A big new addition, one that took a lot of work, is that I’ve scanned the covers of the following books and added them to their individual pages or on my Books or Press Here pages: In and Out of Fog (Lee Gurga), Turning My Chair (Pat Shelley), the first edition of Abandoned Farmhouse (Ed Rielly), Berries and Cream (Jeanne Emrich), Fig Newtons: Senryu to Go, the first edition of The Haijin’s Tweed Coat, Tremors, Through the Spirea, Light and Shadow (1998 Haiku Society of America anthology), When Butterflies Come (1993 HSA anthology), and the following Haiku Poets of Northern California anthologies: Countdown, The Gulf Within, All Day Long, Playing Tag Among Buddhas, The Sound of the Bell, A White Chrysanthemum, Morning Snow, Summer River, and A Poppy Blooms, for all of which I provided layout and design (where links are not provided here, see Two Autumns Press). For some of the preceding books I also added scans of back covers and selected interior pages.
I’ve added two new blurbs to the Blurbs page, one (uncredited on the book’s cover) for All Day Long, the 1994 members’ anthology for the Haiku Poets of Northern California, and another, also uncredited, for When Butterflies Come, the very first Haiku Society of America members’ anthology, a new annual tradition that began at my instigation in 1993. I also did the layout and design for both books.
New to the Essays page is “Why I Take Photographs,” a short 1998 essay from The Light Box, the newsletter of the Peninsula Colorslide Club (now the Peninsula Camera Club). I found a copy of this essay among my mother’s belongings after she passed away (at age 88) on 7 April 2023. I had completely forgotten about this essay and was pleased to rediscover it.
The Essays page now also includes “Defining Haiku: A Place to Start,” a very short piece from the Living Haiku Anthology online. I had previously linked to this essay but decided to add it directly onto my website instead.
Also on the Essays page I’ve added a third postscript to “Arriving Geese: Learning from Shugyō Takaha,” about a Shiki poem that echoes one of Takaha’s. And speaking of postscripts, a new one just added to my “Buson or Shiki: The True Authorship of the ‘Two Autumns’ Poem” essay now shows and describes the letter Garry Gay wrote to Doubleday to get permission to use the poem he believed was written by Buson.
And still speaking of essays, I’ve added grey backgrounds behind all publication info preceding each essay. I’ll be doing this for many other pages too, but for now I’ve made this cosmetic change throughout all of my essays. On the main Essays page, at the bottom, I’ve also added “A note about versions,” pointing out that I consider the versions of my essays on Graceguts to be definitive, meaning that some essays on this website may contain additions and corrections that the original publication (usually in print) did not include.
I’ve made several additions to my Appearances page, such as my being a featured poet for September’s LitFuse poetry festival in Tieton, Washington, at which Cornelius Eady will be the keynote poet, and my being a judge again for the 2023 Morioka haiku contest this fall in Japan. Other additions too! And the Links page now lists Enchanted Garden and The Light Box.
New on the Digressions page is a page for Two Autumns Press, the Haiku Poets of Northern California press. I list all of that press’s books for which I did the layout and design (I also designated the press logo, taken from the cover of the first anthology, with a graphic I selected in a free clipart book). This page includes cover images and selected interior and back-cover images. Another Digressions change is that my First Frost page now includes a cover image of issue #5, published in the spring of 2023.
The Tinywords page now includes another recent poem of mine from its online pages: