In this issue, Patricia Neubauer offered her second “Go to the Pine” essay with “Go to the Pine: The Haiku Moment,” in which she said “Experience requires that one interact with the thing perceived” in order to write haiku. Virginia Brady Young’s “Still in the Air” haibun explored vivid personal memories of Hong Kong in 1967. Christopher Herold wrote about “The Third Two Autumns Reading,” which had become an annual tradition, and with Ebba Story I reported on “Japanese Renku Group Visits San Francisco,” a significant event in Northern California haiku history on its own but also because it motivated Garry Gay’s influential creation of the six-verse “rengay” form of thematic collaborative writing. Ebba Story reviewed The San Francisco Haiku Anthology, a landmark regional publication, a sort of coming of age. The issue concluded in unusual fashion with a “Haiku Crossword” put together by Kimberly Cortner. The Two Autumns reading, the San Francisco anthology, the renku symposium, and the creation of rengay (though the latter was not reported on in this issue) were marks of significant haiku development in the San Francisco area, hot on the heels of the previous year’s Haiku North America conference. On an ongoing basis, too, the haiku published in Woodnotes contributed to the growing reputation and influence of the Haiku Poets of Northern California. These were exciting times for haiku.
Editors: Christopher Herold and Michael Dylan Welch
Typesetting and layout: Michael Dylan Welch
Cover and interior art: clipart
Book Reviews 1
Haiku Crossword 1