Chen-ou Liu's Translation Project: First English-Chinese Haiku and Tanka Blog

Thursday, June 30, 2011

Autumn Haiku

for Kenneth Rexroth

autumn moonlight
shining upon his gravestone:
the swan sings in sleep


Lyrical Passion Poetry E-Zine.

Nostalgia Tanka

nostalgia
comes on little cat feet
sitting beside me
it practices zazen
like a stone Buddha


June 2011 issue of Red Lights

Tuesday, June 28, 2011

Dog Tanka

its lone face
stares out from behind glass
steamed
from panting...
are we kin to each other?


Sketchbook, 6:2, March/April, 2011

Monday, June 27, 2011

Sunday, June 26, 2011

Winter Tanka

blinded
by blazing winter sun
I hide
behind closed eyes, reading
the weight of each passing face


Sketchbook, 6:2, March/April, 2011

Saturday, June 25, 2011

La Petite Mort

A short story interspersed with free verse poems and inspired by Krzysztof Kieślowski's A Short Film About Love (Krótki film o miłości 1988)

Monday, February 14, 2005

I AM A SICK MAN … I am a wicked man. A coward. I don’t dare to tell you I like … No … LOVE YOU. Instead, I only watch you through the eyepiece of my telescope. Every night I sleep beside you but wake up alone in my room.

Tuesday, February 15, 2005

As Plato said, “Love is a serious mental disease.” I’ve been afflicted with this disease for six months. I am a sick man.

Thursday, February 17, 2005

Earlier tonight, Mary took me to dinner at the Family Plaza. We sat at a corner table; she took out Joe’s letter and I read it to her. As always, she cried while I read the letter. Unlike me, Joe is lucky to have such a caring mother. I felt guilty that I was in a rush to finish my meal as quickly as possible and return home to watch you. You’re the only one I care for. How could I tell Mary about you? She’s like a mother to me.

Friday, February 18, 2005

I was lucky today. I bought a new telescope which has a telephoto lens. Now, I can zoom in closer on you, watching you closely with my heart and mind.

Saturday, February 19, 2005

Why did you cry? That man did not deserve your love. What does he have? Just a face and a Jaguar. You deserve more than what he can offer you -- a pure heart.

Sunday, February 20, 2005

Around 7pm, I had a heated dispute with Mary, arguing that I couldn’t break my rule to write Joe a letter for her because I needed my fullest attention to study after 7. Yes, I study you with my heart and mind. Surprisingly, Mary scorned me in return, yelling how ungrateful I was. But, I have helped her in writing letters, repairing pipes, dumping garbage, and accompanying her to see her doctors and do grocery shopping on numerous occasions. I am not only her tenant but also her surrogate son, doing almost everything Joe should be doing for her. I just can’t break my rule for her. After 7pm, there is only one thing I should do – study!

Tuesday, February 22, 2005

I zoomed in on you, seeing you moving up and down with slow, circular movements and that man’s hands sliding up from your breasts on to your shoulders and altering your rhythm. I … I couldn’t stand it anymore. I opened my desk, took out a pocket knife, rushed down to the basement parking lot, and found his piercing red Jaguar. I stooped down to plunge the sharp tip of the knife with climactic fierceness into one of tires. It felt good, so I stabbed the others … the second, the third, and then the fourth. Fuck! It felt good.

Thursday, February 25, 2005

Today was my lucky day.

During the office hour, I had the most satisfactory discussion with my American Poetry teacher about Robert Bly’s “leaping poetry,” a poetic form that is rooted in the surrealist tradition. I was literally struck by her insightful comments. Yes, leaping poetry is more than leaping from one image to another. It is first and foremost about images conceived by an animal native to the wild imagination.

After school, on my way home, I accidentally, no … I was DESTINED to encounter you. You are my Calliope. My first leaping poem, Throbbing Agony, is dedicated to you. One day you’ll read it aloud and then put it in that chest where you keep all your treasures.

I must have experienced
la petite mort after Calliope
caressed my secret spots --
enveloped in pleasure
as the grass is wrapped
in dewy green. I am a bard
riding a dragon, flying across time
and space. I can't tell you where --
It is as if I appeared where I am now.

Sunday, February 27, 2005

I had another heated dispute with Mary. I am not her plumber. She could call a plumber to repair her goddammed pipe. I could not break my rule. After 7pm, it’s study time. Period. End of discussion!

Tuesday, March 1, 2005

After reading Throbbing Agony out loud, I became a laughing stock. Almost all of my classmates interpreted my poem as a disguised erotic poem. Some of them touched their private parts as they passed by me. Some female classmates called me Tom Honey in front of me and Tom Horny behind my back. As well, I was slapped in the face by my Poetry teacher’s comment: “Perhaps a pleasant wet dream recalled with the morning light. Such a beautiful sunrise.”
During the class, I tried to explain that although la petite mort, the French expression for "the little death", has been generally used to portray sexual orgasm, it has multi-layered meanings, one of which is the reading pleasure. The late French literary critic Roland Barthes claimed that one should get la petite mort when reading any great literature. But, no one except my poetry study partner, Sarah, paid any attention to my explanation. In her plain look, I saw gentleness and sincerity.

Wednesday, March 2, 2005

Today, my Creative Writing teacher taught us an important novelistic technique -- showing vs. telling. Telling conveys information quickly, and it is used to summarize time periods and events that are not very interesting or important to the story. Showing means creating a scene that dramatizes and draws readers into the story, allowing readers to sink their teeth into it to evoke an experience.
I like his teaching style and enjoy reading course materials. But, right now, my big problem is not showing vs. telling, but WHEN SHOULD I TELL YOU I LOVE YOU.

Thursday, March 3, 2005

After the American Poetry class, Sarah came over to talk with me, merrily saying “I see what you mean with the two parallel uses of la petite mort and the multiple powers of Calliope.” While talking, she looked intensely at me and seemed to look into my soul. At that moment, I found there was an attractive quality about her plain face.

Later this afternoon, I phoned Sarah, asking her a hypothetical question: would a woman accept the love of a physically and financially unfit man? She answered my heart-wrenching question in a Bly-esque manner: “You are looking outward, and that above all you should not do now. There is only one way. Go into yourself." Yes, I can see now. I need to follow my heart and tell you I LOVE YOU.

Sunday, March 6, 2005

You slapped my face, yelling at me, “Are you fucking nuts? How could you do this? You don’t know me, so how can you say you love me? How old are you? Doesn’t your mother tell you how to respect the privacy of other people? You pervert! Come here again and I’m calling the cops!”

Thursday, March 17, 2005

I have avoided talking with Sarah for days. I got into a fist fight with John because he touched his private parts in front of me. Later, I talked back to Mary, shouting at her, “I’m not your plumber, garage dumper, grocery-shopping helper, and God dammed son, Joe.”

Saturday, March 19, 2005

After fighting with that man, you cried for almost an hour. My heart was breaking.

Monday, March 21, 2005

My heart was breaking again.

Tuesday, March 22, 2005

I made peace with Sarah; however, I didn’t tell her what the real reason was that I had been angry with her for weeks. How could I tell her about you?

Wednesday, March 23, 2005

You threw the phone against the wall. Did that man hurt you again?


Saturday, March 26, 2005

That man doesn’t come to your flat as he used to. Did he break up with you? He does not deserve your love. ONLY I can give you what you really need – my heart!

Monday, March 28, 2005

I slipped a poem under your apartment door.

Three weeks apart,
I don't try to remember,
but forgetting is hard.
A lonely apartment thirty meters away.
Tangled thoughts of you,
where can I talk them out?
In a dream tonight,
by the moonlit window
you stood in shadows;
shining tears revealed your face…
Another short day and long night.

Friday, April 1, 2005

I couldn’t believe what I had heard this afternoon. You asked me out on a romantic adventure to Wahata Beach this coming Sunday. This is not an April Fools’ joke! I know that you have discovered the depths of my love for you.

Thursday, April 14, 2005

I got a final notice, which said that I would be flunked if I failed to submit a poem for my make-up mid-term exam. I finished my poem, Calliope and I in Harmonious Rapture, before midnight and emailed it to placate my bitchy teacher.

A choir in the sky,
garden in the sea,
lark in my chest.
An island in our bed,

throbbing agony
caressed by your hand.
Moans and pain
born to your laughter,
raised in your tears.

Time and silence.
Clocks ticking.

Thursday, April 21, 2005

As I passed by John, he gave me a wicked smile and shouted out, “Watch the teeth!” Before I could throw his head against the wall, I was stopped by my teacher. All of my classmates were stunned. Throughout the rest of the day, no one dared to say anything in front of me. Sarah phoned me at night, and I didn’t answer the phone but immersed myself in reading Notes from Underground and The Collector.

Sunday, May 8, 2005

Joe took Mary out to dinner at the Family Plaza and gave her an expensive Mother’s Day gift. I stayed in the room and studied for other mid-term exams. I knew I was on verge of academic dismissal and tried to force myself to care.

Wednesday, March 18, 2005

Clocks ticked,
time did not pass.
The sun rose, then set
in the shadows.
Clocks tick.

Wednesday, June 1, 2005

This afternoon, I was sitting
alone by the window,
looking out at the maple's branches
gracefully swaying in the breeze.
Out of nowhere, I felt
the stab of a memory:
you waving me goodbye.

I balanced
on that memory,
the universe hanging
on the branches.

Thursday, June 16, 2005

Now I am recovered from that sickness and aspire to BE A WRITER. I just emailed my Creative Writing teacher The First Touch of Love as my make-up final exam.

Taj Mahal Review, #19, June 2011

Relationship Tanka

you are a verb
transitive, on the move
I am an adverb
wondering where to go...
what shall our subject be?


Sketchbook, 6:2, March/April, 2011

Friday, June 24, 2011

Thursday, June 23, 2011

Wednesday, June 22, 2011

Tuesday, June 21, 2011

Monday, June 20, 2011

Sunday, June 19, 2011

Saturday, June 18, 2011

Friday, June 17, 2011

A Tanka about Illness

they cut out
half of his inside
filling him
with the chemicals, the pain...
she pounds the table, I want...


Sketchbook, 6:2, March/April, 2011

Thursday, June 16, 2011

Moon Haiku

thoughts of Taiwan...
I place mom's homemade pillow
towards the moon


Finalist, the 2010 Paper Wasp Jack Stamm Haiku Competition
Published in Paper Wasp, 17: 2, June 2011
And anthologized in Moonrise and Bare Hills

Note: All my poems submitted to the 2010 Paper Wasp Jack Stamm Haiku Competition were selected as finalists.

Autumn Haiku

an empty seashell...
the mid-autumn moon
above the Pacific


Finalist, the 2010 Paper Wasp Jack Stamm Haiku Competition
Published in Paper Wasp, 17: 2, June 2011
And anthologized in Moonrise and Bare Hills

Spring Haiku

my nephew
doesn't let me hold his hand
first day of spring


Finalist, the 2010 Paper Wasp Jack Stamm Haiku Competition
published in Paper Wasp, 17: 2, June 2011
and anthologized in Moonrise and Bare Hills

Wednesday, June 15, 2011

Shadow Tanka

the shadow claimed
I was the sun and will be
again
for I am not going away
I've lived underground since


Sketchbook, 6:2, March/April, 2011

Tuesday, June 14, 2011

A Tanka about Racism

colorblindness
heats up debate on racism
we used to be friends
he gives me the finger
I push it toward the moon


Eucalypt, 10, Summer 2011

Monday, June 13, 2011

Sunday, June 12, 2011

A Sci-Fi Senryu

immortal through cloning…
he wonders what to do
on a Sunday


Japanese Translation by Hidenori Hiruta

クローンにより不死身...
彼は何をすべきかと思う
ある日曜日


Sketchbook, 6:2, March/April, 2011

A Senryu abiut Art

Fine Art Gallery
full of still life paintings

her bouncing breasts


Japanese Translation by Hidenori Hiruta

すばらしい画廊
今だに生き生きとした絵画
彼女の大きな乳房

Sketchbook, 6:2, March/April, 2011

Saturday, June 11, 2011

A Haiku about Writing

deep tissue massage --
what happens between
the poet and words?


Japanese Translation by Hidenori Hiruta

ディープティッシュマッサージ ―
どんなことが起こるの
詩人と言葉に


Sketchbook, 6:2, March/April, 2011

Urban Senryu

Easter morning:
sunlight reflected
from the wine glass


Sketchbook, 6:2, March/April, 2011

Friday, June 10, 2011

Ripples of Life: A Haibun

Mount Yangming at dawn
the scent of plum blossoms
across our path

I was three years old the first time my family brought me to tour Mount Yangming. While they were immersed in the scenic view of lush greenery, I focused my attention on a little stone by the side road. “Oh, look ! This pretty pebble!” I exclaimed or I had been told that I said so. My mother repeated this story to me in varied versions on many occasions, particularly when she wished to make a point about how easily amused I was, or to remark on my ability to find joy in small things.

When I try to think back on this incident, I cannot remember any of it. There are no photographs or home videos recording that moment. I have no means of verifying whether or not this story is factually true, except through my faith in the eyewitness account of my mother.

I have heard this story so many times that the experience has become an inseparable chapter of my personal history, which experts refer to as “autobiographical” memory. To me, it is no longer important what actually happened, what the details of that moment were, or if my actions were misconstrued or reinterpreted through years of hindsight and recurrent recollection. My sense of self incorporates this story as if it were true.

Pacific shore…
I skip a pebble
across the water

Note: Mt. Yangming is situated in the north of Taipei, the capital of Taiwan. It’s internationally known for its natural mountain streams, hot springs, waterfalls and forest parks. It is the first place Taipei residents would think of when stressed out or longing for relaxation.

Lynx, XXVI:2, June, 2011

Urban Senryu

from hymn to hymn
the Sunday sermon takes
the shape of her face


Sketchbook, 6:2, March/April, 2011

Thursday, June 9, 2011

A Life in Four Seasons: A Haiku Sequence

alone...
sunlight in the scent
of cherry

summer breeze
the shadow of an eagle
circles me

the attic...
framed in the window
the autumn sun

Christmas Eve
three grains of rice still left
in my bowl


Lynx, XXVI:2, June, 2011

A Senryu about Writing

rewriting poems all day
a voice sounds like my own
yelling, Enough!


Sketchbook, 6:2, March/April, 2011

Wednesday, June 8, 2011

Veggie Haiku

hometown memories...
a bag of mixed veggies
defrosting


May / June 2011 "vegetable(s)" Haiku Thread of Sketchbook (2nd place)

Editor's Comment: I love the essence of this. Wabi. All the memories frozen in the past, suddenly right there in the present. A family reunion or class reunion, mixed with all sorts of people catching up on their lives. Constantly, we are able to bring the past into the present, but never the other way around. Yet in revisiting a place, people, family a little touch of the past is always right there with us. Once fields of farmers and fresh veggies, were cleaned, precooked and defrosted to save, time—the word time, past, present, saving time are all food for thought. Sorry for the pun!

The Death of the Author: A Tanka Sequence

For Roland Barthes (12 November 1915 – 25 March 1980)

after opening
the envelop stuffed with my poems
I take out
my heart, wash it clean
and start writing again

surrounded
by a swarm of buzzing words
I squash them
in the rhythm
of short, long, short, long, long

I keep
stacking blocks of stanza
suddenly
the poem collapses in silence
I am buried alive

under the gaze
of Calliope's love
my next poem
is about to take flight

but Heaven's window is shut

I skip
a stone of words
across the lake
of another time
another place


Lynx, XXVI:2, June, 2011

Urban Senryu

catwalk models...
rows of middle-aged men
sit quietly


Sketchbook, 6:2, March/April, 2011

Tuesday, June 7, 2011

A Haiku about Recession

a dollhouse
in the pawn shop window--
his foreclosed home


Asahi Haikuist Network (2011/03/18)

Year in, Year out: A Tanka Collage

my neighbors
camp out all day to ring in
the new year...
under the winter sky
I wonder if there's anything new

fireworks
light up the midnight sky
one sheep, two sheep...

first dawn
standing before the mirror
it's me, and yet ...

the Preacher claims
there is nothing new...
under the sun
I see a flitting cloud
fight against its solitude


Lynx, XXVI:2, June, 2011

Shadow Senryu

an eagle's
shadow circles me...
chicken dinner?


Sketchbook, 6:2, March/April, 2011

Relationship Tanka

long holiday
I keep my eyes on the road
she measures
the distance between us
by the number of rest stops


Take Five: Best Contemporary Tanka Vol. 3 (2010)

Sunday, June 5, 2011

Meeting Place: A Haibun

For Mary Macdonell who encourages me to write in English

I wander the streets of Toronto all morning, thinking of moving yet again. I lean against a wall, weary, and feel the urge to cry out: “I’m tired of starting over!"

snow-covered street
looking back
which footprints are mine?

Notes from the Gean, Vol 3:1, June 2011

Death Haiku

the dying light
in my friend's old room
the clock ticks on


Notes from the Gean, Vol 3:1, June 2011

Urban Senryu

Buffet King at dusk
enough on your plate
yes, divorced and broke


Sketchbook, 6:2, March/April, 2011

Saturday, June 4, 2011

The Length of Longing

I ran to the end of the Go Train and watched as her figure shrank on the sunlit platform . . . Tonight I watch the wind-whipped snow pile up.

birthday morning
the last photo of her
holding pink roses

twilight sky
finding another patch
of gray hair

Haibun Today, 5:2, June 2011

Urban Senryu

her thigh prints
on the waiting room sofa
two watermelons


Sketchbook, 6:2, March/April, 2011

Cradle to Grave

collecting four coupons
birth, old age, illness, and death
in exchange for
How to Love for Dummies


Four and Twenty, Vol 4:5, May 2011

Friday, June 3, 2011

Loneliness Tanka

sleepless winter night...
smashing the attic window
with my bare hands
I pick up
scattered pieces of myself


Ribbons, Vol 7:1, Spring 2011

Loneliness Tanka

outside the attic
a cloudy winter sky
and inside,
the water-stained ceiling...
my thoughts float in between


Ribbons, Vol 7:1, Spring 2011

Relationship Tanka

for The Beatles

except my bed...
what yellow submarine
can I ride
into the dark sea
of your subconscious


Ribbons, Vol 7:1, Spring 2011

A Haiku

inuksuk...
my face before my forefathers
were born


Modern Haiku, 42.2

Thursday, June 2, 2011

Plum Haiku

For Paul Crudden

a deceased friend
taps me on the shoulder —
plum blossoms falling

Heron’s Nest Award; published in The Heron's Nest, Vol XIII:2
The Red Moon Anthology of English-Language Haiku 2011 and Temple Bell 
Nest Feathers: Selected Haiku from the First 15 Years of the Heron's Nest, 2015


Some haiku please us from the first reading. Some beckon us to move beyond limits we’ve assigned to what constitutes “proper” English-language haiku. Some explode into our consciousness with all the stunning beauty of the first blooms of spring. And some do all these things and more. Chen-ou Liu’s is one of those.

At first reading, I loved it. Then I questioned my response, asking, “Doesn’t this break a whole bunch of Haiku Rules? Isn’t this metaphor? Is it gendai? Am I supposed to like this as much as I do?” It seemed daringly outside my comfort zone. Then I simply let it take me into a world that was at once surreal — and so real.

Whether a moment such as this triggers the memory of a loved one (a metaphorical tap) — or, for just a split second, we forget and turn, expecting to see them there — I trust many of us have experienced this. It is a moment as filled with poignancy as this poem. We are literally touched at the deepest level — with inexpressible longing — and with a jolt of such joy mixed into our sorrow we can only feel blessed.

-- Billie Wilson


In Chinese and Japanese literature, the butterfly was long used as a symbol of a departed soul. Chen-ou has taken the idea that the departed are still among us and found a very new and touching way of expressing this idea that we can only manifest by feeling. If you have ever stood under a tree as the petals drift down you will know how very light this touch is. And yet you can feel it and it seems a blessing.

To make the leap to thinking it is the touch of a departed friend is genius. This is why we need poets - to discover such truths, ideas, concepts. If we could remember that the touch of every blossom, the wetness of a raindrop, every glint of light was a reminder of the departed who surround us, how much more meaningful our lives would be. How much more reverence we would have for the simplest thing. This is why we have haiku - to remind us of profound ideas in simple things.

The association between the sadness of a friend who passed away, and the blossoms which are also passing is clear. Yet out of this sadness Chen-ou has found a ray of pleasure. He is not alone. His friend is close enough to touch him as are all our beloved departed. This is a very beautiful haiku and well-deserving of all of its honours.

An Illegal Alien

Give up
your poet dream.
I've been
writing poetry
since you were swimming
in your daddy's balls.
Day dreamer!

My father
never thought
I could swim
across the Pacific,
emigrating
from the ideographic
to the alphabetic.


Shot Glass Journal, #4

My Jisei: A Tanka Set

For Dylan Thomas

alone
drunk with the starry void
skyward
I flap my arms...
standing on the ground, alone

my rage
against the dying of the light —
Calliope comes
in search of me
I write the first line: my rage


Shot Glass Journal, #4