed. Crinkled Sunshine: Members’ Anthology 2000, Haiku Society of America. New York: Haiku Society of America, 2000. 1 haiku.
  • Gay, Garry, ed. Light and Shadow; 1998 Members’ Anthology. New York: Haiku Society of America, 1998. 1 haiku.
  • Kacian, Jim, and the Red Moon editorial staff, eds. White Lies: The 2008 Red Moon Anthology of English-Language Haiku. Winchester, Va.: Red Moon Press, 2009. A haibun, “Pegged.”
  • Kacian, Jim, and the Red Moon editorial staff, eds. Inside the Mirror: The 2005 Red Moon Anthology of English-Language Haiku. Winchester, Va.: Red Moon Press, 2006. 3 haiku.
  • Kirschner, Joseph, Lidia Rozmus, and Charles Trumbull, eds. A Travel-worn Satchel: The Haiku Society of America Members’ Anthology 2009. New York: Haiku Society of America, 1st edition, 2009. 2 haiku.
  • Mason, Scott, ed. Sharing the Sun: Haiku Society of America Members’ Anthology 2010. No place: Haiku Society of America, 2010. 1 haiku.
  • Missias, A. C., ed. Intersections: 1999 Members’ Anthology Haiku Society of America. New York: Haiku Society of America, 1999. 1 haiku.
  • Post, Connie, ed. Walking the Same Path (Haiku Society of America Members’ Anthology 2004). No place [New York]: Haiku Society of America, 2004. 1 haiku.
  • Stevenson, John, ed. From a Kind Neighbor: Haiku Society of America Members’ Anthology 1997. New York: Haiku Society of America, 1997. 1 haiku.
  • Takiguchi, Susumu, ed. Wild Flowers, New Leaves: A Collection of World Haiku. Oxford, England: Ami-Net International Press for the World Haiku Club, 2002. 2 haiku.
  • Welch, Michael Dylan, and Lenard D. Moore, eds. Dandelion Wind: An Anthology of Poems Commemorating the 2007 Haiku North America Conference. Sammamish, Wash.: Press Here, 2008. 1 haiku.
  • Welch, Michael Dylan, and Lee Gurga, eds. Too Busy For Spring: An Anthology of Poems Commemorating the 1999 Haiku North America Conference. Foster City, Calif.: Press Here, 1999. 1 haiku.
  • Welch, Michael Dylan, and Grant D. Savage, eds. Into Our Words: An Anthology of Poems Commemorating the 2009 Haiku North America Conference. Sammamish, Wash.: Press Here, July 2009. 1 haiku.
  • Welch, Michael Dylan, and Scott Mason, eds. Fire in the Treetops: Celebrating Twenty-Five Years of Haiku North America. Sammamish, Wash.: Press Here, 2015.  5 haiku.
  • Welch, Michael Dylan, and Billie Wilson, eds. Tracing the Fern. Sammamish, Wash.: Press Here, 2005. 2 haiku.

Print periodicals with his haiku and senryu

  • Acorn, 2000. 1 haiku.
  • Bottle Rockets, 2007, 2009. One haiku, one haibun.
  • Frogpond, 1997–2013. 6 haiku.
  • Heron Quarterly, 1997–1998. 9 haiku.
  • The Heron’s Nest, 1998–2000. 2 haiku.
  • Modern Haiku, 1998–2013. 16 haiku.
  • Persimmon, 1998. 2 haiku.
  • South by Southeast, 1999–2000. 5 haiku.

Haiku and senryu in online publications

  • Shreve Memorial Library Electronic Poetry Network (Shreveport, La.), 1999–2006. 19 haiku (reprints).
  • Per Diem Archive (The Haiku Foundation website), September 2013. 1 haiku (reprint).
  • Shiki Internet Kukai, 1997–2009. 68 entries (some original haiku, some previously published).

Reviews of Kirschner’s work

  • Grayson, David. “Inside Out: Haiku and Dreams, by Joseph Kirschner.” Modern Haiku 34:3 (Fall 2003), 98–99. 
  • “Haiku Notes: Edges.” Black Bough 14 (1999), 29.
  • Hardenbrook, Yvonne. “Edges, haiku by Joseph Kirschner.” Modern Haiku 31:1 (Winter–Spring 2000), 109–10. 
  • Hockensmith, Josh. “Books Reviewed: Edges by Joseph Kirschner / Twenty Views from Mole Hill by Lidia Rozmus.” South by Southeast 6:3 (1999), 32–33.
  • Spiess, Robert. Review of A River of Silver Thread, Modern Haiku 27:2 (Summer 1996), 91. 4 haiku.
  • Stevenson, John. “Haiga Potpourri.” Frogpond 23:1 (2000), 72–73. Joint review of Twenty Views from Mole Hill by Lidia Rozmus, Edges by Joseph Kirschner, and Barely Dawn by Jeanne Emrich.
  • Tasker, Brian. “Twenty Views from Mole Hill: The Last Haibun-ga of the Twentieth Century, by Lidia Rozmus / Edges, by Joseph Kirschner.” Blithe Spirit 9:4 (December 1999), 62. 3 haiku of Kirschner’s.
  • Trumbull, Charles. “Mendicants.” Frogpond 42:3 (Fall 2019), 97–115; reprinted in Jim Kacian et al., eds., Wind Flowers (Red Moon Anthology 2019), 156–77. 1 haiku.

Selected professional works

  • Kirschner, Joseph. “A. S. Neill and the Anarchist Tradition.” Journal of the Midwest History of Education Society 2 (1974), 22–35. 
  • Kirschner, Joseph. “Anarchism and the Free School Movement: A Shared Concern, A Shared Dream.” Unpublished paper.
  • Kirschner, Joseph. “Living at Summerhill, by Herb Snitzer.” Journal of Thought 6:3 (July 1971), 197–200. Book review.
  • Kirschner, Joseph. “Talking of Summerhill, by A. S. Neill.” Journal of Thought 3:2 (April 1968), 126–28. Book review.
  • Kirschner, Joseph. “Women and the Communal Experience: The Oneida Community, 1849–1877.” Unpublished paper dated June 6, 1979.
  • Kirschner, Joseph, ed. Background Studies for History of Education. Irvington Publishers, 1971.
  • Kirschner, Joseph. “Education as Technology: Implications for the History of an Idea.” Teachers College Record 70:2 (November 1968), 1–6. Posted on the Sage Journals website, February 1, 2022: https://journals.sagepub.com/doi/abs/10.1177/016146816807000203?journalCode=tcza.
  • Joseph Kirschner. “The Shifting Roles of Family and School as Educator: A Historical Perspective.” Jane Van Galen and Mary Anne Pitman, eds., Home Schooling: Political, Historical, and Pedagogical Perspectives. Norwood, N.J.: Ablex Publishing Corp., 1991, 137–58.
  • Joseph Kirschner,“Programed Learning: An Historical Antecedent.” The Educational Forum 32:1 (November 1967).
  • Sherman, Robert R., and Joseph Kirschner. Understanding History of Education. Cambridge, Mass.: Shenkman Publishing Co., 1976.

Activities

  • Participant, Haiku Chicago conference, October 1995.
  • Cofounder (with Lidia Rozmus and Charles Trumbull) and member, Chi-ku, the Chicago-area Haiku Group, 1996–2009.
  • Member, Haiku Society of America, 1996–2019. Midwest Region Coordinator, 2002–2008.
  • Participant, Haiku and Music: A Weekend Retreat, University of Alabama, Huntsville, March 21–23, 1997.
  • Co-organizer and program participant, Haiku North America 1999—Evanston, Illinois.
  • Participant and judge (1 of 14) from the Global Haiku Poems Competition, Global Haiku Festival, Decatur, Illinois, 2000.
  • Co-organizer, Third 2003 HSA Quarterly Meeting, Evanston, Ill., September 19–21, 2003.
  • Co-judge (with Charles Trumbull), Anita Sadler Weiss Memorial Haiku Award, 2008.

Contests and Awards

  • International People’s Haiku Contest, 1997–98, winner.
  • Shiki Internet Haiku Contest, 1997 runner-up.
  • International People’s Haiku Contest 1997–98, winner.
  • Shiki Internet Kukai, 1/11/98 (free-format section, theme: candle), 1st Place.
  • Shiki Internet Kukai, 4/26/98 (free-format section, theme: sheets), 3rd Place (tie).
  • Shiki Internet Kukai, 8/17/98 (kigo section, theme: spider), 3rd Place.
  • Shiki Internet Kukai, 10/4/98 (kigo section, theme: yellow leaves), 3rd Place.
  • Shiki Internet Kukai, 12/6/98 (kigo section, theme: frost), 1st Place.
  • Shiki Internet Kukai, 8/22/99 (kigo section, theme: shooting star / meteor), 3rd Place.
  • Shiki Internet Kukai, 10/3/99 (kigo section, theme: acorn), below 3rd Place.
  • Shiki Internet Kukai, 2/27/00 (free-format section, theme: coffee), 3rd Place.
  • Shiki Internet Kukai, November 2002 (kigo section, theme: deer), 4th Place.
  • Shiki Internet Kukai, February 2003 (kigo section, theme: hummingbird), 3rd Place (tie).
  • The English Tanka & Haiku on Water, River, Lake and Sea Contest, 2001, Runner Up (1 of 40).

Author: Charles Trumbull

Notes:

  1. From the review in Modern Haiku 27:2 (Summer 1996), 91. [↩]
  2. Originally published in Randy M. Brooks and Lee Gurga, eds., A Solitary Leaf (Haiku Society of America Members’ Anthology 1996). [↩]
  3. 56th Ueno Bashō Festival Contest, 2002. [↩]
  4. Heron Quarterly 1:4 (October 1997). [↩]
  5. Frogpond 20:2 (September 1997). [↩]
  6. Modern Haiku 38:1 (Winter–Spring 2007). [↩]
  7. Ueno Bashō Festival Contest, 1996. [↩]
  8. Acorn 4 (Spring 2000 [↩]
  9. Heron Quarterly 2:2 (April 1998). [↩]
  10. Frogpond 21:1 (1998), 53. [↩]
  11. Kirschner, A Haiku Dozen (2000). [↩]
  12. Kirschner, Edges (1999). [↩]
  13. Modern Haiku 34:1 (Winter–Spring 2003). [↩]
  14. Modern Haiku 40:1 (Winter–Spring 2009). [↩]
  15. Frogpond 36:1 (Winter 2013). [↩]
  16. Kirschner, Rozmus, and Trumbull, eds., A Travel-worn Satchel, 2009. [↩]
  17. Modern Haiku 42:3 (Autumn 2011). [↩]
  18. Modern Haiku 42:1 (Winter–Spring 2011). [↩]
  19. Modern Haiku 44:2 (Summer 2013). [↩]
Updated on August 16, 2023
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