Chris Rice Cooper

Chris Rice Cooper
Chris in Missouri, October 7, 2017

Monday, November 3, 2014

An Invitation to the Party of the Season From Six Poets . . .

Christal Cooper 4,212 Words (including excerpts and biographies)


Seasons of Sharing
An Invitation to the Party of the Season
From Six Poets:
Flor Aguilera-García, Mexico
Catherine Aubelle, France
Joyce Brinkman, Indiana and Florida
Gabriele Glang, Germany  
Carolyn Kreiter-Foronda, Virginia
Kae Morii, Japan

In 2007, Indiana Poet Laureate Joyce Brinkman organized and hosted the 3rd Biennial Gathering of Poets Laureate in Indianapolis, Indiana, which Virginia Poet Laureate Carolyn Kreiter-Foronda attended, as well as two international poets:  Kae Morii from Japan, and Flor Aguilera-García from Mexico. 





         Joyce, Carolyn, Kae, and Flor experienced a great bond, and that bond strengthened when Joyce featured Kae giving a poetry reading at the event in Indianapolis. 


         Joyce:  “I’m not sure it was her reading as much as her infectious personality that caused me to be interested in Asian forms of poetry.”


As a result, Joyce began reading and writing Asian forms of poetry and soon thought how wonderful it would be to write a kasen renku with Carolyn and Kae.


         Carolyn:  “During a phone conversation, Joyce presented the idea of collaborating on poems together.  She knew that I, too, had felt a connection to Kae’s writing and thought that I might be interested in exploring the realm of Asian poetry.  Also, we both are avid lovers of nature.”


Carolyn (who had led poetry workshops on haiku poetry at establishments, such as the Phillips Collection in Washington D.C.), jumped at the chance.  Joyce sent Carolyn the book Writing And Enjoying Haiku Hands On Guide (http://www.amazon.com/Writing-Enjoying-Haiku-Hands-Guide/dp/1568365217) by Jane Reichhold, which Carolyn read with relish, in addition to doing more research on the web.  Soon the two women asked Kae if she would like to join in.



         Joyce:  “I knew Carolyn had an adventuresome streak and that she liked Kae, so I asked Kae (via email) if she would join us in our exploration of this Japanese form.  It was a privilege to work with a poet whose homeland birthed this form.  I received an email reply from Kae.”


Dear esteemed poet Joyce Brinkman,

I'm so happy to hear from you! Renku is one of our poetry cultures created from Japanese traditional poetry-song, and it's for enjoying harmony, imagination and creation. What a nice idea! I am reminded of the tender voice of you and wonderful poet Carolyn.   The rule is Americanized I suppose too, but various rules of Japanese Renku are very complicated to create our Renku. The first line is very important to indicate the subject and total tone, and the third line must have a little change against the previous lines. I think you should become the first poet.  

Thank you so much! I'm waiting on your Kasen Renku!
Please enjoy the attached video. I visited Balkan countries in your coffee time.

With Love and respect,
Kae Morii  
        
         Joyce:  “We both had enjoyed having Kae at the gathering and were thrilled that she agreed to try an autumn renku with us.  The autumn moon is of particular significance in Japan.  A traditional autumn renku would begin with autumn but would move through other seasons as required.  We decided to only focus on the time from August 15 to November 15.  We were so pleased with the results that we wanted to do more.  Since winter was up next, we began a winter renku with another American poet friend.  Progress on that renku was slow and eventually halted due to personal circumstances on the part of our other partner.  We still wanted to write more renku though and considered other American partners, but then I thought of Flor, (and) she agreed to do one with us.”


         By this time the four poets had completed two seasons in kasen renku, and they decided to write the remaining two seasons to complete the year.   

  




Carolyn thought her dear friend, the German-American artist and poet Gabriele Glang, should be included in the project. Carolyn and Gabriele met in the late 1970s in a graduate poetry class at George Mason University.  The two women later formed a poetry critique group, which met monthly for many years at Gabriele’s home in Washington, D.C., until she moved to Germany in 1990. 


Carolyn:  Thankfully, Gabriele and I had stayed in touch over the years by e-mail and occasional visits. I sent her an e-mail invitation, explained the project, introduced her to Joyce via the web, and voilà, we were on our way.”


         Soon Gabriele thought of another person to be included in the group: French writer and artist Catherine Aubelle, with whom Gabriele had participated in international artistic and literary ventures.   Catherine and Gabriele collaborated on two poetry collections together:  Dialogues in 2012; and Palimpsests, in 2013, which featured their haikus and tankas.





Gabriele: “Catherine and I had been experimenting with co-authoring haikus and tankas in three languages for a few years before Carolyn contacted me. We have even invented our own form, which we call Winged Haiku. It is basically two tankas set next to each other, which may be read top to bottom or left to right, across the two. The left-hand tanka is set flush right and the right-hand one is set flush left, so the whole poem looks like something winged – butterfly or bird, take your pick. When Carolyn wrote to invite me to join the kasen renku, there was no question I wanted to be part of it.”


         Catherine had previous experience with haikus and in fact holds a family tradition of communicating with her brother, who lives in Paris, via haiku, something the siblings have been doing since they were children.
         Kae translated her kasen renku into her native Japanese language. Joyce and Carolyn asked Catherine, Flor, and Gabriele to do the same, which they did.  It was then that they decided they had a book.
         Joyce:  “Carolyn did a wonderful job of putting a manuscript together for publishers.  She came up with the presentation on the page that the book has, and we toyed with different sequences for the poems.  We also came up with the title after we decided to put a manuscript together.” 
         Their collection of kasen renku, Seasons of Sharing (http://www.amazon.com/Seasons-Sharing-Kasen-Renku-Collaboration/dp/1935248634/ref=sr_1_3?ie=UTF8&qid=1414267268&sr=8-3&keywords=seasons+of+sharing), was published by Leapfrog Press (http://www.leapfrogpress.com) on September 16, 2014.



         The traditional renku is a Japanese linked poetry that was composed as far back as 759 A.D.  The earliest surviving renku is of Otomo no Yakamochi and a Buddhist nun, who made and exchanged poems beginning with a stanza of three lines with a syllable counts of 5, 7, and 5 and then the second stanza of two lines of syllable counts of 7 and 7.  



Joyce:  My line for the first verse in “Autumn Rain” recognizes Kae’s absence from us and our desire to honor our relationship through this poem.” 


Fall’s moon does not shine.  (5 syllables)
Storm volleys hammer windows.  (7 syllables)  
Missing light and you. (5 syllables)
                          
Excerpt from Seasons of Sharing
Page 53
Copyright granted by Brinkman

         Then Kae responded to Joyce’s first stanza by composing her own stanza of two lines:

My loneliness passes through (7 syllables)
the road filled with bush clovers. (7 syllables)
                 
Excerpt from Seasons of Sharing
Page 53
Copyright granted by Morii

         The traditional renku consisted of at least three different poets who would alternate between the two types of stanzas, until they reached at least 100 stanzas, which meant this communal type of poetry writing would take at least three hours, giving each poet three minutes to compose his or her own stanza.  Sometimes the parties would last up to 30 hours, with the renku reaching 1000 stanzas.         


         Joyce:  “For the great poets of Japan’s past like Basho and Buson, poetry was not a lonely business.  In their time, parties were formed around writing linked poetry together. The masters would make the rounds at parties and often use some form of their first verse to start a poem at more than one event.   A master poet, such as Basho, would start the party with a verse in a 5-7-5 syllable count.  This verse would set the tone of the poem and could honor the party’s host. While each verse plays off the previous verse, the idea is to turn the poem in a different direction and to avoid repetition.” 



         Today, contemporary writers of renku are not limited to the 5-7-5 syllable count nor the 7-7 syllable count, but still try to stick to the pattern and focus on nature and the seasons.
Joyce:  “Contemporary renku are all over the map image wise and geographically.  The renku in our book are modified kasen renku because we wanted to concentrate on just one season, but we kept the image requirements for moon, love and flowers.  It is important in reading renku to know that this is not a narrative poem in the sense of having a plot.  The renku plays more like a montage, which calls us to focus on what is before us in the moment and not to anticipate the climax.”


         Joyce composes the first stanza, the global partner responds in the second stanza, Carolyn responds to the global partner in the third stanza, and the global partner responds to Carolyn in the fourth stanza.  This pattern is followed throughout the poem.  All of the poems were originally written in English.  Each global partner later translated the poem into her native language.  


Spring Light
Joyce Brinkman, Catherine Aubelle, Carolyn Kreiter-Foronda

Leap night’s moon lingers.
One small sliver left to shine
before a French spring.

A thin slit in dawn’s membrane
slakes remote lines’ thirst with yolk.

Pileated wood-
peckers drum dead oaks.  Sexy
males alert for mates.

Staccato telegraphers . . .
though first blooms discuss at length.

Excerpt from Seasons of Sharing
“Spring Light” Page 13
Copyright granted by Brinkman, Aubelle, and Kreiter-Foronda
                 
         Seasons of Sharing is divided into four sections, each section representing the poet, her home country, and season:  “Spring Light” with French translation by Catherine Aubelle;  “Summer Wind” with Spanish translation by Flor Aguilera García;  “Autumn Rain” with Japanese translation by Kae Morii; and “Winter Sky” with German translation by Gabriele Glang.






For Kae, the experience of communicating with these five women in this project was a literary journey of friendship, peace, and spirituality. 


        
Kae:  As a poet, I support the harmonious importance of renku for peace in the world, as our ancient poets did in Japan.  Kasen renku is a rosary, which connects us to the heart of poetry, and a symphony, which leads to a new dawn.  


Kasen renku is a wonderful meeting of us, especially during the tempestuous period from 2010 to 2013.  Our world is not yet at peace because of no common voice.  I hope the world shares this project of kasen renku.  The water of the first poet in a 5-7-5 stanza pours into the palms of the next poet in a 7-7 stanza.  


The difference in each stanza becomes meaningful and interesting in that it doesn’t close, but rather opens the door.  Now my knowledge of renku is traveling from our tradition to the international scene.   I heard a church bell and felt solemnity beyond our traditional scenery.   Our hearts became one.”

Carolyn had experimented with haiku, but this was her first experience writing the kasen renku and she, like Kae, also felt the experience of writing in this poetic form was a search for peace amongst political upheaval.     


Carolyn:  “I was richly rewarded by occasionally turning on an unexplored topic in the kasen renku—for example, political upheavals.  I had focused on environmentalism in an earlier book, River Country, but never dreamed my imagination would allude to protests and riots in a seasonal renku. (http://www.amazon.com/River-Country-Carolyn-Kreiter-Foronda/dp/1604610034/ref=sr_1_1?s=books&ie=UTF8&qid=1414341522&sr=1-1&keywords=River+Country+by+Carolyn+Kreiter-Foronda)


While writing “Winter Sky” with Gabriele and Joyce in December 2010, Arab Spring dominated the headlines.  


The following stanza practically wrote itself one morning after I read in The Washington Post the latest news about the civil wars in the Arab world:

         I pluck African
         violet blues from my mind
         freedom on the rise.

I welcomed the challenge imposed on us to create a poem together, especially one that maintains a single voice."


         Flor felt that the discipline of kasen renku helped her and the five women poets maintain that single voice, while enabling each woman to maintain her individual creative expression.


Flor:  “I loved the excitement of opening up the electronic mailbox to find a poem waiting for me to sit down and keep it alive.  I now write haiku all the time in my mind as I try to figure out how to say something with greater rhythm and punch.  I am strange in that I actually love rules and constraints that free my creativity. And I especially appreciate now how being punctual only adds to the poetic feel of a phrase.”
Gabriele also felt she profited from the discipline, cooperation, and precision necessary for writing a kasen renku, likening it to a symphony.    

  
Gabriele: “One author can’t just go off on a tangent, dancing a quick, hot tango with some darling or other just because it’s splashy. It’s rather more like a symphony: if you want interesting harmonies and even disharmonies, there has to be some kind of higher order, you have to listen deeply to each other, respond in an appropriate and authentic way. It’s not about individual egos, but rather about coherence, creating a seamless whole.”
         Catherine experienced a profound influence of the kasen renku in her own work, not of poetry, but of painting.


         Catherine:  Given that I am a painter, it often occurs to me that some of my works reveal themselves as visual haikus. Certainly, on a general level, the lines sprouting along the way to Seasons of Sharing over several weeks reached a state of bareness, which is what I seek when I paint. This particular type of writing helps to remove what I carried so far, to let go of what I thought I knew, and replaces it with almost nothing significant ‘yet.’ This could be newness.”


         Even though Seasons of Sharing is completed, the six artists stay in touch and continue their artistic journey, both as individual artists and the collective.


         And thanks to e-mail, Catherine from her home near the English Channel, France; Kae from her home in Ibaraki, Japan; Gabriele from her home on the Swabian Alp in Baden-Württemberg, Germany; Flor from her home in Mexico City, Mexico; Joyce from her homes in Indianapolis, Indiana, and West Palm Beach, Florida; and Carolyn from her home in the Virginia countryside all invite the world to a moment of unity, artistic beauty, and peace in the form of Seasons of Sharing.


         Joyce:  Summing up this collaboration, I would say poetry is the most concise, powerful, and memorable form of writing, and writing is the most exclusively human activity.   Interacting with our words, readers will reflect on their own human thoughts and experiences.  Through these poems, we six offer an invitation to enter deeply into human seasons of sharing with us.”


Biographies of the Six Poets

Flor Aguilera García is a poet and fiction writer.  Her poetry books include Last Flight to Shanghai (Praxis, 2002), The Sacrifice of the Lilies (Praxis, 2003), 55 Frames Per Second (Praxis, 2005), BUTOH (Tintanueva, 2008) and As the Audience Begs for a Ferocious Tango (San Francisco Bay Press, 2010). 


She has written several novels, among them:  Diary of an Oyster (Alfaguara, 2005), My Life as a Blonde (Alfaguara, 2008), and The Past is a Strange Country (Suma, 2013). 
She has participated in several international poetry festivals:  Trois Riviéres, Cartagena, Bucharest, and as international guest in the Poets Laureate of America gathering in Indianapolis in 2007.  She lives in Mexico City in the nostalgic Roman Quarter.

***

Catherine Aubelle is a self-taught artist and writer of fiction and poetry.  As a girl, her first mentor was a fatherly architect, who took her under his wing and taught her about marking art and poetry.  Her first drama, Titus, was performed when she was a teenager at Maison de la Culture d’Amiens (1979), and she published fiction and poetry in the local newspapers. 
Acquiring her humanities-centered higher education primarily through correspondence school, she ultimately received a diploma in general studies from the Sorbonne University in 1985.  She moved to London in 1981, where she worked for several years as an illustrator for print media and television, acquiring skills in the field of animation, as well.  After her return to Paris in 1985, she continued to work as an illustrator and writer for the French weeklies and children’s book publishers.  She subsequently spent several years traveling and working in Africa, where she continued to hone her writing and art, drawing on the experience of living in the bush. 
In 1992, Les Editions du Seuil published her first children’s book, Capucine est partie.  Like her visual work, her writing crosses genres and can best be classified as short poetic stories.
         She has taught creative writing to all age groups and levels in schools, libraries, associations, adult education, jails, and psychiatric hospitals.  In some cases, this work has resulted in published anthologies, which she managed and edits, e.g., Prises de mots, L’Enfer me ment (Harmattan). 
She has been awarded several artists’ residencies notably Biblitheque de Nevers and Salon du Livre de Bordeaux.  In recent years, she has devoted time to a wide variety of projects both as writer and painter.  In 2011, her children’s book Capucine est partie was adapted for the dance theater by Le Safran in Amiens. 
She is currently involved in an international joint artistic and literary venture with German-American artist and writer Gabriele Glang.  They published a trilingual poetry collection in 2012 called Dialogues.  In 2013, they published a trilingual works catalogue, Palimpsests, which also features their haikus and tankas. 



***

Joyce Brinkman served as Indiana’s first poet laureate from 2002-2008.  She has a BA from Hanover College, Indiana.  She began writing poetry at age nine and was first published in Hill Thoughts.  Her book, Tiempo Espanol, was written in Spain, where she studied with the University of New Orleans MFA program. 
Her poetry has appeared in newspapers, magazines, and on CDs, postcards, bookmarks and buses, as well as on a wall in the town square of Quezaltepeque, El Salvador.
Joyce is one of six poets whose poetry is represented in 25-foot, stained glass windows at the Indianapolis International Airport.  






She also collaborated with glass artist Arlon Bayliss (http://arlonbayliss.com) on lighted glass art containing her poetry for the new addition of the Marion County Central Library.  She is a strong proponent of poetry as public art and enjoys working with both visual and literary artists on projects.
Joyce helped start the Indiana Poetry Out Loud Program and has often served as a judge for state finals.  She is founding board member of Brick Street Poetry Inc., which is the sponsoring organization for the award-winning project, Word Hunger, and in 2012 organized Indy Literary Arts, a new group to promote the literary arts in Central Indiana.  Joyce has read at libraries, universities, and other venues across the country.  She counts the Poetry at Noon, 2008, Library of Congress program with her fellow Airpoets as her favorite reading.


She has received residency fellowships from Mary Anderson Center for the Arts and the Vermont Studio.  She used a two-year Creative Renewal Fellowship from the Arts Council of Indianapolis to connect the inspiration she received from her time in Spain with the Central American Hispanic culture through the teaching of soccer/poetry clinics in El Salvador. 


In 2013, she received an Indiana Individual Artist grant to explore cross-species poetic collaborations with orangutans at the new International Orangutan Center at the Indianapolis Zoo.


Joyce shares a house in Indianapolis, Indiana with her husband and a sweet cat named Bobb.  She and Bobb contemplate the world of nature as they spy on wildlife at the pond just beyond their backyard.  She also seeks solitude for writing at a condo in West Palm Beach, FL. 

***

Gabriele Glang has been writing and painting all her life, publishing her first poems at age 16.  She received her BA in English from George Mason University in Fairfax, VA.  After completing a graduate publications specialist program at George Washington University, Washington, DC, she self-published Roundelay, a chapbook of poems. 


She was a fellow of the Virginia Center of the Creative Arts in 1988.  She spent many years working in the publishing business as an editor and graphic artist in the nation’s capital before relocating to the country of her ancestors, southern Germany, in 1990.  That year, SCOP Publications published her volume of poetry, Stark Naked on a Cold Irish Morning.


She now lives with her family in a tiny rural village on the Swabian Alp in Baden-Württemberg.  Here she works as a freelance teacher, translator, writer, and painter.  A bilingual poet, she has published poetry in the US and Europe, and in 2004 she received a stipend from the Society for the Advancement of Writers in Baden-Württemberg for her German poetry.  In addition, she writes screenplays for television and cinema.  In 2008 she received script development funding from the Media and Film Board Baden-Württemberg for a screenplay about the German Expressionist painter Paula Modersohn-Becker. 


Gabriele Glang is associate professor of creative writing at the University of Esslingen, and teaches writing and painting workshops in private industry, adult education, and private workshops to all age groups and for all levels.  She has been an artist/writer-in-residence in Soltau, Germany, three times and was a resident in the Brecht House in Svendborg, Denmark. 


A landscape painter, she has exhibited her pastels in the US, Germany, France, and Poland. 


She is currently involved in an international joint artistic and literary venture with French painter and writer Catherine Aubelle. 


They published a trilingual poetry collection in 2012 called Dialogues.  In fall 2013 they published a trilingual works catalogue, Palimpsests, which features their haikus and tankas.


***


         Carolyn Kreiter-Foronda served as Poet Laureate of the Commonwealth of Virginia from 2006 – 2008.  She hold a BA from the University of Mary Washington and a MEd, MA and a PhD form George Mason University, where she received the institution’s first doctorate, as well as a Scholarship and Service Award and a Letter of Recognition for Quality Research from the Virginia Educational Research Association for her dissertation, Gathering Light:  A Poet’s Approach to Poetry Analysis. 



In 2007 both universities gave her the Distinguished Alumna of the Year Award.  In 2008 she was inducted into Phi Beta Kappa (Kappa of Virginia) at the University of Mary Washington.




         She has published six books of poetry:  Contrary Visions, Gathering Light (http://www.amazon.com/GATHERING-LIGHT-Carolyn-Kreiter-Foronda-ebook/dp/B00BP419B4/ref=sr_1_4?ie=UTF8&qid=1414350669&sr=8-4&keywords=Carolyn+Kreiter-Foronda), Death Comes Riding, Greatest Hits, River Country (http://www.amazon.com/River-Country-Carolyn-Kreiter-Foronda/dp/1604610034/ref=sr_1_5?ie=UTF8&qid=1414350694&sr=8-5&keywords=Carolyn+Kreiter-Foronda), and The Embrace:  Diego Rivera and Frida Kahlo (http://www.amazon.com/The-Embrace-Rivera-Carolyn-Kreiter-Foronda/dp/0982829566/ref=sr_1_1?ie=UTF8&qid=1414350572&sr=8-1&keywords=Carolyn+Kreiter-Foronda), which won the 2014 Art in Literature: Mary Lynn Kotz Award. 







She has also co-edited In a Certain Place, an anthology, and Four Virginia Poets Laureate:  A Teaching Guide (http://www.amazon.com/Four-Virginia-Poets-Laureate-2004-2012/dp/0983919267/ref=sr_1_3?ie=UTF8&qid=1414350622&sr=8-3&keywords=Carolyn+Kreiter-Foronda).  Her poems have been nominated for six Pushcart Prizes and appear widely in publications, such as Nimrod, Prairie Schooner, Mid-American Review, Hispanic Culture Review, Best of Literary Journals, Anthology of Magazine Verse & Yearbook of American Poetry, Poet Lore, and An Endless Skyway, an anthology of poems by US State Poets Laureate.



Her numerous awards include five grants from the Virginia Commission for the Arts; a Spree First Place award; multiple awards in Pen Women competitions; a Special Merit Poem in Comstock Review’s Muriel Craft Bailey Memorial contest; a Passages North contest award; an Edgar Allan Poe first-place award; a Virginia Cultural Laureate Award; and a Resolution of Appreciation from the State Board of Education for her contributions as Poet Laureate of Virginia. 





Carolyn is an accomplished visual artist, whose works have been widely displayed.  She teaches art-inspired poetry workshops for the Virginia Museum of Fine Arts.  Contact Carolyn at   www.carolynforonda.com

***

         

         Kae Morii is a Japanese poet who is active in the international poetry world.  She was born in Osaka, Japan, and graduated from Keio University with a BA.  Her first book, A Red Currant, was published in 1997, followed by Homage to the Light, a poetry and art collection.  In 2003, she published The light of lapis lazuli, a collaboration with famous Japanese artist Kojin Kudo (member of the World Academy of Art and Culture). 
After her first English poem was used in the prevention campaign against terror, she published English poems in the World Congress of Poets and her poetry was introduced in many magazines, newspapers, and anthologies around the world. 
In 2007, she was invited to the US by Indiana Poet Laureate Joyce Brinkman for the 3rd Annual Gathering of State Poets Laureate, where she shared her poetry on the CD Sporting Words.  That poetic meeting opened her eyes to the world even more. 
Subsequently, she published the English version of Over the Endless Night in Japan; then Cabbage Field & Wind Power Generators in Romania, by Dr. Dumitru Ion in 2008; Mega Quake, Tsunami, and Fukushima; and Olive – A Letter From Anne Frank in 2012. 
She has been invited to many international poetry festivals and gatherings for peace.  Her poems have received numerous awards and literature prizes.  Since 2010, she has served as the first examiner of UNESCO youth poetry contests in Japan. 



Photo 1a
Joyce Brinkman

Photo 1b
Carolyn Kreiter-Foronda

Photo 1c
Kae Morii
Japanese Poet Laureate Kae Morii poses for a 15 second photo while attending a poetry reading in Columbus, Indiana.
Copyright 2007 Keith Syvinski. All rights reserved.

Photo 1d
Flor Aguilera-Garcia

Photo 2
Kae Morii giving poetry reading
Copyright granted by Kae Morii

Photo 3
Poet on a Mountaintop
1500 CE
Attributed to Shen Zhou
Public Domain

Photo 4
Kae Morii and Carolyn Kreiter-Foronda

Photo 5
Joyce Brinkman and Carolyn Kreiter-Foronda at the Library of Congress at a previous poetry reading a few years ago.

Photo 6a
Jacket cover of Writing And Enjoying Haiku Hands on Guide

Photo 6b
Jane Reichhold
Fair Use Under The United States Copyright law

Photo 7
Kae Morii

Photo 8
Flor Aguilera-Garcia
Attributed to Keith Syvinski

Photo 9a
Spring

Photo 9b
Summer

Photo 9c
Autumn

Photo 9d
Winter

Photo 10
Gabriele Glang

Photo 11
Photo of Carolyn Kreiter- Foronda and Gabriele Glang in 1990s
Copyright granted by Carolyn Kreiter-Foronda and Gabriele Glang

Photo 12a
Catherine Aubelle

Photo 12b
Catherine Aubelle and Gabriele Glang

Photo 12c
Jacket cover of Dialogues

Photo 12d
Jacket cover of Palimpsests

Photo 13
Winged Haiku By Catherine Aubelle and Gabriele Glang
Copyright granted by Catherine Aubelle and Gabriele Glang

Photo 17a
Jacket cover of Seasons of Sharing

Photo 17b
Web logo for www.leapfrogpress.com

Photo 18a
Framed picture of Otomo no Yakamochi
1648
Attributed to Kano Tanuy
Public Domain

Photo 18b
Queen Mahapajapati Gotami holding Prince Siddhartha.  Prince Siddhartha was the original Buddha.  Queen Mahapajapati Gotami was his foster mother, and maternal aunt.  She was the first one to request the Buddha to create a female Buddhist monastery, and the first ordained Buddhist nun.
Lithograph Painting attributed to Maligawage Sarlis Master of Ceylon.
Photograph of lithograph attributed to unknow.
CC BY SA 3.0

Photo 20
Jacket cover of Seasons of Sharing

Photo 21
Hanami:  Blossom Viewing Party
Kitao Shigemasa’s eighteenth-century hanami (flower viewing) party scene shows three women and a man at Asukayama Park—opened by Japanese Shōgun Tokugawa Yoshimune (1684–1751), who had its famous cherry trees planted there in 1720. Comfortably arranged on a ground cover inside a partial enclosure, they are likely enjoying warmed sake. Such parties continue to be a thriving Japanese pastime—replete with traditional sake and picnic blankets laid out hours in advance at the best sakura viewing spots. Above the image is a haiku poem describing both arboreal and human “blossoms”:
Murekitaru / Hana mata hana no /
Asukayama

All flocked together / Blossoms upon
blossoms / Asuka Hill

Kitao Shigemasa (1739–1820). Yayoi or Sangatsu, Asukayama Hanami (Third Lunar Month, Blossom Viewing at Asuka Hill), from the series Jūnikagetsu (Twelve Months), between 1772 and 1776. Color woodblock print. Prints and Photographs Division, Library of Congress (019.00.00)

Photo 22a
Matsuo Basho
Painting attributed to Yosa Buson
Public Domain

Photo 22b
Yosa Buson
Self portrait – in 1771
Public Domain

Photo 24
Photos of the four seasons

Photo 26
Jacket cover of Seasons of Sharing

Photo 27
The Paintings of the four seasons

Photo 28
Kae Morii

Photo 29
Two left black hand jewelry stands holding a brass and blue bead rosary
Photograph by Christal Rice Cooper
Copyright by Christal Rice Cooper

Photo 30
Two left black hand jewelry stands holding a brass and blue bead rosary surrounded by metallic cutouts of  cardboard red globe surrounded by metallic cutouts of (from top left) Japan, Virginia, France and (from bottom left) Germany, Mexico, and Indiana
Photograph by Christal Rice Cooper
Copyright by Christal Rice Cooper

Photo 31
Two left black hand jewelry stands holding a cardboard red globe and six wooden hearts painted red.
Photography by Christal Rice Cooper
Copyright by Christal Rice Cooper

Photo 32
Carolyn Kreiter-Foronda at the Village Lights Bookstore in Madison, IN. The cat's name is Grrrtrude Stein (sic), the bookstore cat.  Can you correct the red eye problem with this photo?  Thanks!

Photo 33
Jacket cover of River Country

Photo 34
Protest in Sanaa, Yemen (February 3, 2011)
Attributed to Sallam from Yemen
CCASA 2.0 Generic License 

Photo 35
Styrofoam head mold painted green covered with blue fabric African blue violets with glass beads, with one left black hand jewelry stand holding a glass and blue bead rosary.
Photograph by Christal Rice Cooper
Copyright by Christal Rice Cooper

Photo 36
Flor Aguilera-Garcia

Photo 38
Gabriele Glang

Photo 40
Catherine Aubuelle painting

Photo 41
Catherine Aubelle painting

Photo 42
Jacket cover of Seasons of Sharing

Photo 43
Jacket cover of Seasons of Sharing

Photo 45a
Flor Aguilera-Garcia

Photo 45f
Jacket cover of As the Audience Begs for a Ferocious Tango

Photo 52a
Jacket cover of Dialogues

Photo 52b
Jacket cover of Palimpsests

Photo 53
Joyce Brinkman

Photo 55e
Joyce’s poetry on the wall in the town square of Quezaltepeque, El Salvador

Photo 56a
“Indiana Flight” by Joyce Brinkman

Photo 56b
“Indiana Flight” by Joyce Brinkman

Photo 56c
“Indiana Flight” by Joyce Brinkman

Photo 57a
Jacket cover of Rivers, Rails and Runways

Photo 57b
Jacket cover of Airmail from the Airpoets

Photo 59
Poetry Out Loud magazines

Photo 60
Indiana Poets in El Salvador.  Top Row: Kevin Gutierrez Cortez , Joyce Brinkman, J.L. Kato, Phoenix Cole, Sandra,Gutierrez Cortez, Ruthelen Burns, Fabrizsio Sagett, Beth Tellman.  Bottom Row: Joe Heithaus, Marvin Gutierrez Cortez, Marvin,  Geova Velasques Dueñas, and Crosby .Lemus.  Photo taken by .JonathanVelasquez Osmin

Photo 62
Joyce and her cat Bobb

Photo 63
Gabriele Glang

Photo 64a
Jacket cover of Roundelay and Stark naked on a Cold Irish Morning

Photo 64b an 64c
Jacket cover of Stark Naked on a Cold Irish Morning

Photo 65
Jacket cover of Roundelay

Photo 66
Paula Modersohn-Becker (02-8-1876 to 11-21-1907)
Public Domain

Photo 67
Gabriele Glang (under the yellow umbrella) teaching a class
Copyright granted by Gabriele Glang

Photo 68
Painting by Gabriele Glang
Copyright granted by Gabriele Glang

Photo 69
Gabriele Glang and Catherine Aubelle

Photo 70
Catherine Aubelle and Gabriele Glang at the book launch for Palimpsests

Photo 71
Carolyn Kreiter-Foronda being sworn in as Poet Laureate.
Copyright granted by Carolyn-Kreiter Foronda

Photo 72
Carolyn at the ceremony receiving her Scholarship and Service Award and a Letter of Recognition for Quality Research form the Virginia Educational Research

Photo 73a
GMU alumni award in 2007.  Carolyn Kreiter-Foronda is in red in the middle)

Photo 73b
Being inducted into Phi Beta Kappa at the University of Mary Washington.

Photo 73c
University of Mary Washington Alumni of the year award in 2007.
Copyright granted by Carolyn Kreiter-Foronda.

Photo 74a
Jacket cover of Contrary Visions

Photo 74b
Jacket cover of Gathering Light

Photo 74c
Jacket cover of Death Comes Riding

Photo 74d
Jacekt cover of Greatest Hits

Photo 74e
Jacket cover of River Country

Photo 75f
Jacket cover of The Embrace:  Diego Rivera and Frida Kahlo

Photo 75a
Jacket cover of In A Certain Place

Photo 75b
Jacket cover of Four Virginia Poets Laureate:  A Teaching Guide

Photo 76a
Carolyn Kreiter-Foronda being sworn in as Virginia Poet Laureate by Virginia of Commonwealth.
Copyright granted by Carolyn Kreiter-Foronda

Photo 76b
Virginia Poets Carolyn Kreiter-Foronda, Claudia Emerson, and Kelly Cherry
Copyright granted by Carolyn-Kreiter-Foronda

Photo 76c
Carolyn Kreiter-Foronda holding her Virginia Laureate Recognizance Reward in the field of literature.
Copyright granted by Carolyn Kreiter-Foronda.

Photo 76d
A copy of the Virginia Laureate Recognizance Reward granted to Carolyn Kreiter-Foronda
Copyright granted by Carolyn Kreiter-Foronda.

Photo 77

Kae Morri

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