Gabriele Hartmann, bon say publisher

of the same blue - Haiku 2016 part II

Year of publication: 2017

2017 in the bon say publishing house
Softcover, ring binding, Din A6 landscape, 100 pages, ISBN 978-3-945890-19-6, € 12,50
only available from bon-say-Verlag

Capacity:

Further information

Text samples, tables of contents, bibliographical information, sources of supply (not all elements available at the same time)

Haiku 2016 Part 2 by Gabriele Hartmann - according to the respective publication - also with English translation

review

Rudiger Jung writes:

I like this so much about Gabriele Hartmann's haiku that she attaches her quiet, poetic question marks to what is common and unchallenged:

Century summer
someone remembers

Who has this high waiting for such a word? Among the German-speaking haiku poets, at most, Gottfried W. Stix, who could rightly title one of his last books: "In the light of a hundred brittle years". Memory - an explosive issue in the constant presence of haiku:

earlier
she says
he takes off his glasses

Taking off your glasses and closing your eyes may result in remembering, a silence of the outer images, which awakens the inner, preserved ones. But the paradox also has its own wisdom. Taking off your glasses can mean: "seeing worse", certainly. But: perhaps removing the glasses is also justified when it comes to the time before the glasses and their necessity? Opinions and preferences can diverge - for example between equality and change:

rusty runners
everything is, he says
just like always

The familiar seems to play a role in the event of a conflict - as a retreat?

thick air
I open my book
in the old place

Literature as a retreat? Especially in a short poem form that knows its nature's origins? A bland idyll that doesn't pull:

front gardens
two confess
their hatred

beheaded
of the rector
Irises

Pouring out the child with the bath won't bring it. There is already that nature, natural life can give a piece of peace:

shorter days
he cuts the apples
farmer style

Of course, nature has its own laws, above all the impermanence, which has given Japanese poetry a slight melancholy:

metamorphosis
their dolls
bear grief

The metamorphosis of the butterflies underpins a very special picture of the farewell: the imago, the fully developed insect, has stripped off the pupa shell, spreads its wings to dry, flies away. The doll's shell remains, is no longer life, just a legacy:

As touching as it may be: the normal alternation of becoming and passing away does not touch the danger that the entire environment is exposed to in the Anthropocene:

deserted
the glass of the barometer
broken

The future moves as far away as it has always been in the poetry of the pure present - when viewed in the light:

overcast
the distant peaks

Poetry remains - and that's where its melancholy lies! - the paradoxical endeavor to hold what cannot be held:

swirling leaves
how can i get them
hold

Since Einstein, science has known about the possibility that the linear timeline could also change its course. Why doesn't Zen-Koan have to be what sounds like Zen-Koan:

follow the course of the river
ask me
what was tomorrow

EnglishGerman

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