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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).

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Interview

What inspires you to write poetry?

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 9^th 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. The Tiny 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.”

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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 Tankara Kabita” (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

“Separation”, Poet, Vol. 28 No.10, 1987 (Ed. Krishna Srinivas)

Try best
Like a bird
Reaching
To its nest

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.

The Heron’s Nest, Vol. XIII No.1 March 2011

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).

#TankaTuesday Poetry Challenge No. 12, Hainka, 5/13/25

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 1^st 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.

Click to access braidedhaiku-Frogpond-47-2.pdf

Braided Haiku

hiding behind a half-clad moon

the other hemisphere
sun-brightened

floating clouds the serrated edge
 
a half-clad moon
sun-brightened
the serrated edge

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)

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What are your future writing plans?

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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 Panch Mahabhuta, 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.”

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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.

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Gabriela Marie Milton
Author and Founder of literary Revelations

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OUR BOOKS – BUY ON AMAZON

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1. Haiku and Tanka: Lull, Harmony and Power in Japanese Art
2. Fine art Photography: Lullscapes in Light and Shadow
3. Tranquility: An Anthology of Haiku 
4. Celebrating Poetry by Cindy Georgakas 
5. Full Moon Confessions: Poetry by Tracey Anne
6. Petals of Haiku: An Anthology 
7. Hidden in Childhood: A Poetry Anthology
8. Echoes Lost in Stars: Poems by PS Conway
9. Love, Stars, and Paradigms: Poems by Swarn Gill
10. Building Sandcastles by C.X. Turner and James Welsh  
11. Greenlandos by Virginia Witch

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