BOOK REVIEWS
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SASSY: A COLLECTION OF LINKED POEMS by Alexis Rotella and Carlos Colón
TAMARACK & CLEARCUT by Marianne Bluger
JUMPING FROM KIYOMIZU: A HAIKU SEQUENCE by David Cobb
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by Alexis Rotella and Carlos Colón
8 ½ X 11", paper, stapled, iii + 29 pp.;
Tragg Publications, 1998, $10.00 ppd.
Available from Carlos Colón, 185 Lynn Avenue,
Shreveport, LA, USA 71105-3523
Picture a bold black title and bright yellow
cover with a silhouette of a shapely woman on
the run in high heels, papers spilling from
her briefcase. An image that perfectly
complements title and the fast pace of
links in this collection.
When two voices blend especially well, a renga
is not only a joy to read but the resulting work
often stands out above others. Such is the case
with Alexis Rotella and Carlos Colón who are in
perfect harmony, their links fresh and surprising.
Twenty linked poems await your pleasure: renga,
experimental renga created by Alexis Rotella, a
tanka renga, and a comical poem of only three
links that will leave you chuckling. In fact,
humor is here in abundance but also moments of
beauty, sensuality, sadness. But serious moments,
like small butterflies, touch briefly before
giving way to more humor. From "Mardi Gras Parade" :
zen concert
an air guitar
slightly out of tune (CC)
"I missed you so much" he cries
then doesn't phone (AR)
midnight sprinkler
my neighbor's maple tree
dripping with toilet paper (CC)
twelve pelicans cross the sky
one for each sign (AR)
In this collection, several linked poems
consist almost or entirely of verses with
end stops. To this reader, they tend to stall
otherwise swift transitions. Much preferred
are those that flow as smooth as warm pudding,
such as the above renga. Another favorite is
the theme renga, "Sassy." A few teaser links:
SASE the prolific poet pulls another from his teetering stockpile (CC)
a stack of notes from Haiku (who think they're) Greats (AR)
in a gunny sack just outside your door my deflated ego (CC)
the crone with a long nose cackling back at crows (AR)
Alexis Rotella's brief and unusual renga
forms are here as well. Briefly, rengaccio
is a five-link poem about politically
correct, foot-in-mouth, or embarrassing
situations; rengatto is a nine-link poem
with the mention of a cat therein; rendango
consists of seven links that mentions a dance.
Instructions on how to write each of these
forms are included here.
Altogether, these frisky poems frequently
left me laughing out loud, and do so every
time I go back to this delightful collection.
The perfect antidote for whatever ails you!
– reviewed by Elizabeth St Jacques
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by Marianne Bluger
Photography by Rudi Haas, 1997; paper,
96 pp., color photos, ISBN 0-88629-293-X.
Carleton University Press, 1400 CTTC,
Carleton University, 1125 Colonel By Dr.,
Ottawa, ON Canada K1S 5B6. $27.95
(price includes 7% GST).
Who among us doesn't dream of having a
coffee-table edition of our haiku? For
Marianne Bluger of Ottawa, an
internationally known poet with twenty
years of experience as a haiku poet,
it has become a reality with this slick
11" X 8.5" book.
Among Marianne's haiku that are neatly
arranged on smooth semi-gloss pages with
ample white space between each poem, are
full color photographs by the distinguished
photographer Rudi Haas. Haas' work has
earned numerous commendations, including
the prestigious Art Directors Gold Medal
Award. Quite a team.
The book's unusual title, "Tamarack &
Clearcut," appropriately symbolizes the
positive and negative aspects of nature
and humankind as illustrated in the four
segments of this collection, each section
subtly reflecting a season: Leafsmoke,
Winter Dusk, Loam, and Early Evening Pieces.
It is also appropriate that, as in life,
these haiku lead us in a renga-like
exploration along straight, ascending,
descending and curved paths which add a
pleasing balance to this collection. On
these paths, we share Marianne's world in
and around Ottawa (the poet's birthplace
and Canada's capital city) as well as
surrounding pastoral areas.
Most of Marianne's haiku shine brightly
with clear images and gentle flowing lines.
An example from each season, beginning with
Autumn:
a scorched smell –
burnt fields in the rain
the boulders steam
with the tip of her cane
touching fresh snow
New Year's morning
a whiff of loam
and the sun on my neck
suddenly warm
in ink-dark night
resting my paddles to drift
on floating stars
Such haiku (and there are plenty)
successfully arouse the senses and
emotions, each poem speaking volumes.
And delicate images, like the following,
delight the mind's eye:
resting
on my shovel
a swallowtail
cloudy afternoon
a white chrysanthemum
just one
thin light
only the shadows
of snowflakes
But Marianne Bluger's attention is
drawn not only to the pleasantness
in life; she is very much aware of
the darker aspects of reality:
t.v. gunfire
the sleeping child's
eyelids flutter
stiffening
on frost-curled leaves
a fawn's corpse
But she usually counters with visions
of hope to remind us that even amid
devastation, life continues:
mad shadows
– a moth at the porchlight –
I grip a cold key
evening falls
through his drowned grove
a beaver glides
a maple key
spiraling into the gorge
where a Chevy rusts
While the author shows deep compassion
in most of her work, it's unfortunate
that a few haiku come across as lacking
sensitivity, which I have no doubt is
unintentional. For example, "bald from
chemo/my friend Diana/a laughing Buddha"
Also, had "dress clinging/sandals in hand
– I walked/through the warm rain home"
been presented in the present tense, I
feel it would be more effective. Other
times, the poet seems to try too hard,
as in "all night/the spring rain/soaking
my dreams."
For the most part though, Marianne
Bluger's haiku are tremendously satisfying
and rich in content. Rudi Haas' splendid
close-up and scenic photographs, rather
than relating directly to the poet's work,
show us instead other haiku (in pictures).
Together, both artists create a special
kind of symphony that surely will be
appreciated for years to come.
in a dark window
Dad's pale face
watching our bonfire soar
– reviewed by Elizabeth St Jacques
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by David Cobb
Illustrated by Charlotte Smith. 4 X 6,
perfectbound, 96 pp. 1996.; IRON PRESS,
5 Marden Terrace, Cullercoats, North Shields
Tyne & Wear, NE30 4PD, UK. £ 4.99
It is safe to say that David Cobb of
North Essex, England is a prolific haiku
poet. Published in twelve countries –
in no less than eight languages –he is
the author of four books. His haiku song
cycle Images from our Natural Path
with music by Colin Blundell, had the honor
of being performed in 1994 at the 2nd
International Haiku Festival in Romania.
David helped to establish the British
Haiku Society in 1990 and co-edit IRON
PRESS' Haiku Hundred, 1992.
This hand-sized volume with a scarlet and
pale lavender glossy cover and matching
lavender flyleaf is a joy to the eye and
the touch. Inside, two poems, with plenty
of white space between, appear on each page
and are framed in a thin black border. You
will find a feast of crisply printed haiku
– more than 160 – on fine white paper that
resembles quality parchment. Exquisite black
ink drawings by Charlotte Smith embellish
this already impressive book to provide a
complete work of art.
On opening this collection, we find some
interesting history about this collection's
unique title, which is a Japanese euphemism
for "taking a risky decision." David
judiciously associates the phrase with the
writing of haiku and life itself.
Consequently, this collection revolves
"around seasons of the human cycle rather
than natural seasons."* Experienced enough,
this poet does not equate "spring to youth,
winter to old age", etc.; instead seasons
here reflect "something of the 'rise and
fall"# of events during a lifetime. Thanks
to David's clear vision, all of this
makes for a unique and memorable journey.
While I have enjoyed David Cobb's haiku in
various publications, this is the first time
I have read a body of his work and he does
not disappoint. The smooth rhythms, rich
language and fresh imagery in most of these
poems as well as the emotion they evoke are
impressive. Consider the following:
in the garden shed
a screw turned tighter
winds in a web
pacing the streets
for the tenth time passing
that scrunched eggshell
egg-and-spoon –
only the Down's syndrome girl
cheats without blushing
couple aged eighty
carrying a dozen eggs
between them
Understandably, David's haiku about war
and death are deeply moving, but be
prepared – he can draw a warm smile from
you when you least expect:
after the all-clear
not remembering the bombs
only the kiss
day of his funeral
still inviting messages
after the tone
While some humor appears in this collection,
don't expect to find it in abundance or
evoking ha-ha-ha's. Instead, most humor
urges a smile, although sometimes you may
get the impression the poet is trying too
hard. An example of each:
lightning bolt –
the fax machine issues
a blank receipt
incontinence
afflicts him, yet he goes on
tying up sweet peas
A few haiku here will make you shudder,
but David Cobb is not one to walk through
life with one eye shut:
mauled blackbird
with its last pulse
squirting lime
Wednesday market –
the smell of onions
in the mackerels' eyes
As he stated in a letter to me ,
"I do not, as you see, write for the
squeamish!" Indeed, but unlike certain
modern others who write raw-reality haiku,
David does not dwell on it, but finds more
beauty, love and gentleness in life.
Overall, Jumping from Kiyomizu provides a
most satisfying read. The sequence holds
interest throughout, moving along smoothly,
the majority of poems being well-crafted.
Highly recommended.
· Personal letter, Sept. 21, 1995
# Personal letter, Dec. 6. 1996
JUMPING FROM KIYOMIZU was a Haiku Society
of America 1996 MERIT BOOK AWARD winner.
– reviewed by Elizabeth St Jacques
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