Ariadne’s Notes: The World Poetry Café on March 14 at 1:10 PM PST on CFRO, 100.5 FM had the honour to celebrate Naomi Beth Wakan ‘s book launch and poetry readings on Tanka and Haiku. Since Naomi was not able to call in, Victor Schwartzman (our super tech) and Ariadne Sawyer, host and producer took turns in reading different segments. This was the first time that we had done this and we did our best. I learned about both Haiku and Tanka and really liked the easy to learn format and the descriptions. This show had a lot of positive responses from listeners. Poems and information below.
Naomi Beth Wakan is the inaugural Poet Laureate of Nanaimo (2013-2015) and the inaugural Honorary Ambassador for the Federation of BC Writers. She has published over 50 books, among which, her essays are in Late Bloomer-on writing later in life; Composition: notes on the written word; Bookends – a year between the covers; and A Roller-coaster ride – Thoughts on aging (all from Wolsak and Wynn), and On the Arts (Pacific-Rim Publishers), Bent Arm for a Pillow (Pacific-Rim Publishers). Here most recent books are Back and Forth (Pacific-Rim Publishers) and The Way of Tanka (Shanti Arts). Naomi is a member of The League of Canadian Poets, Haiku Canada and Tanka Canada. She lives on Gabriola Island with her husband, the sculptor, Elias Wakan.
“I am delighted to announce that my trilogy is at last complete. It covers an introduction to haiku and tanka writing for beginners. The books are “The Way of Haiku,” “The Way of Tanka,” and “Poetry that Heals.” I’d like to tell you a little about each book.
The Way of Haiku is a guide for learning to write the most popular form of Japanese poetry: haiku. It is also a comprehensive examination of the form and, I hope, an eye-opening view into the way that reading and writing haiku can change the way one looks at life. Writing haiku helps you appreciate the wonder of ordinary things and ordinary days. In “The Way of Haiku” I discuss the history of haiku’s development, its important literary elements, and the differences between haiku written in Japanese and those written in English. I provide numerous examples of haiku, some written by Japanese haijin (haiku writers) and presented in translation, and some written by English-speaking writers. In this book I hope to inspire readers to write their own haiku while remaining open to the possibilities it provides for personal growth. The book is 110 pages long. It comes in paperback and also as an e-book.
The Way of Tanka is an approachable yet comprehensive examination of the Japanese form of poetry known as tanka. In it I discuss tanka’s roots in early Japanese courts where it was considered the poetry of lovers, as well as its adaptation to western culture and the characteristics that separate it from the more popular form of Japanese poetry, haiku. It is 144 pages long and comes in paperback as well as an e-book.
In Poetry That Heals, I take the reader on a journey through my long experience writing various forms of Japanese poetry, especially tanka and haiku and its related genres. I include poems from well-known historical and contemporary poets. Looking back in this book, I realize that my practice of poetry writing has moved me towards developing awareness, dispassionate interest, personal healing, as well as compassion. I have come to see that in creating poetry, I am creating myself. The book is 110 pages long and comes in paperback as well as an e-book.
In Canada you can get the books from your neighbourhood bookstore, who can order them via Ingram, or buy them directly and quicker from firstname.lastname@example.org. They are $20 each, or $50 if you are getting the complete set.
For the USA and other countries the books can also be ordered through your neighbourhood bookstore, or directly from email@example.com
Naomi Beth Wakan
The Uses of Tanka
In Heian times, tanka were sweet confirmations between courtier lovers of deeds done and to be done. And also of court rapists, for dark chambers and many-layers of kimono hid identities, so seducers were never quite sure that they had entered the right woman. Even in such cases of mistake, the next morning the maiden would receive a token tanka speaking of her long hair perhaps, and other matters, and it would be attached to the prescribed branch from say a flowering cherry. She, in return, whether mad with anger, sulking, or perhaps with a small smile, would be obliged to also write a tanka, in response, commenting on the situation, and send it along with maybe a late blooming plum blossom. A few years later both women, whether seduced, or once loved, might be found writing more acerbic tanka complaining of neglect, or at least that the dwelling he had provided was not up to par. Tanka-writing would also be called for when noblemen, at time of banishment, (maybe for a political misstep, or for the seduction of the Emperor’s favourite) thought sadly of the Capitol they would be leaving for say the beaches of Suma (always a good place for writing mournful tanka of exile). These days, I write tanka when my haiku get uppity with the conceit that they have nailed the moment to the page. I slap them with two extra lines, reminding them that all things pass, particularly the “here and now” and even if things don’t pass as quickly as we would like, it’s all illusory anyway. Yes, tanka are useful for times such as these.
Naomi Beth Wakan (C) All rights reserved by author.
Ariadne’s Notes: A wonderful show on the World Poetry Café, CFRO 100.5 at 1:30 pm PST on May 16th with the talented poet from England, Kevin Morris, who read his new poems and spoke about his work as well as offering some help to people with visual impairment. A real hero who has written several books and has a guide dog named Trigger. It was great to have him call in again with his unique connection with nature and life. For more: Website – https://kmorrispoet.com/ Twitter – https://twitter.com/drewdog2060_
Also on the show at 1:30 pm PST, was the arts educator and performer Viva Vinson who sang for us. World Poetry Café radio show team: Ariadne Sawyer, Producer and Host, Victor Schwartzman , Sound Engineer, Diego Bastinutti, Host and Sharon Rowe, special volunteer .
“I was born in the city of Liverpool on 6th January 1969. Having attended The Royal School for the Blind and St. Vincent’s School for the Blind in Liverpool, I went on to read History and Politics at the University College of Swansea. Having graduated with a BA (Joint Honours), and an MA in Political Theory, I moved to London where I now live and work. Being visually impaired, I use screen reading software called Job Access with Speech (JAWS) which converts text into speech and braille, enabling me to use a Windows laptop.
Much of my poetry is written in my home, which overlooks a historic park in Upper Norwood/Crystal Palace, a suburb of Greater London.”
On Good Friday I gave to you A geranium in a pot. We agreed on the need for air. I know not Whether you are showing care To that token Which, although unspoken You knew to be true.
And now you have your air And I mine. I remember you On my sofa blue. No line Was crossed.
The cost Was a cheap Priceless geranium in a pot You may or may not, keep.
Kevin Morris (C) All rights reserved by the author.
Ariadne’s Notes: On May 9 at 1:30 PM PST, hosts Ariadne Sawyer and Diego Bastinutti welcomed the talented composer and musician, Nick Grinder to the show. Victor Swartzman , our super tech kept us on the air from two locations and also three phone calls. Nick Grinder was celebrating his new second album Farallon, was released in February 2019 on Outside In music. The CD captures the beautiful island seascapes with his music. For links go to https://www.nickgrinder.com/
When I was going to the University of California at Berkeley, I remember seeing the island from a distance and the sense of mystery that it portrayed,
Nick Grinder is a trombonist and composer based in New York City.
Hailed by Slide Hampton as “an important future voice in jazz trombone” and “the best blend of saxophone-like technique with the expressive nuances of the trombone” by Alan Ferber, Nick Grinder began playing professionally at age 15 in the Bay Area, California. He was a member of many in regional bands during his teenage years, including the SF JAZZ All-Stars, the All State Band, and the Marin and Santa Rosa Symphony Youth Orchestras.
The child of two San Francisco artists – a former ballet dancer and visual effects engineer – he was encouraged to perform outside of school as much as possible. As a high schooler, he gigged frequently on both trombone and upright bass throughout the San Francisco Bay area.
From 2007-2011, Nick studied at Cal State Northridge in Los Angeles with Bob McChesney, and was offered scholarship to NYU in 2011. At NYU he was an adjunct faculty member during his pursuit of a master’s degree.
Nick currently works as a sideman and leader in a number of diverse projects in New York City, and has appeared at venues such as Small’s, Dizzy’s Club Coca-Cola, The Jazz Gallery, Lincoln Center, The Jazz Standard, Rose Hall, and many other venues. He has performed internationally in Egypt, Quatar, the Netherlands, and Canada.
Nick has performed in the big bands of Alan Ferber, Darcy James Argue, Arturo O’Farrill, John Daversa, Bobby Sanabria, and the Mambo Legends Orchestra, as well as with Wycliffe Gordon, Jimmy Owens, Ralph Alessi, Donny McCaslin, Marcus Printup and many others.
He is also very active in the commercial world, where he has played in the pit orchestras of nearly two dozen Broadway and Off-Broadway shows, and has performed and/or recorded with artists such as Lorde, Lin-Manuel Miranda, St Vincent, Patti LaBelle, DMX, and Deltron 3030.
Nick’s original music aims to achieve a familiarity without adhering to a status quo. Many pieces are simple head charts, with open improvised sections for the band, others are sectioned ensemble writing.
Nick self-released Ten Minutes, an album of original compositions in 2014, and his second album Farallon, was released in February 2019 on Outside In music.
Reviewed by Daniel Lehner for All About Jazz June 8th, 2014
“Grinder’s music, as well as the compatriots he chose for the record date, seem to have been tailor made to subvert boring virtuosity in favor of making music. His attacks, sustains and phrasings touch the surrounding musical environment like sunbursts, as if he were dabbing with a large brush dipped in red watercolor. He’s an intriguing addition to the language of the instrument, and his first effort gives a great deal of promise for his development.”
Another wonderful musician brought to us by Braitwaite and Katz. Source: Braitwaite and Katz.