On June 22, I had the immense honor of meeting with the President of the Association of Haiku Poets—the largest and most prestigious haiku organization in Japan, which operates The Museum of Haiku Literature—as well as the Director of its International Affairs Division.
On this momentous occasion, I formally presented and donated a permanent copy of Haiku for Soulmates on behalf of the press.
The President of the Association, Mr. Kenzo Nomura (能村研三氏), is one of Japan’s most distinguished living haiku masters. Likewise, Ms. Masako Kakutani (角谷昌子氏), Director of International Affairs, is a nationally recognized poet who has dedicated her life’s work to the global expansion of the art form. Opportunities to meet with cultural leaders of this magnitude are extraordinarily rare, and I wish to express my deepest gratitude for being granted such a precious audience.
(Photo: On the left is President Nomura; on the right is Director Kakutani, holding “Haiku for Soulmates” alongside Gabriela Marie Milton’s Woman of the month featured article in B.R.A.V.O Magazine)
1. In Conversation with President Nomura and Director Kakutani
During our meeting, I explained that Haiku for Soulmates is now distributed across 150 countries and features 200 contributors, each an accomplished author and professional in their respective fields.
Director Kakutani examined the archival volume with great care, pausing thoughtfully at each contributor’s name. She remarked on her deep respect for Western poets, noting that they hold some of the most revered positions among contemporary artists, and expressed a profound interest in the backgrounds of our authors.
Both President Nomura and Director Kakutani warmly praised Gabriela’s remarkable achievement in uniting poets from every corner of the world into a single, cohesive masterpiece.
2. Original Cover Artwork to Be Exhibited at The Museum of Haiku Literature
In a magnificent development, the original fine art piece used for the cover of Haiku for Soulmates—personally selected by Gabriela to symbolize a bridge connecting the hearts of 200 international contributors—will be officially exhibited at The Museum of Haiku Literature. To have this visual centerpiece displayed within such a revered institution is an extraordinary milestone.
3. Archival Honors at the Basho Museum & Educational Integration
Because Director Kakutani is deeply committed to the growth of English-language haiku, she has graciously arranged to archive three of Literary Revelations’ landmark anthologies—Petals of Haiku: An Anthology, Tranquility: An Anthology of Haiku, and Haiku for Soulmates—at the historic Basho Museum (芭蕉記念館) in Tokyo.
Furthermore, she shared that these three volumes will be adopted as official teaching materials for elite haiku workshops in Matsuyama City, Ehime Prefecture—the birthplace of the legendary haiku reformer Masaoka Shiki (1867–1902).
This means the voices of all our participants will not only be preserved in the birthplace of haiku, but will actively inspire and guide the next generation of Japanese master poets. I extend my most heartfelt congratulations to every contributor.
Finally, I want to express my sincere thanks to President Nomura and Director Kakutani for generously granting this audience and welcoming me as Gabriela Marie Milton’s representative.
Institutional Notes & Context
President Kenzo Nomura（能村研三理事長） A master poet who has published numerous canonical collections, including Kamiau (“神鵜”), and the recipient of multiple prestigious literary awards. He also serves as the President of the Haiku UNESCO Promotion Council, leading the global initiative to register haiku as a UNESCO Intangible Cultural Heritage. His father, Mr. Toshiro Nomura（能村登四郎氏）, was a legendary haiku master decorated with The Order of the Sacred Treasure, Gold and Silver Rays (“勲四等瑞宝章”).
Director Masako Kakutani（角谷昌子理事） An acclaimed poet and critic whose published collections include Underground Water Veins (“地下水脈”). She is a recipient of the prestigious Haijin Kyokai Criticism Prize and spearheads the international development and global footprint of the craft.
The Association of Haiku Poets（公益社団法人俳人協会） The definitive and largest organization dedicated to the preservation, evolution, and dissemination of haiku culture in Japan. The Museum of Haiku Literature, curated by the Association, stands as the world’s only comprehensive archival research center dedicated exclusively to the medium. As of 2025, it permanently houses Petals of Haiku and Tranquility.
Reported by Hikari.
Have a wonderful weekend everyone!
Gabriela Marie Milton Author and Founder of literary Revelations
Literary Revelations is thrilled to bring you today an interview with Pravat Kumar Padhy – the inventor of Hainka and Braided Haiku. I hope you will enjoy this feature
Bio
Pravat Kumar Padhy, based in Bhubaneswar, India, obtained his Master of Science and a Ph.D from the Indian Institute of Technology, ISM Dhanbad. He is a mainstream poet, an essayist and a writer of Japanese short-form poetry. His literary work is cited in Interviews with Indian Writing in English, Spectrum History of Indian Literature in English, Alienation in Contemporary Indian English Poetry, History of Contemporary Indian English Poetry, etc. His poem “How Beautiful” is included in the university-level undergraduate curriculum. A collage of video featuring his haiku is included in the school curriculum, The Trier High School, Northfield, Illinois, USA. Pravat’s haiku are featured at Mann Library, Cornell University. He is a recipient of haiku won The Kloštar Ivanić International Haiku Award, Vancouver Cherry Blossom Festival Invitational Award, IAFOR Vladimir Devidé HaikuAward, Setouchi Matsuyama Photo Haiku Award, Katherine Mansfield International Haiku Award, and others. He served as a panel judge of “The Haiku Foundation’s Touchstone Awards for Individual Poems” and haibun and haiga editor, ‘Under the Bashō. ’ His work has been anthologized including Contemporary Haibun, Red Moon Press anthology, and others. He is a Touchstone nominee, a Dwarf Star finalist.He introduced new forms of poetry: Hainka: a fusion of haiku and tanka, Braided Haiku and Micro-Haiga (One-word Haiku). He is the Confluence Councilor for Confluence Haiku Journal and the jury member for the “Wind on the Cherry Blossoms Haiku Project,” Associazione Culturale “Rami d’Oro, Italy ( 2026).
Interview
What inspires you to writepoetry?
I began composing proverbial poems (sort of Monostich) in my early teens, around thirteen or fourteen, while writing essays in my mother tongue, Odia. During my early school years, I enjoyed writing essays about seasons and the beauty of nature. Eventually, I began to write in a concise poetic style , along with longer verses. In the volume, edited by Atma Ram on “Interviews with Indian Writing in English”, 1992, I said, “My inner urge comes near to the wounds of human beings, to the natural wonders of nature, to the wombs of reality…….” I candidly expressed, “Poems come to my mind as fragrance to a flower. Anything I see, it creates a symbolic frame in my mind……… when I see a small grain of seed, I feel it is tiny / because it nests with care / the I mightiest in it.” The beautiful nature, the mysterious celestial dance, tiny grass to gigantic tree, the spectrum of a living organism, the silence of the desert, loneliness of parting, vastness of the sky, the softness of snow, the burden of grief and sufferings, tender smiles of the kids, glorious womanhood, etc, influence and inspire me. I feel, I am a medium to transcreate the treasure of the mystery of nature, grains of sand, and the silence of the shells. The poetic ecstasies and journey of human life are parallel and perennial, beyond space and time. The essence of poetry lies in the diligent fragrance of the flower, the simplicity flow of the river, the gentle spread of leaves, the calmness of the ocean and the soothing embrace of shadows. Poetry reveals the physics behind light and sound, the chemistry of colour and aroma, and the geology that shape the beauty of landscapes.
The art of poetry glimmers with the symphony of love and peace, and it epitomizes the socio-culture through the ages. The philosophy of poetry keeps on flowing like ripples of rhythm through time and space. It resonates the innocence of the animals, the songs of the birds, the swinging branches of the trees, the braided rhythm of a waterfall, the shifting shadows of mountains, the breezy touch of the desert dunes, and the silence of the azure sky! Poetic craft, structural and rhythmic patterns urge the reader to discover the content based on the white space in between the lines of poetry. Essentially, this creates a different impact, evoking ecstasy and divine joy.
Poetry inspires to unveil the profound spiritual wealth of the tiny dust particle which embodies the basic building block of creation: the living and the non-living. The mystic of art and literature delightfully reveals the kaleidoscope of science through the colorful flair of human aspiration. It amalgamates the spiritual romanticism, transcendentalism and intellectual cadence of human beings in the perennial journey along the corridor of nature’s panorama of blissful beauty. The passion for me to practice poetry, I feel, can be well expressed by the following stanza:
I choose poetry The power of femininity. It mingles with The gentle flow of a river The vastness of the sky and sea. Radiates the warmth Of the morning sun, Calmness of the moon And enlightens the joy of life: The resonance of the sound of silence
What is the essence of your poetry?
When I notice a specific object, a flurry of poetic thoughts rushes into my mind, prompting me to connect it with the human aspect. I love to write shorter versions, including the Japanese forms of short poetry. With time, I tried to be patient, calm, and less didactic. I love to use suitable words, figures of speech, and internal rhyme and end rhyme to create musicality. The poetic form, theme, and use of word-phrases are equally important for the reader to appreciate. As the great poet Robert Frost said, “Poetry is when our emotion has found its thought and the thought has found words.”
My poetry largely dwells on the essence of human experience, nature and logical credence. I used to write on philosophical aspects, human sufferings, nature, society and contemporary life. The expression unfolds the subtle irony and satire of social anguish. My poetry is infused with a sense of humanism and connects to the abundance of nature.
BELOW THE POVERTY LINE
Rough layers of time Thicken his body and mind No matter How many times You measure the distance Between him and his dream It remains unchanged As between the earth and the sky To strike the nails They search and find a place Nowhere other than on his head To hang the price list of sufferings.
Publication Credit: The Third Eye Anthology 1991 (p. 133)
I have eight collections of poetry including haiku and tanka and have been widely reviewed.
The poem “How Beautiful …” published way back on 9th July 1983 in one of the leading English newspapers, ‘The Indian Express’ has been included in the undergraduate University curriculum. Prof. G D Ingale comments, “…. P K Padhy’s poetry is experimental and known for simplicity of expression and its presentation. Romantic expression is another characteristic of his poetry. In the poem, ‘How Beautiful…, in addition to these features, his inclination towards spiritual and metaphysical dimensions of life could also be seen. The poem presents the poet’s idea of a perfect world.”
HOW BEAUTIFUL ….
If birds could talk Trees could walk with us Flowers could express their cause of smile Spring could speak its desire And meaning of songs to the rocks Waves could stop for a while so that We could have some words with them. Silence could spell out its Aim of being a saint Past could return and Open its petals afresh Graveyard could wake up After the sunrise And chat with us.
The collection, ‘Songs of Love: A Celebration’ published in 2012, endures the entwined journey of immaculate romantic imagination of a man and his peaceful family life …..
Prof. D.Ganasekaran, Pondichery University opines:P.K.Padhy unveils the curtain of your dream followed by the silence you surrender on seabed near the shore under the roaring tide. Padhy is highly sensuous & his ‘songs of love’ is a modern ‘Endymion’.
Silently I sink myself Below your neckline. You surrender As sea-bed near the shore Under the roaring tides. Passionately we search Each other closing our eyes.
(Excerpt from “The Songs of Love: A Celebration”, p.10)
Prof. Bam Dev Sharma remarks, “To some extent, I find some poetic complicity between William Blake’s “Songs of Innocence” and “Songs of Experience”. ….Padhy’s ‘Songs of Love’ reflect deep human psyche, humanistic fervor, the universal paradigm and the thread that connects something innate and external realities…”
Artfully I repose On the high seas Of your beauty. The warmth Of my inner sun Swims with your Passionate waves.
(Excerpt from “The Songs of Love: A Celebration”, p.11)
He adds: “To be precise, Padhy’s love is transcendental. It is the spirit of humanity. It tries to create bond, fidelity, truism. We never find his love dissolving into the poetic lines alone, but it creates some kind of rejuvenation with awakened consciousness.
I go back to the Pages of time And read the poetry again. I plunge to think how Time shapes our mind With beauty and bliss. It is more to A divine journey indeed.
Long time ago, John Keats sings the beauty, Padhy, too, sings love as beauty which is hidden magnum of human life. His love is not fragmentary, but complete unison where human flaw and precision are put together. It seems to me that Padhy wants to glorify his feelings towards love— he wants love as something which is the sole matter that signifies human existence.”
Prof Ananda Lal, sent me an e-mail with gratification with a note: Padhy’s poems have a thematic sensitivity and an eye and ear for imagery …….,and I felt a flow of mystical feeling, freshness blending romanticism and the aesthetic beauty of creation. It is sort of autobiographical expression. The collection endures the journey of a man and his peaceful family life culminating with an optimistic flavour of philosophical attainment. Indeed Shakespeare said: “In black ink my love may still shine bright.”
The warmth rejoice Of the sacred celebration Carries The nostalgic memories And reaches out to the sun Of a new bright light. In the open Ecstasy quaintness sky, On the cosmic path, We continue to walk With the evolutionary smile.
(Excerpt from “The Songs of Love: A Celebration”, p.45)
Carl Sandburg says, “Poetry is a projection across silence of cadences arranged to break that silence with definite intentions of echoes, syllables, wave lengths.” I aim to maintain the rhythmic beauty and subtle flow of free verse through musical phrases and the artistry of word arrangement.
Critic and poet, PCK Prem remarks on the collection, “The Speaking Stone,” published in 2020:
“Undoubtedly, he moves from the inner world to the world outside of stark realism and fanatical certainty where social, economic and political issues assail and make living difficult. However, if empathetic sharing at the cosmic level becomes a truth, journey of life would be easier that will not have obsessive ‘you’ and ‘I’ and it will lead humanity to celebrate jointly the great reward,
‘Of our mirthful smile Synthesizing symphony Of the sweet language With play of gravity And the rhythm of force and speed.’
The Speaking Stone is inimitably unusual in treatment and it makes a departure from what he speaks in earlier poetry. He is thoughtful and genuinely tries to indulge in a dialogue with life and existence all alone without apparent hangover of religious or philosophic moorings though related thoughts stay in the background to offer strong prop to the poet in Padhy. At this stage, one is prone to say that he keeps a faint quality of literary correctness in outlook and reminds obliquely of Judith Butler.”
For rejuvenating oneness and humanism, I pen the concluding stanza:
Let the new man on this earth smile And make others smile. Unfurling the planet flag And reciting the anthem of unity, Let us live like human And human alone With the warmth of joy of living.
(Excerpt from “The Speaking Stone”, XLII, p.58)
The Tiny Pebbles, 2011, is essentially a collection of micropoems. Ryan Kelly, Editor, The Houston Review, in his ‘Foreword’ enumerates:
“What is most remarkable about P.K. Padhy’s poetry is his ability to express so much by saying so little. TheTiny Pebbles exhibits his aphoristic style, in which he succinctly captures both the beauty and grace of everyday life and the socioeconomic injustices suffered by the oppressed and underprivileged…… Padhy is a reporter, or recorder, who paints the landscape of suffering as he sees it and takes snapshots for a scrapbook of the human condition. Each poem is an open-ended and stand-alone strain of Padhy himself, allowing for a wide variety of reactions from readers daring enough to face an examination of their conscience.”
Could you describe your journey with the Japanese short–form of poetry?
I used to feel a spark inside when I saw something ordinary, which created a different symbolic frame in my mind. Poems come to my mind like a fragrance to a flower. As an intermediate college student, I submitted some of my poems in Odia and one day, to my surprise, the editor posted them in the Hostel “Wall Magazine”. In 1980, I wrote an article for one of the leading literary Odia journals, “Manas,” titled “Ezra Pound ebon TankaraKabita” (Ezra Pound and His Poems). In this article, I interpreted haiku-like short poems such as “The Encounter,” “The Tea Shop, “ALBA,” “Ite,” and others.
The following, a short verse sequence, “Satyameba”(Truth Alone) was published in the Quarterly literary Odia journal, Deepti, Vol.8, Issue III, Oct-Dec 1978 (Ed. Shasidhar Pattnaik).The translation of one of the poems, Jibanata (Life) is as follows:
half-moon in the sky her body veiled in mixed colours of clouds
My poem, ‘A Part of Civilization,’ published in ‘Skylark’-47/48-1982 (Ed. Baldev Mirza), appeared on the next opposite page, where Urmila Kaul, a bilingual poet, published five of her 3-line haiku. I used to write more about mainstream poetry, but information about haiku was limited at that time. I have written many haiku-style micro-poems in English:
The remoteness of separation I writhe Like a leaf Falling from the tree
A Better Living, Kavita India, Vol. III No. 2&3, 1990 (Ed. A Chittaranjan Sahay)
Dog is misspelled the child discovered the Great
(Original poem, “God” first published in “World Poetry Anthology” 1992, Ed. Krishna Srinivas )
Republished: Lynx Haiku Journal, XXV:1 Feb 2010 (Eds. Jane Reichhold and Werner Reichhold)
During my undergraduate studies and Ph.D. at IIT (ISM) Dhanbad, my English professor R.K. Singh and my research advisor, Prof. Sudhir Basumallick, greatly inspired me in my academic pursuits. I came across a published review article titled “Indian English Haiku and R K Singh” by Razni Singh in the e-zine “Got Poetry.” I read the article and the graceful expression of three-line poems by Dr. R K Singh. In Sept 2009, I posted a four-line poem “Pretending” (They speak of volume/ In reality it fills/ Thin hopes/ Of vacuum) in PoetBay. The poets, Tai and Shells, suggested me to condense the poem into a three-line in the form of haiku. I was inspired by their comments and tried to know more about the haiku genre.
The acceptance emails from editor Werner Reichhold at Lynx Haiku Journal and Alice Frampton from The Heron’s Nest thrilled me during the formative stage of my haiku writing. Around the same time, Susumu Takiguchi, Editor-in-Chief, published my haiku in The World Haiku Review in August 2009. Some of the memorable moments I cherish include my initial publications of haiku in The Mainichi Daily, a one-liner (monoku) in The Heron’s Nest, as well as works in Frogpond, Modern Haiku, Presence, and the Red Moon Anthology. Additionally, having my haiku displayed at the “Haiku Wall” exhibition at the Historic Liberty Theatre Gallery in Bend, Oregon, USA, filled me with joy. Denis M. Garrison featured my haiku in the print journal Ambrosia, Summer 2010 (Modern English Tanka Press, USA), which I consider a poem that showcases simplicity at its best.
rainy day
mud escapes
between toes
fragrance
fills the gap
between the flowers
The Heron’s Nest, Vol. XIII No.1 March 2011
thick clouds–
a gap takes me
to the ocean
Modern Haiku, Volume 46:2 Summer 2015
a piece of chalk in my pocket first day of retirement
Frogpond, 41:2 Spring –Summer Issue, 2018
Even the tiniest object of nature has its genuine worth in this world. I feel it is the realisation of this truth and the Zen-moment that has offered the essence and genesis of haiku. It enunciates a contemplation of spiritualism and the realization of being a part of nature. The philosophy of haiku embodies this emotional relationship between human beings and the surrounding environment in its dynamic state. The poet simply sows the seeds of the imagery, allowing the readers to harvest its musicality and aesthetic values. A haiku brings life to every object by creating a vivid image. Essentially, the genre serves as a diligent medium of exploration of beauty of the wide spectrum of living and non-living entities. The tiny seed of haiku sprouts into a beautiful tree of wisdom. The doctrine of ‘haikuism’ will usher in a planet of nature’s paradise and the abode of peace and brotherhood. It invites you to explore nature, the unity of creation, and cosmic consciousness within its minimalistic poetic landscape.
In the late seventies and eighties, I wrote many short poems consisting of three to six lines, as well as longer versions of poetry. Looking back, I feel that some of my earlier short poems, in fact, were tanka-like (“As patches of cloud/Memory sails around/When I wish/To see/Those become tears in my eyes” (Memory,Poet, Vol. 27, No.12, 1986, Ed. Krishna Srinivas) though I was not aware of the genre. Dr. Hisashi Nakamura, President, Anglo-Japanese Tanka Society, UK, published some of my tanka in 2009.
I painted throughout night my memories of grief and anguish remain as patches of white
Undertow Tanka Review, 2014
J Zimmerman, reviewing my collection, “The Rhyming Rainbow,” comments (Ribbons, Vol.15, No.3, Fall 2019): “I am particularly charmed by Pravat’s delicate juxtapositions: ‘I painted’ contrasts night’s darkness subtly with the patches of white that remain unpainted.”
Perhaps in the subconscious mind, this influences my poetry, bestowing life to the object through lyrical touch. The collection “I Am a Woman,” published in the UK in 2021, consists of fictional verses written in a five-line tanka style. It portrays the life of a woman, highlighting her struggles, related psycho-social issues, and her resilience:
she desires to revise the pristine manuscript for her daughter as she reckons with a crescent smile ‘I am a Woman’ to prove again
(Excerpt from “I am a Woman” p.56)
Neil Somerville has been kind enough to review the collection, ‘I am a Woman” in Blithe Sprite, Vol. 33, No.4, November 2024:
“The book is a celebration of womanhood …. Here the tanka takes on a reflective quality:
she recalls jumping with joy hand in hand with her mummy clasping to catch the sky
I am a Woman is beautifully imagined. It is a story of a life, its complexities, joys, hopes, sorrows and resilience.”
Would you elaborate on the new genres, like hainka, Braided Haiku, that you recently introduced?
I made a modest attempt to showcase experiments with the poetic spirit, intertwining images with various genres through the art of link and shift to create a different poetic rhythm and resonance. “Hainka” is a poetic fusion of haiku and tanka (haiku + tanka), and is characterised by image-linking where the ‘fragment of the haiku acts as the ‘pivot line’ (kakekatoba) of the following tanka. It is untitled. The idea struck me in 2016.
Hainka can explore poetic interlinking objective picturisation with the subjective depiction of tanka, thus embodying the beauty of nature and interweaving the wide thematic values of human expression: pathos, anguish, emotion, romanticism, humour, with the poetic elegance, musicality and transcendental image.
This image-linking across time and space is the art of painting an integrated poetic expression and exhibiting the fervent elucidation and elegance of Hainka writing. Moreover, it retains its focus on the beauty of genetic image-linking to explore the poetic spell within the broader structural framework of Japanese short-form poetry. This highlights the elegance of genetic image-linking while delving into the poetic qualities of this unique form of literary expression.
I believe repetition of words or phrases augments the importance of the central rhythm and importance, thus attracting the readers to search for the centre of essence in the poem. It may be mentioned that repetition of words, phrases and opening words (anaphora) has been often seen in sonnet writings. Even in kataura (half-songs not haiku) , the ancient Japanese form of poetry, the last line of the two katauta is occasionally kept the same.
The hainka has been widely appreciated (Tanka Tuesday Poetry Challenge 12, Hainka 13 May 2025).
Mark Rico, in his recent essay “Slender Flames: A Study of Haiku & Related Forms,” January 2026, writes: “This blending of haiku and tanka creates a layered effect: haiku for perception, tanka for broadening. The shared line becomes the hinge that links the outer and inner—the moment and the meaning…. And hainka, with its capacity to blend haiku with lyric or confessional elements, can stretch the form toward the emotional textures of contemporary poetry.”
He further adds, “Unlike haiku, tanka is more subjective and expressive. Its defining feature is the pivot or swing line between the two sections, adding depth and movement. This combination should use coherent images to portray the “link and shift.” An absolute must is a “symbiotic line” that recurs verbatim in both the haiku and the tanka—not simply as repetition for emphasis, but in order to link perception and reflection.”
Hainka
a spider web between the dry twigs dripping icicles memories of painful separation dripping icicles pour streams of grief from her swelled eyes
Publication credits: The Algerian newspaper, “Middle Maghreb”, 24 th December 2020 along with Arabic translation by Dr. Mohammad H Raisha.
Akita Haikuist Network 1st May 2021 (along with Japanese translation by Hidenori Hiruta.
a patch of light the ice sheet warms up melting away grief the dark cave of misunderstanding a patch of light our dream keeps blooming like stalactite and stalagmite
Pan Haiku Review, Issue3 Summer 2024 (Ed. Alan Summers)
I experimented with the ‘Branched or Link Haiku’ form in July 2021. Initially, I tried to entwine a one-liner with a formal 3-line haiku, having the fragment as the italicized part of the monoku. Editor Eric A. Lohman of Fresh Out: An Arts and Poetry Collective inspired me with valuable suggestions. Eric appreciated the attempt at the concept of “Braided.” The insightful exchange of emails and discussions led to creation of the new form of haiku with the art of ‘link and shift’. There are two monoku: one at the top and one at the bottom and a two-liner in between. In all, the braided haiku framed out as two stand-alone three-line haiku: one in italicized and the other in plain text and two monoku out of a 4-line micropoem.The form is titled ‘Braided Haiku’ as three plaits are required to braid or weave. The form can also be displayed as 1-2-1-3-3.
Jacob D. Salzer, Managing Editor ‘Frogpond,’ appreciated the innovation and published the article “Braided Haiku: Shaping Meandering Thoughts” in issue 47:2, Spring/Summer 2024.
hiding behind the other hemisphere floating clouds
Fresh Out: An Arts and Poetry Collective 28 May 2023 (Ed. Eric Lohman)
fingerspell the potter’s wheel a Big Bang shaping the manuscript open syllables of the cosmic muse fingerspell shaping the manuscript open syllables
the potter’s wheel a Big Bang of the cosmic muse
Heliosparrow Poetry Journal, 2024 (Eds. Richard Gilbert and Clayton Beach)
What are your future writing plans?
I have eight collections namely: Silence of the Seas, Skylark Publication, Aligarh, 1992; The Tiny Pebbles, Cyberwit.Net Press, Allahabad, 2011; Songs of Love- A Celebration, Writers Workshop, Kolkata, 2012, Ripples of Resonance, Authors Press, New Delhi 2017, Cosmic Symphony: A Haiku Collection, Cyberwit.Net Press, Allahabad, 2019, The Rhyming Rainbow: A Tanka Collection, Authors Press, New Delhi, 2019, The Speaking Stone, Authors Press, New Delhi 2020 and I am a Woman, The Magic Pen Press, The United Kingdom, 2023. One-line Stories (A Monoku Collection), Penprints, India (2026).
Essentially, haiku poetry is experienced through the five senses centered around the elements of nature (shizen). In Japanese philosophy, based on Indian thoughts, these are named as chi (earth), sui (water), ka (fire), fu (wind), and ku (void). Indian ancient philosophy advocates the cosmological concept of PanchMahabhuta, which includes the five great elements of matter: Earth (Prithvi), Water (Apas), Fire (Agni), Air (Vayu), and Ether (Akasha). In haiku, the seasonal words are often associated with sensory experiences namely i) hearing, (ii) touch, (iii) sight, (iv) taste, and (v) smell. I attempted to include the haiku about the five senses under the respective five elements for a broader classification. The haiku collection based on this theme is currently in the finalization process.
Also, I am near completion of the Haibun and Tanka Prose collection. I am planning to publish the new hybrid genres like Hainka, Braided Haiku and Micro-Haiga, that I had introduced. I would also like to include some selected poetry by other poets who enjoy attempting these new forms. Additionally, some insightful essays related to haiku have been drafted for future publication.
I also compiled the selected free-verse poems from 1976 to present as a sort of memoir, tentatively titled “Music of Manuscripts: Poetry of Life, The Trail I Walked.”
Science is the composite reflection and poetry is its genetic soul. Let us put poetry to thrive in time and anti-time, in matter and antimatter. Let it blossom the aesthetic sublimity of human life, blissful endurance, and creative opulence. Like a flower, it sprinkles the hidden fragrance to fulfill the purpose of fostering peace and fraternity with the art of expression, perfection, and purity.
Indeed, “Life is a poem, Music its journey.”
Thank you for this fabulous journey!
Gabriela Marie Milton Author, Editor, Founder
We have great news about Literary Revelations’ latest publications Haiku for Soulmates. Please stay tuned.
Gabriela Marie Milton Author and Founder of literary Revelations
Report and Photographs – Our Exceptional Artist in Residence, Hikari
“I have prepared a report on the donation to the Museum of Modern Japanese Literature of Haiku for Soulmates, Haiku and Tanka: Lull Harmony and Power in Japanese Art, Petals of Haiku, and Tranquility: An Anthology of Haiku, which I am so excited to share with everyone.
Broader Recognition
My dear Gabriela, before speaking with the staff members, I presented your accomplishments and shared examples of your work from various sources. That introduction helped broaden the perspective of the museum’s most esteemed members, moving it beyond a more traditional, restrictive policy toward a broader appreciation of international expressions of Japanese culture.
Accepted Volumes
Petals of Haiku: An Anthology
Tranquility: An Anthology of Haiku
Haiku and Tanka: Lull, Harmony and Power of Japanese Art
Haiku for Soulmates
About the Museum
The Museum of Modern Japanese Literature, established in 1967, stands on the historic grounds of a former samurai residence that had endured for centuries. Today, it preserves more than 1.3 million items, including the works, manuscripts, and personal papers of Japan’s most distinguished modern writers.
Why This Acceptance Matters
Because the museum’s mission is to preserve materials specifically related to modern Japanese literature, works by non-Japanese authors are reviewed with particular care. Even when foreign works are accepted, they must demonstrate a meaningful connection to Japanese culture, tradition, or literary heritage.
In this context, the museum’s decision to permanently preserve the haiku collections published by Literary Revelations is especially significant. It reflects a clear recognition of haiku’s international development and affirms the museum’s willingness to embrace and safeguard this global literary movement as part of the broader legacy of modern Japanese literature.
Legacy and Setting
The museum stands adjacent to the University of Tokyo, Japan’s most prestigious academic institution.
It is a profound joy and honor to know that these anthologies — created by contributors from around the world, edited by Gabriela Marie Milton, and published by Literary Revelations — will be preserved for future generations in such a serene and historically rich setting.”
Hikari
On the importance of preservation – Gabriela Marie Milton
The preservation of Literary Revelations’ haiku anthologies within Japan’s premier literary institutions is a profound achievement that transcends typical commercial success. For authors and readers who may struggle to grasp why this institutional recognition matters:
1. Establishing Archival Permanence
In the digital age, much of the literature produced today is ephemeral, existing in volatile online spaces susceptible to link failure and platform changes.
Legacy Over Velocity: Placing a physical, curated anthology into a permanent collection moves your work out of the “trending” cycle and into the historical record.
The Curator’s Stamp: Museums act as the ultimate gatekeepers of cultural history. By accepting Literary Revelations’ anthologies, these institutions certify that the work is not merely “content,” but a significant artifact worthy of preservation for future scholars, poets, and researchers centuries from now
Authentic Recognition: It signals that Literary Revelations curation and the contributions of our featured poets have successfully bridged the gap between Western interpretation and the traditional spirit of the Japanese form.
Creating a “Living” Library
The inclusion of Literary Revelations’ work is not an act of putting literature into a “vault,” but rather ensuring it remains an active reference point.
Scholarly Influence: Academics and students of Japanese literature look to museum collections to understand how global poets are currently engaging with haiku. Our work becomes a primary source for future generations studying the evolution of global English-language haiku.
The Global Standard: By being housed in Japan, these anthologies become the benchmark for international haiku, helping to define the quality and depth expected of the genre in a contemporary, globalized context.
Please check out Haiku for Soulmates here:
Gabriela Marie Milton, Author and Founder of Literary Revelations Woman of the Month (May, 2026), at P.O.W.E.R Magazine One of the 60th Women’s Entrepreneurs to Watch for in 2026, New York Weekly
Peter Mladinic’s most recent book of poems, The Whitestone Bridge, is available from Anxiety Press. An animal rights advocate, Peter lives in Hobbs, New Mexico.
Poems
Breadcrumbs
I am who I was the day I was born, I am not who I was yesterday. The same and not the same person, I was told there was a blizzard outside. There were breadcrumbs on a table, a calendar on a wall, my mother’s arms.
In the hospital, after a stroke, unable to speak, her face sagged to one side; still, there was a trace of the figure I walked away from taking my first steps.
A Pessimistic Goldfish
I want to be a pessimistic goldfish, I want to be a clerk behind a counter selling a minor a pack of Winston, a Los Angeles Dodger on a bench, a girl in a library reading about George Washington chopping down the cherry tree, thinking: I want to do it too!
In a loud Hawaiian shirt, on a wooded path, confident nobody’s going to come out and grab me, I want to be a foot kicking sand in the face of the ninety-pound weakling and the weakling. I remember Point Reyes: wind, a precipice, looking down at waves thrashing rocks.
Annoumcements
I am humbled to let you know that I was awarded Women of the Month by P.O.W.E.R Magazine and my books, Passions: Love Poems and Other Writings, Woman: Splendor and Sorrow, and Haiku and Tanka: Lull, Harmony and Power [co-authored with our fabulous artist in residence Hikari] will shine on Times Squares billboards in September. Please see more: https://www.pr.com/press-release/969627
2. Please do not forget to take a look at Literary Revelations’ latest anthology Haiku for Soulmates. Coming soon great news for everyone. I am deeply grateful to all contributors, especially those who are on IG and X, for their continuous efforts to promote the book.
Gabriela Marie Milton, Author and Founder of Literary Revelations Woman of the Month (May, 2026), at P.O.W.E.R Magazine One of the 60th Women’s Entrepreneurs to Watch for in 2026, New York Weekly
Literary Revelations is thrilled to being you today a piece of short fiction by Lilia Mahfouz.
BIO
Lilia Mahfouz is a French author based in Paris. A laureate of the Society of Dramatic Authors and Composers Writing Prize, her fiction has appeared in French literary journals including Zone Critique, Marginales, and Rue Saint Ambroise, as well as in American and British magazines such as Fjords Review and Fiction on the Web. Her work has also been featured in Flapper Press, praised by its founder Elizabeth Gracen, former star of the multi-million-dollar cult series Highlander.
The Fantasized Life of Stella R. Lilia Mahfouz
As a teenager, Stella was already convinced she possessed a prodigious artistic soul. Her vocations were numerous. At thirteen, she discovered Niki de Saint Phalle and her “Nanas.” She was captivated by these oversized, powerfully expressive works. The impact was such that she declared her intention to abandon school to devote herself to creating a grand contemporary art piece. Her parents had to negotiate: the baccalaureate first, then, if her desire persisted, enrollment in the Fine Arts.
Nonetheless, to practice in advance, she spent several weekends crafting Nanas from Fimo clay, purchased at Rougié & Plé. Stella quickly realized the complexity of the task. She shifted to less demanding, more minimalist works: lovely mauve bananas. The resemblance of her bananas to eggplants did not bother her in the slightest. The artist insisted on engaging the viewer’s subconscious. That year, she also took up pottery, transforming her bedroom into a studio, as well as clay sculpture, further contributing to the destruction of her room. Her parents were rewarded for their patience with some very avant-garde pieces: distorted plates with referenced names like “This Is Not a Plate” or “Time Has Made Me Soft.” But her most enigmatic work would forever remain a life-sized female bust, completely flattened, missing an arm, titled “Venus of the Milanese Cutlet.” Whether due to weariness or a sudden epiphany, the artistic fever vanished abruptly. The grand works fell into oblivion.
At sixteen, during a report on Saint-Germain-des-Prés, she fell under the spell of the mythical Juliette Gréco. Stella set her sights on becoming a myth herself. She dyed her hair raven black, found a tight-fitting charcoal dress. A very pale foundation and a bright red lipstick completed the look. She presented herself at various cabarets renowned during the era of Boris Vian and Sartre. However, most of these venues, if they hadn’t disappeared, were mere shadows of their former selves. Only heavy drinkers of the night and a few lost tourists lingered there. Nonetheless, she managed to convince the owner of “La petite Cave,” who claimed to perpetuate the zazou spirit, to give her a chance. The owner, an obese old alcoholic, was amused to hire this young girl who claimed to be of age and fancied herself as Gréco, with her discount store costume and budget makeup. Since she insisted. That very evening, half-lit by a red strip-club light, before an audience of about ten shadows, the new Juliette performed her set: poetic songs of her own composition, a cappella, as she had no pianist. In truth, she recited the text more than she sang, for she lacked any vocal talent in that regard. She had convinced herself that style was paramount. Her style was extremely poorly received. She heard some exclamations like “Enough already, you’re annoying!” and “Take it off!” Worse still, she realized she was the subject of a terrible misunderstanding when a voice shouted: “Go back to Michou!” That was the end of the drag act and the end of a myth.
At eighteen, despite her antics, Stella obtained her baccalaureate with honors. She immediately granted herself a sabbatical year to complete the writing of a play, with a capital “P.” Dreaming of being a modern-day author and tragedian, she embarked on a long monologue, titled: “Winter Duo in Solitude”; a title she found both mysterious, paradoxical, and poetic. Clearly, this savvy marketing would not fail to intrigue and instill an irresistible desire in enlightened amateurs to come and listen and applaud her. This ambitious project had the merit of interesting the director of a small venue in Avignon, for a slot in the Off festival. He was all the more interested as she offered to pay the rental fee in advance, more than he had asked. Another stroke of genius to ensure the deal. Her parents had agreed to finance the costly venture, as they never refused her anything. Alas, her monologue, though not devoid of sensitivity, bogged down in emphatic and nebulous sentences. As interest waned, spectators ended up exchanging glances and whispering among themselves before discreetly slipping out. One evening, tired of what is known in the trade as flops, Stella allowed herself to embark on a delightful improvisation. She recounted her discovery of contemporary art, her experiences with Fimo clay, then the works she had created in clay, never imitated, never equaled. The audience laughed heartily. Stella followed up with her beginnings as a realistic singer, dressed as Juliette Gréco. The audience was in stitches. To finish, she improvised around several childhood anecdotes that came back to her memory, equally delightful. The performance ended with applause. That evening, Stella was convinced she had discovered her true calling: stand-up comedian. She began to dream of seeing her name shine on the front of the Olympia in blazing letters.
Don’t ask me what became of Stella R. The most outlandish rumors have circulated about her. Some even claim to have seen her in a subway corridor selling mauve bananas sculpted from soap. Who knows? In my own poorly organized memories, she is nothing more than a dream that evaporates. It is not impossible that on a rainy evening, I might have fantasized this absurd story.
News about Haiku for Soulmates
I want to extend my heartfelt thanks to all the incredible contributors and unwavering supporters of Haiku for Soulmates. Together, we have achieved the remarkable feat of becoming a #1 Amazon bestseller across major markets, including the US, Japan, the UK, Canada, and earning the title of Top Release in Australia and India!
Haiku for Soulmates joins a distinguished family of anthologies that have earned a permanent place in prestigious institutions, including the Museum of Haiku Literature, Museum of Poetry, Haiku and Tanka, and the Nara Prefecture Library in Japan.
Weeks after its launch Haiku for Soulmates is still a #1 Top Release in the US and Canada.
Special thanks to our fabulous Artist in Residence Hikari for her relentless support in Japan.
Gabriela Marie Milton Author, and Founder of Literary Revelations
Andrew is nurturing a vibrant array of interests that light up his soul, from crafting enchanting poems and delightful short stories for children, to passionately pounding the drums with infectious rhythm!
Haiku by Andrew Collins
One drop of water Gives hope to many people Needing to feel love.
News about Haiku for Soulmates
I want to extend my heartfelt thanks to all the incredible contributors and unwavering supporters of Haiku for Soulmates. Together, we have achieved the remarkable feat of becoming a #1 Amazon bestseller across major markets, including the US, Japan, the UK, Canada, and earning the title of Top Release in Australia and India!
Special thanks to our fabulous Artist in Residence Hikari for her relentless support in Japan.
Enjoy the rest of your week.
Best
Gabriela Marie Milton Author, Editor and Founder of Literary Revelations
“Haiku for Soulmates is here—a breathtaking collision of ancient tradition and the boundless, relented auroras of the modern spirit.
Today, the world becomes a little smaller and infinitely more beautiful. As an editor and publisher, my heart is overflowing; witnessing this vision transition from a dream into a living, breathing masterpiece is a moment of profound emotion. This is not just an anthology—it is a global sanctuary, a cinematic tapestry woven from the heartbeats of 200 extraordinary contributors.
From the sacred silence of its Japanese birthplace to the vibrant, shimmering horizons of voices spanning the globe, these pages hum with a rare, vertical excellence. We have captured the lightning of human connection and pressed it into ink.
To my brilliant contributors: you are the light that makes this aurora possible. To the world: I invite you to step into this gallery of the soul and lose yourself in the brilliance of the brief, the bold, and the transcendent.
The journey begins now. Explore the anthology at the link below.
Literary Revelations has the pleasure to present today a fantastic writer: Lauren Scott. I hope you enjoy this feature. Have a great weekend.
BIO:
Lauren Scott is a recent Pushcart Prize Nominee who enjoys small-town living in the Bay Area with her husband, Matt, of thirty-seven years. Their daughter and son live out of state, and with frequent visits and technology, this family of four remains close. Lauren has published four collections of poetry and her memoir: New Day-New Dreams, Finding a Balance, Ever So Gently, King Copper, and More than Coffee.Her children’s book, Cora’s Quest, was released in 2024. Lauren has been a guest on several podcasts, and her writing is featured at many ezines. She was awarded Publication of the Year, Author of the Month, and Publication of the Month at Spillwords Press. Lauren’s work is also published in several anthologies. She is currently in the submission process for her second children’s book. Lauren’s muse discovers inspiration from family, spending time outdoors, and marveling at the mysteries of life.
1. Thanks so much for having me here today, Gabriela. The first question is tough because so many things inspire me to write…slivers of sunshine, rain showers, lake serenity, redwoods, backpacking, living creatures, celebrating a wonderful marriage to my husband who is my best friend, our amazing daughter and son, our dogs, and even events that tug at the heart inspire me to put thoughts onto paper. Ever since my youth, language, letters, sounds, and words have had their hold on me, so writing every day is natural as sunshine. Playing word games is fun too, and Scrabble will always be a favorite; my husband and I pull out the old board game now and then. We’re even hooked on watching Wheel of Fortune. It’s not only fun, but it’s good for the brain to solve those puzzles.
B. Why poetry?
2. I love poetry because the poet has the ability to convey a message or paint a picture with brevity. Many long poems in history remain iconic, but nowadays, the longer the poem, the more my attention wavers. I like short and sweet. Get to the point in fewer words. Short doesn’t mean empty. Short can be profound as a lingering two-page poem. My writing style and preferences have changed over the years, which would be expected as every year, every decade brings new meaning with each experience that we pull from our own chapter book. I started my blog fifteen years ago specifically to share my poetry. The blogging world can easily turn into an online classroom, which is what it became for me. I’ve learned numerous poetry forms, but freestyle will always be my preference because rules are nonexistent. Writing freestyle poetry is like driving on an open road with windows down. I have also ventured out of the poetry box, dabbling in short stories and children’s literature. My first children’s book, Cora’s Quest, was published in 2024. A fun fact about Cora is this story originated from a poem that was written over a decade ago. It’s good to remember that it’s never too late to experiment in another genre, so even though poetry is where I began and where I will never stray from, I continue to take a chance with other genres. It’s called growth when we try new things.
C.What are your future writing plans?
3. I have finished the manuscript for my second children’s book, Carlie and Charlie Go Camping and am now working on my query letter for submission to small Indie publishers. This year brings motivation to put some effort into a different method, which requires stepping out of the box and seeing where my feet land. Why not? Life is too short. As I included in another interview, my guide is the iconic quote: “You never fail until you stop trying” by Albert Einstein. Simultaneously, I’m compiling poems for another collection of which I plan to also submit to small presses.
D. Who are your favorite poets and/or novelists?
4. Choosing a favorite poet is difficult; there are so many, but a handful of favorites are Mary Oliver for her love of nature. Oliver’s “Wild Geese” speaks of self-acceptance through aligning with nature. She invites introspection from her poems about life. Maya Angelou for her activism and her iconic poem “Still I Rise” – a poem of resilience. Who wouldn’t feel her passion woven around her profound words? Emily Dickenson and her poem “Hope” – self-explanatory. Walt Whitman and his poem “A Noiseless Patient Spider” – my fear of spiders is palpable and anyone who knows me has heard about my many humorous spider encounters. So, this poem reached me deeply as Whitman compares a spider spinning its lovely silk web to a human soul searching for a sense of belonging in an immense world. I appreciate the beauty and architecture of a spider’s web, so Whitman’s beautiful poem provides a new and positive perspective. And lastly, Pablo Neruda for his romantic poetry, but his poem that profoundly touches my heart is “A Dog Has Died.” His words bring both joy and tears as I reminisce about my chocolate lab, Copper, who received his angel wings on March 3, 2025. One of the most difficult days of my life. And yet, the emotions from that day, and weeks and months to follow, guided me into writing through my grief while also recalling the joyful moments with my family’s much-loved labrador, which evolved into my recent poetry collection, King Copper.I will stop here because naming beloved poets or authors will form a book of its own.
Thanks again, Gabriela, for this wonderful opportunity!
My pleasure and thank you too.
Haiku For Soulmates is coming up soon. Please stay tunned for more news.
Gabriela Marie Milton Founder and Editor in Chief, Literary Revelations
