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.
A group of those poets have
produced a book of travel metaphor, Rivers, Rails and Runways, (http://www.amazon.com/Rivers-Rails-Runways-Ruthelen-Burns/dp/1604610077/ref=sr_1_3?ie=UTF8&qid=1414344489&sr=8-3&keywords=Joyce+Brinkman) and a
book of postcard poems, Airmail from the Airpoets.( http://www.amazon.com/Airmail-AirpoetsJoyceBrinkman/dp/0982829515/ref=sr_1_2?ie=UTF8&qid=1414344417&sr=8-2&keywords=Joyce+Brinkman).
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.
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
