![]() Mayfly 3720 N. Woodridge Dr. Decatur IL 62526 USA Subscriptions: 2 issues $8 email Mayfly visit Mayfly's website ![]() Before commenting on this review please read the FAQ page Home page Notes for publishers Want to be a reviewer? Anthologies. Books. Audio. Magazines. Software. Video. Artefacts. Web design by Gerald England This page last updated: 30th April 2005. |
Mayfly #34 | |
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The vibrant cover of this issue of Mayfly depicts one of Billie Wilson's sumie: rumble of thunder slicing just-picked peaches for the piesa painting that symbolises all the elements of the poem: storm, peaches and pie. It also conveys the essence of Mayfly, something captured in an instant of action and from this image we can speculate about the forthcoming haiku and the nature of the form itself. Mayfly is a beautifully presented little book with black and white cover. There is one haiku to a page, on thick white paper, with each poem surrounded by plenty of space. Inside we find sixteen haiku, the majority of which come from the United States, with one poem from Yugoslavia. While most of the poet's names are unfamiliar to me, one that is known is that of Michael Dylan Welch, whose poem drapes drawn just the edges done on the daffodil puzzlewhere the reader can hear the break between the fragment "drapes drawn" and the phrase "just the edges done / on the daffodil puzzle". The simplicity of style and the alliteration of the 'd' sound add to the close linkage of the images. Mayfly is an adventurous booklet. While the poems are almost entirely set in the United States, with no connection to elsewhere, the poets' imaginations are set completely free to roam. Apart from the odd phrase ("salamander", for example, in the first poem, by Harding Stedler): footprints of salamander at my door no one homeand "cottonwood" in the haiku by Christopher Patchel: park bench reverie sunlight floats on cottonwood seedsthe haiku are universal. Accurate and ordinary statements are made about things common to us all, but due to the combination of images and ideas and what happens between them, a truth is revealed. The language in these haiku hums and sparks, rich with imagery, wrapped around fluid phrases and propelled by action to keep readers on their toes, such as in the final haiku by Dorothy McLaughlin: months of chemo throughout the garden weeds in bloom | ||
| reviewer: Patricia Prime. | ||
| Mayfly #35 | ||
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The front cover of this little magazine (roughly 5" square) promises good things within. It's not so much the cover design (which does have a simple charm), but the haiku by Christopher Patchel that forms part of that design: park bench reverie sunlight floats on cottonwood seedsA charming poem that has a befitting, gentle energy. Unfortunately the poems between the covers are not memorable. I found them rather bland, with the exception of these two the first by Francine Porad: stifled giggles behind the gazebo summer wineand the second by Fran Masat: end-of-the-line poppies between rusted railsBoth of these evoke strong but delicate images in language that is again gently sprung. | ||
| reviewer: Michael Bangerter. | ||
| Mayfly #37 | ||
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This is a delightful and well produced little haiku journal. There is no editorial, comment etc. It is a 16 page, pocket book with one haiku to a page. An unassuming little thing to take with you during a hectic day. There are good haiku here. It is suitable for anyone who wishes to get a feel for the haiku genre. A particular favourite is by Chad Lee Robinson: home early alone in the silence eating a bruised pearAnother that left a lovely and lasting impression was that by Frances Angela: garden party light rain falling into my mother's ginIn fact, I enjoyed them all, the last, by Scott Mason, being particularly poignant: nearly my birthday . . . up the stairs I carry my motherThis humble little publication shines like a pearl. | ||
| reviewer: Doreen King. | ||
| Mayfly #38 | ||
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A delightful little haiku magazine, in which it's obvious that every care has been taken, neatness and simplicity being an outstanding feature. Square in shape, each poem is given a page to itself, centrally placed. Quite a lot of good material, such as Pete Lee's from van to courthouse the prisoner walks in the April sunor Diane Tomczac's afternoon break the cat show judge in a slice of sun | ||
| reviewer: John Francis Haines. |