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NEW release—’hedgerow #121′

hedgerow #121 (autumn 2017) edited by Caroline Skanne

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‘hedgerow’ is a quarterly short-poetry journal dedicated to publishing an eclectic mix of new and established voices across the spectrum of the short poem, with particular attention to the constantly evolving forms of haiku, senryu and tanka. Read more…

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NEW release—’hedgerow #123′

hedgerow #123 (spring 2018) edited by Caroline Skanne

‘hedgerow’ is a quarterly short-poetry journal dedicated to publishing an eclectic mix of new and established voices across the spectrum of the short poem, with particular attention to the constantly evolving forms of haiku, senryu and tanka. 

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NEW release—’hedgerow #122′

hedgerow #122 (winter 2017) edited by Caroline Skanne

‘hedgerow’ is a quarterly short-poetry journal dedicated to publishing an eclectic mix of new and established voices across the spectrum of the short poem, with particular attention to the constantly evolving forms of haiku, senryu and tanka. 

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NEW release—’wild voices, vol 2: an anthology of short poetry & art by women′

wild voices, vol 2: an anthology of short poetry & art by women edited by Caroline Skanne

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Editor’s Note

The second volume of wild voices is a direct response to the success of the first volume published in 2017. In the vein of its predecessor, this year has collected over 70 contemporary voices in short-poetry and art exploring aspects of women’s experience. It is by no means a definite collection attempting to map out any leading names, but rather aims to provide a ‘snapshot’ of the short poem and closely related art, interpreted by women poets and artists around the world. The submissions received shaped this volume.

The call for submissions for this venture was prompted by the international women’s day in 2016. With a background in anthropology and gender studies, my drive as an editor was to include work across the artistic community of the short poem, to provide a sample of expressions across the spectrum. The result is a celebration of not only the short poem and its many variations (ranging from haiku, senryu, tanka and closely related short-form styles, to that of the ‘micropoem’ and free verse poetry more broadly) but also, of the female voice in poetry and art, so often neglected or marginalised. The wild voices volumes attempt to somehow help readjust the imbalance, nothing more, nothing less.

I hope you will enjoy this year’s helping of poetry and art, by some of the most exciting voices of the short poetry community, ranging from the experienced to those new on the scene.

 

List of Contributors:

susan beth furst

Mary Jo Balistreri

Jill Lange

Kelly Sauvage Angel

Penney Knightly

Julie Warther

Eufemia Griffo

Olivia Dresher

Trish Hopkinson

Debbie Strange

Marilyn Fleming

Louise Hopewell

Pris Campbell

Helen Buckingham

Christine Stoddard

Rachel Sutcliffe

Erica Goss

Joanna Ashwell

Pamela A. Babusci

Jessica Malone Latham

Caroline Skanne

Margaret Chula

Nina Kovačić

Iliyana Stoyanova

Claire Vogel Camargo

Kerstin Park

kjmunro

Maeve O’Sullivan

Marianne Paul

Susan Burch

Elizabeth Spencer Spragins

Jan Benson

Ann Malaspina

Joy McCall

Robyn Cairns

Maria Laura Valente

Mary Gunn

Gaia Woolf-Nightingall

Margaret Rutley

Sidney Bending

Barbara Tate

Amy Losak

Julie Bloss Kelsey

Pat Davis

Carole Johnston

Leigh Cheak

Debbi Antebi

Sonja Johanson

Karen Harvey

Shloka Shankar

Barbara Kaufmann

Mary Kendall

Leslie Bamford

Gail Oare

Deborah P Kolodji

Martha Magenta

Lee Nash

Tiffany Shaw-Diaz

Jennifer Hambrick

ai li

Kath Abela Wilson

Jenny Ward Angyal

 

NEW release—’hedgerow #120′

hedgerow #120 (summer, 2017) edited by Caroline Skanne

‘hedgerow’ is a quarterly short-poetry journal dedicated to publishing an eclectic mix of new and established voices across the spectrum of the short poem, with particular attention to the constantly evolving forms of haiku, senryu & tanka. The current issue features beautiful examples of haibun, cherita, shisan, rengay, rengay art, haiga, tanka art & more. 

 

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NEW release—’between light & shadow’ by Debbi Antebi

between light & shadow by Debbi Antebi

A collection of haiku and senryu.

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Praise

Debbi Antebi produces social observations we can recognise in ourselves at least once in our lives, and if we are honest, possibly several times. The senryu are some of the very best I’ve read, and have that rare added essence of haiku at times. At other times the author includes distinctive senryu aspects into her haiku, absorbing qualities of both genres.

Reading her senryu (a type of comic verse) they are superior to one level jokes, or anecdotes, that we might only read once, enjoy, and move on without revisiting. Her senryu are incredibly touching and blisteringly honest, yet reassuringly comforting and necessary in times of need.

Her haiku merge with a touch of senryu making them also highly re-readable, and not just once or twice more, but several times over the years. One particular haiku, with a senryu flavour, is one of the finest examples of how you can add an aspect of one genre to another: It begins with falling leaves, and is one I will keep close to my heart.

I’ve already read many many times each poem, be it senryu or haiku, from running out of words, possibly one of the most contemporary and insightful senryu I’ve ever read, to family dinneralone at home, to catching up, and moving day as well as visiting home. I can’t reveal these poems because I want you to have that honour.

—Alan Summers, President, United Haiku and Tanka Society, Co-Founder, Call of the Page

I took the greatest pleasure in reading this collection. Debbi Antebi’s poems speak to me. They move me. They please me. She sheds her attachments in the very first poem, and that makes me want to shed mine too.

Debbi invites us to join her on a life journey, accompanying her as she performs ordinary daily chores, and celebrating with her as she experiences transcendent moments of self-discovery. Her poems are both subtle and bold; delicate and powerful; intimate and accessible. From the first page I felt I was in the presence of a friend, happy to travel along with her, between light and shadow.

 —Zee Zahava, Editor of brass bell: an online haiku journal

Debbi Antebi has penned for the reader some moments built of light. It is that same lightness that Basho spoke of as being integral to his own poems. Her poetry, just as bits of sand do, glimmers and shines off the pages with ever changing meanings. This is a book of small poems that pulls you with each reading into a whole painting made of poetry. It is, in short, a book you will read again and again for the sheer joy of discovering the many nuances on each page.

—Michael Rehling, Editor of Failed Haiku

NEW release—’singing into darkness’ by Joy McCall and Liam Wilkinson

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singing into darkness by Joy McCall and Liam Wilkinson

A collection of responsive tanka and ryuka triptychs.

 

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Praise

Okay.  The “mostly quiet and hermit-like scribbler of small poems” from South Yorkshire and the hedgerow, woods and river witch of Norwich have teamed up. I’m ready. I’ve met these two before. This will be good, I think, opening their new book, singing into darkness, totally unprepared to be stunned! This is synergy at its best, when the sum of the whole is greater than its parts. This is no mere mingling of two fine voices, this is a whole new song sung by a whole new and single voice.  One that will leave you half-drunk as if on acorn coffee and red wine.

—Larry Kimmel, editor of Winfred Press and co-editor of the cherita: your storybook journal

The poet Marianne Moore said poetry is not just speech but rather an attempt to listen and respond. Herein lies the beauty of Joy McCall and Liam Wilkinson’s singing into darkness. Something magical occurs. Their poetic collaboration renders poetry all the more inclusive and true. Here are poems that deserve to be read and re-read. singing into darkness is a gem of a book to be grateful for.

—Lynda Monahan, author of A Slow Dance in the Flames, What My Body Knows and Verge.

It was my pleasure to introduce Liam Wilkinson and Joy McCall to each other. Both English, both steeped in the localness of their lives, yet with souls open to other worlds both material and spiritual, they have become regular correspondents. Quite often I have found their responsive sequences of tanka or ryuka in my mailbox, sometimes formally submitted for publication, and sometimes just because that’s the way poets talk. Now they have compiled a book of tanka and ryuka and published them so that anyone with an open heart and willing ear can eavesdrop upon these most intimate of conversations.  If you are a stranger, settle in comfortably because they have tales to tell you. If you are a friend, you already know you are welcome.”

—M. Kei, editor of Atlas Poetica: A Journal of World Tanka