An African and African-American literary journal, publishes original works by and critical studies of black writers worldwide. This journal offers a rich mixture of fictions, poetry, plays, critical essays, cultural studies, interviews, and visual arts.
Caffeine Destiny invites contributions of poetry, fiction, essays, book reviews and artwork. Poetry has the best chance of being published.
A few Native American poets have explored haiku as well. Writer and scholar Gerald Vizenor has found a relationship between the Chippewa (Ojibway, Anishinaabe) dream song and the Japanese haiku that he was exposed to when he was a soldier in the Far East. He has plumbed these connections in several books of lyrical haiku beginning in 1964. The verses of poets such as Raven Hail (Cherokee), Nora Marks Dauenhauer (Tlingit), and Mary TallMountain (native Alaskan) show the poets on intimate terms with nature and employ the terseness and structure of traditional haiku to bring home the spiritual condi-tion of their people. William Oandasan (Yuki) also published a number of haiku collections.
The Cafe Review has never sought, nor received any grant or foundation money. We have never had any affiliation with an academic institution. This journal came from and maintains its grass roots beginnings. Our support comes from one source - kind, educated people with a genuine interest in some of the world's best poetry - people who look to keep the idea of quality small press poetry from extinction.
For forty years, Canadian Literature has explored and celebrated the best Canadian writers and writing. Each issue contains articles on writers and books -- with some issues devoted entirely to special topics together with new poems and an extensive section reviewing recent and current books.
In just over 100 years, haiku, a Japanese genre perched somewhere between poetry and spirituality, synthetic but enormously popular on its home ground, has been discovered by the West, translated, imitated, and dare we say it? mastered and integrated into Western culture. Early students of Japanese haiku, notably Blyth and Henderson, fretted over whether haiku could be transplanted in foreign soil. Early practitioners such as Yasuda and Hackett ably demonstrated that it could be done. Along the way the haiku was enormously influential to other writers. Haikus succinctness, objectiveness, concreteness, and minimalist approach to poetics were a tonic to poets as diverse as the Imagists, the Beats, and Native Americans. The spiritual depth of haiku continues to challenge scholars even while the simplicity and directness of these short verses made the genre immediately popular among a broad segment of the American public. This popular aspect has, in turn, led to a flowering of English-language haiku worldwide, the subject of a future installment of this long essay.
Shiki, the great reformer and revivifier of Japanese haiku, is the subject of an excellent study by Janine Beichman, , and a sampling of Shikis haiku and tanka was collected and translated by Burton Watson. Harold J. Isaacsons highly idiosyncratic collection, , contains so many distractions in the form of asterisks and Japanese words imbedded in the haiku that the pleasure of reading the poetry is compromised. The finest survey in English of the development of modern haiku in Japan is found in the Poetry section of Donald Keenes 1984 two-volume survey of modern Japanese literature, . About modern and contemporary Japanese haikuists overall, however, there has been a dearth of biographical and analytical works in English, although a recently in the West a number of book-length collections of works by these poets have appeared.
Ontario Review publishes original fiction, poetry, personal essays, drama, photographs, graphics, and interviews with prominent contemporary authors.
The Notre Dame Review is a magazine of contemporary American and international fiction, poetry, criticism and art. thier goal is to present a panoramic view of contemporary art and literature - no one style is advocated over another. They are especially interested in work that takes on big issues by making the invisible seen, that gives voice to the voiceless - work that gives message form through aesthetic experience.
The establishment of the American Haiku Archive at the California State Library in Sacramento provided for the first time a focal point and central repository for the American haiku movement. The inauguration of the archive was celebrated in ceremonies on July 12, 1996. It is dedicated to the collection, preservation, and promotion of all haiku and related poetry as a vital component of literature in the English language. A prominent American haiku poet has been selected each year as honorary curator.
Although produced in the Scottish Highlands, Northwords shuns provincialism - preferring to focus on how the universal arises from the particular to create an original and fresh literary magazine. A magazine which features book reviews and interviews alongside some of the most exciting poetry and fiction writing to emanate from the 'North'.
Publishes fiction, poetry, and essays, and accepts submissions of art work for cover and inside full-color gallery section. Named by Writer's Market as one of their Top 50 Short Story Markets.
Stephen Addiss (with Fumiko and Akira Yamamoto) issued three charming books of translations (1992), (1996), and (1998) that include the Japanese original verses as well as marvelous sumi-e illustrations of his own. Just at the time he was named poet laureate of the United States, Robert Hass came out with a book in the Ecco Presss The Essential Poets series, , so it is probable that haiku registered a small blip on Americas literary radar in 1994. The book contains prose works and haibun by the three Japanese masters, as well as essays and explanations by Hass. Another prominent West Coast poet, Sam Hamill, published his collection of Issas haiku, , in 1997, in 1999, and collections of multiple Japanese masters, (1995) and (2000). Two other works that should not be overlooked are Lenore Mayhews (1985) and by Makoto Ueda (1983), especially for its chapters on modern poets Shiki and Seisensui.