Online internet courses by Call of the Page

Are you interested in a Call of the Page course? We run courses on haiku (beginner and intermediate, and advanced). We also run workshops and courses on tanka; tanka stories/prose; haibun; shahai; and other genres.

Please email us at: admin@callofthepage.org
We will let you know more about these courses.

Call of the Page (Alan & Karen)

Thursday, September 21, 2017

Tanka Prose aka Tanka Story - prose narrative with tanka 5-line lyrical poems

Tanka Story
A small tanka prose (tanka story) description:

Tanka are five line poems well-grounded in concrete images yet infused with lyric intensity, with an intimacy from direct expression of emotion tempered with implication. They contain ingredients of suggestion colored by shade and tone, setting off a nuance more potent than direct statement. Almost any subject, explicitly expressing your direct thoughts and feelings can be contained in this short form poetry.

Tanka Prose is similar to the prose of the haibun, but a little more subjective perhaps, and emotive, as influenced by the tanka poems themselves. 


EXAMPLES:



Steps

Not just any steps, but Covent Garden underground tube station when the lifts don’t work.

It’s not just the slow rumble of different sole thicknesses
absorbing the trains as we climb:

It’s more than humanity, it’s those bloody steps,
those stairs are in love with us, they must be, don’t you think?

the moon
at my shoulder
a child cycles
across the Sea 
of Tranquility


Alan Summers
Publication Credit: Blithe Spirit 26.2 (May 2016)


Note: 
Covent Garden Tube Station:

The stairs and steps of Covent Station:

The station itself:
https://en.wikipedia.org/wiki/Covent_Garden_tube_station



***

Sky Fishing 

When there are fish that drop from the sky, they are not necessarily dead, just visiting.

I know this woman who waits for fish to die. Mary is not mad; she is just not a fish killer. 

She tells me she hangs around for them to dive
from cars, aeroplanes, or from tankers in busy shipping lanes. 

Once a fish fell off a cliff, and Mary was driving
an open top bright green Volkswagen round and round. 
There’s always a plate of salad on the passenger’s side.

I look even now to see if there’s a fish flapping in a lay-by. 
A soft-top car isn't good in a city full of crime but it can be good for fish dropping in. 

this black hole
in my coffee
I fold the dirty laundry
back into myself
window-rattling a moon


Alan Summers
Publication credit:  Blithe Spirit Vol. 27 No. 2 May 2017


Wednesday, September 20, 2017

ekphrasis - poetry and art, and when haiku met art



      our dialogue as a haiku poet with art


There are many ways into writing about a particular artwork.

For instance, what memories, from childhood or young adulthood etc... are evoked by a certain painting or other artwork you saw somewhere?

If it's a tanka there is more than room enough to add the title of a painting, and maybe the artist's name, and to a certain degree that can also be done in a haiku.

e.g.

Monet’s Haystacks
a group of crows tug
at twilight

Alan Summers
Publication credits: Asahi Shimbun (Japan, 2010)

And

Monet’s pain–
the shadows of haybales
lengthening the sunset

Alan Summers
Publication credits: 
The Bath Burp: Poetry, Music & Arts Monthly Issue No. 10 (2012)


See Monet's haystacks:



van Gogh’s wheatfield
the width of a hand fills
with crows

Alan Summers
Publication credits: 
The Bath Burp: Poetry, Music & Arts Monthly Issue No. 10 (2012)

Wheatfield with Crows

Auvers-sur-Oise, July 1890 Vincent van Gogh (1853 - 1890) oil on canvas, 50.5 cm x 103 cm 



4-line haiku from a talk at Victoria and Albert Museum about Japanese art, and in particular netsuke (pronounced 'net-ski).

the blue
of the aubergine
a spider is caught
in the netsuke


Alan Summers
Publication credits: Snapshots Seven (2000)

The aubergine netsuke at the V&A:



netsuke...
the hare with amber eyes
jumps back in again

Alan Summers
Publication credits: Mainichi Shimbun (Japan, May 2011)



Auvers-sur-Oise
the crows changing
into their colours

Alan Summers 


Siena rooftops
sketching the shapes
in my mind


Karen Hoy
Yomiuri Shimbun, Go-Shichi-Go Haiku in English / Using poetic color in haiku  (Japan, 2004)

The rooftops of Siena, Italy:


Madame Camellia
a teabag discarded
in autumn leaves

Karen Hoy
Publication credit: 
Blithe Spirit Vol. 27 No. 1 (February 2017) ISSN 1353-3320

La Dame aux Camelias aka Madame Camellia



Description by Karen Hoy:
I was walking home on an autumn day, and noticed that someone had chucked a teabag into the fallen leaves accumulated where the flagstone pathway met people’s front garden walls.  I had to think for a moment about why the image piqued something in me – it was a sludgy brown colour among autumn shades – it didn’t stand out.  

But then I realised that the tension was between these exotic cast-off leaves [tea being the dried leaves of a camellia bush, I believe] and the local autumn leaves.  And I had the image of some tragedy, of a decline, but without a loss of self-respect or dignity.  A sort of forbearing.  

I must have been influenced by the title Madame Butterfly too.  Also the film “La Dame aux Camelias” where the heroine has tuberculosis (which I think subconsciously linked to the dampness of the teabag – I can’t remember whether the autumn leaves were damp or dry, I think perhaps they were in-between).




EXTRACT 
from the Afterword by Alan Summers for Ekphrasis Between Image and Word

When we attempt ekphrastic forays, into the landscape of painting, haiku could be seen as two brushstrokes frozen in mid-air. Or, using another analogy, while attempting to capture the energy of painting, it’s not unlike the techniques made famous in The Matrix movie; freeze frames that an actor moves around, at will, while everyone and everything else is an individual ‘still life,’ or an intimate and suspended panorama.

When I write about a painting through my own poetry I am both telling a story, but also attempting to tell a story, all at the same time. 

[T]ravel the paintings, hear the echoes in between, and tell your own story too. 

Afterword extract from Alan Summers from the forthcoming book:
Ekphrasis Between Image and Word
Paintings by Maria Pierides. Haiku responses by Stella Pierides
Foreword by Robert Lamoon 
Afterword by Alan Summers
Fruit Dove Press 
ISBN 978-3-944155-06-7

Friday, September 15, 2017

Lost Paper: flash: BLUE — short-shorts on a theme

Lost Paper: flash: BLUE — short-shorts on a theme: It’s a blue-grey day, pointillism of trees shivering in the wind and driving rain. It’s late, I’m tired, and I just want a train to get me h...