Εμείς, βάρβαρη συντεχνία
της πέτρας και της μηχανής
δαρμένοι από το δρολάπι της Πίνδου
και το βούρδουλα του Μακρονησιού
φύτρα χωρικών, γραφιάδων, μπουζουξήδων,
μαστόρων και ψιλικατζήδων,
θα επιμένουμε να τραγουδάμε
για τα χέρια και τις μηχανές
για τα υφάσματα και τα σπίτια
για τα σιτάρια και τις ελιές.
Θα επιμένουμε με τον Κολοκοτρώνη
ενάντια στον Ομέρ Βρυώνη,
Με το Μάι Λάι ενάντια στο Εφ – Μπι – Άι,
με το Σαντιάγο ενάντια στο Σικάγο.
*Από την ποιητική συλλογή “Το άλλο” (1973).
Category Archives: Uncategorized
Emily Dickinson, Απόσπασμα
Γεράσιμος Λυκιαρδόπουλος, Τὸ κρασὶ τῶν Φαιάκων
Πές μου το πάλι πὼς θὰ μὲ θυμᾶσαι κι ἐγὼ θὰ σὲ πιστέψω.
Ποιὸς θὰ μποροῦσε ἀλήθεια νὰ κρατήσει τὸ τιμόνι σὲ τούτους
τοὺς καιρούς;
Χάλασε κι ἡ πυξίδα χαθῆκαν οἱ προορισμοὶ
τὰ κύματα σηκώθηκαν ὡς τὸ μυαλὸ σβήσανε οἱ αἰῶνες
τόσες πατρίδες τόσες προσπάθειες μέσα μου καμένες.
Ἂσ’ τοὺς ἀνέμους νὰ μᾶς πᾶνε ὅπου θέλουν
ἂσ’ τοὺς ἀνέμους καὶ τὸ τυφλὸ κρασὶ
τὸ ματωμένο φῶς πάνω στὰ χείλη σου, τὸ ψέμα κι ἡ ὀμορφιά σου
πές μου τὸ πάλι
πές μου τὸ πάλι πὼς θὰ μὲ θυμᾶσαι κι ἐγὼ θὰ σὲ πιστέψω.
Poetry@fedsquare – Saturday, 19 April 2014 – 2-4pm
Poetry@fedsquare – Saturday, 19 April 2014
2-4pm
Federation Square (Beer DeLuxe upstairs)
Dear fellow poets, readers and admirers of poetry. This month we will dedicate our monthly poetic event to a wonderfull and exciting poetry style, the haiku.
A haiku poem consists of three lines, with the first and last line having 5 moras, and the middle line having 7. A mora is a sound unit, much like a syllable, but is not identical to it. Since the moras do not translate well into English, it has been adapted and syllables are used as moras.
Haiku started out as a popular activity during the 9th to 12th centuries in Japan called “tanka.” It was a progressive poem, where one person would write the first three lines with a 5-7-5 structure, and the next person would add to it a section with a 7-7 structure. The chain would continue in this fashion. So if you wanted some old examples of haiku poems, you could read the first verse of a “tanka” from the 9th century.
The first verse was called a “hokku” and set the mood for the rest of the verses. Sometimes there were hundreds of verses and authors of the “hokku” were often admired for their skill. In the 19th century, the “hokku” took on a life of its own and began to be written and read as an individual poem. The word “haiku” is derived from “hokku.”
The three masters of “hokku” from the 17th century were Basho, Issa, and Buson. Their work is still the model of haiku writing today. They were poets who wandered the countryside, experiencing life and observing nature, and spent years perfecting their craft.
We are pleased to present 4 amazing and very representative haiku poets Lorin Ford, Myron Lysenko, Rumi Komonz and Peter Bakowski.
They will be accompanied and supported by a group of some also wonderfull haiku poets such as Marisa Fazio, Jennifer Sutherland, Carla Shari and many more.
As usual there will be an open mic reading session for the remaining time.
Here are the bios and photos of our featured poets for this day:
LORIN FORD
Lorin Ford received an Honours degree in English Literature and a Dip. Ed. and taught high school English and ESL. She also received a Dip. Prof. Writing & Editing. Lorin’s haiku have been widely published in Australian and overseas journals and anthologies including the Red Moon Anthologies 2008, 2009, 2010, 2011, 2012 and 2013, Montage: The Book, A New Resonance #7, Haiku 21 (Modern Haiku Press), Haiku in English: The First Hundred Years (W. W. Norton & Co), and Where the River Goes (Snapshot Press).
During the almost last ten years she has awarded with lots of Prizes. Her first haiku collection, a wattle seedpod, was awarded first place in the Haiku Society of America Mildred Kanterman Memorial Merit Book Awards, 2009. Three Lights Gallery published what light there is an online collection of thirty of Lorin’s haiku, in 2009, and Mann Library featured her haiku daily in May, 2011. Her short collection, A Few Quick Brushstrokes, is one of the winners of the 2011 Snapshot Press eChapbook Contest.
Lorin served on the judging panel for the Haiku Dreaming Australia Awards in 2009 and for The Haiku Foundation’s Touchstone Distinguished Book Awards, 2010, 2011 and 2012. She was one of the four founding editors of Notes from the Gean and served as haiku editor from its first issue in June 2009 through to its ninth issue in June 2011. The journal I’m currently editing & publishing is ‘A Hundred Gourds’ at http://ahundredgourds.com
MYRON LYSENKO
Myron Lysenko has been writing, performing, publishing, editing and conducting poetry workshops since 1980. He began writing free-form narrative poems about his experiences of growing up in Australia, including coming to terms with his Ukrainian name and background. He is the author of 8 poetry collections from which the latest by Flat Chat Press is a book of haiku (with drawings by Sandra Drummond) titled “a rosebush grabs my sleeve.”
He was a founding editor (with Kevin Brophy) of the lively independent litmag Going Down Swinging from 1980-1994. He has 444 poems published in litmags, newspapers & anthologies. He travels the coast from Southern Australia, Tasmania, Victoria, NSW & Queensland, doing readings & conducting poetry workshops with adults and younger people. Myron has been concentrating on writing haiku in the last few years and he loves this short form. He goes to cemeteries, parks, botanical gardens, beaches, mountains, and his beloved Merri Creek where he wanders around looking for haiku.
A co-founding member of RookuTroupe along with Leanne Hills & Matt Hetherington. They were instrumental in getting haiku published on decals in the metropolitan trains of Melbourne during autumn and winter of 2006. He is the Victorian Regional Officer of The Australian Haiku Society.
RUMI KOMONZ
Rumi Komonz is a bilingual writer, editor and author. Rumi’s poem, written in a form of a series of haiku, was published in “Memory Weaving,” an anthology supported by the City of Manningham. She won the Award of Excellence at the 22nd Gifu Literature Festival in Japan.
Her novel written in Japanese was published by Gifu Foundation of Educational Culture in March, when she went to Japan to receive the award. Rumi holds a Bachelor of Laws (La Trobe University), BA (Gakushūin) and Dip Ed (Monash University). She edits ANE bilingual newsletters and successfully coordinated the week-long Mooramong Bilingual Writers’ Residency in July 2013, supported by Writers’ Victoria.
Rumi is calling for haiku and/or bilingual haiku submissions for an anthology supported by the City of Boroondara. It will be edited by her to be published and launched at Canterbury Neighbourhood Centre in November this year. Rumi facilitates ANE bilingual haiku writers’ group, as well as Canterbury Writers’ and Write Track; all three writers groups are open to new members and her contact email address is found at Writers Victoria website.
PETER BAKOWSKI
Peter Bakowski has been writing poetry for over thirty years. He has and continues to present his poetry throughout Australia and overseas at high schools, universities and TAFE’s, and to literary and cultural groups.
He has presented his poetry at the Australian Consulate in New York, the Australian Consul’s residency in Shanghai, the National Library in Canberra and at the State Libraries of West Australia, South Australia, Victoria and Tasmania. Peter has been poet-in-residence in Rome, Paris, Macau, Suzhou (China), Greenmount (Western Australia), Battery Point (Tasmania), Broken Hill (New South Wales), and at the Arthur Boyd estate Bundanon (New South Wales).
His poems continue to appear in literary magazines worldwide and have been translated into Arabic, Bahasa-Indonesian, Bengali, French, German, Italian, Japanese, Mandarin and Polish. His first poetry collection, In The Human Night, won the Victorian Premier’s Award for Poetry and his 2009 poetry collection, Beneath Our Armour, was shortlisted for that award. When not on the road, presenting his poetry and giving poetry workshops in public spaces and private houses, Peter lives with his family and their dog, in Richmond, Melbourne.
Poetry@fedsquare is supported by Federation Square
and underthe auspices of Multicultular Arts Victoria
For more info
https://www.facebook.com/PoetryAtFedSquare
@poetryfedsquare (Twitter)
troaditisdimitris@gmail.com and poetryfedsquare@gmail.com
Μάρκος Μέσκος, Περιγραφή
Το Βραβείο Ποίησης (Κρατικά Βραβεία Λογοτεχνίας 2013) απονεμήθηκε κατά πλειοψηφία στον Μάρκο Μέσκο για το έργο του με τίτλο «Τα λύτρα», εκδόσεις Γαβριηλίδης (2012), από όπου και το μικρό ποιητικό δείγμα που ακολουθεί.
Τώρα μετράει τό βιός του
πόσα χαράματα πόσες αφιλόξενες νύχτες πόση ξενιτιά
και πόση αντίδωρη αγάπη
χάθηκε στη ζωή του.
*Το Κόσκινο είχε δημοσιεύσει το Σεπτέμβρη του 2012 τρία ποιήματα απο τη συλλογή “Τα Λύτρα” του Μάρκου Μέσκου, που βρίσκονται εδώ: https://tokoskino.wordpress.com/2012/09/09/%CE%BC%CE%AC%CF%81%CE%BA%CE%BF%CF%82-%CE%BC%CE%AD%CF%83%CE%BA%CE%BF%CF%82-%CF%84%CF%81%CE%AF%CE%B1-%CF%80%CE%BF%CE%B9%CE%AE%CE%BC%CE%B1%CF%84%CE%B1/
Γεωργία Τρούλη, Ιθαγένεια ενός κόσμου
Σε χορό αγρίων θα πάμε
Θα δαμάσουμε τη φωτιά
Και με ολόκληρα τοτέμ
Θα ξεθυμένουμε τα ταμπού μας
Ξυλόγλυπτες αφηγήσεις
στην τρύπα του αυτιού
ένας ξαναζωντανεμένος σαμάνος
φοράει νυχτικό
και κάνει ευχές
δυτικού τροπαρίου
θα ανακαλύψουμε την ιθαγένεια
του έρωτα
με
κουλουριασμένες αφρικάνικες μάσκες
και κατεβασμένα από τη βαρύτητα
στήθη
έντονος βρυχηθμός βουντού
η αποφυγή του μοιράσματος
και κλαις
κι έπειτα πάλι
αυστραλιανό θετικό
το συναίσθημα
μα κρίμα
καθόλου να μην ξέρεις
πώς παίζουν ντιτζιριντού
οι αβορίγινες
και όλοι να σου λένε
να γίνεις πιο μίνιμαλ
αλλά εσύ συνεχίζεις να βλέπεις
το εμπριμέ στην ταπετσαρία του τοίχου τ
ο σκαλιστό στον ώμο της καρέκλας
το ανάγλυφο στη αγριάδα του βράχου
τα χρώματα στη φούστα μιας τσιγγάνας
τις ραφές στις άκρες του βιβλίου
και δεν θες καμιά απλοποίηση φόρμας
που δεν έχει ουλές
και συνεχίζεις
να συμπυκνώνεις σιωπές
όπως οι Εσκιμώοι στα ιγκλού
ολόκληρη ιστορία χιονιού
και αποκόλλησης από βάθος
δια-κοσμος
να εφαρμόζει σε δύο τρία λεπτά
τούβλα λευκά
τοιχοδομία αφήγησης
στη μέση γούνα και φωτιά
ολόγυρα πάγος
περίγυρος θάλασσα λιτή και δαντελοπλεγμένη απόκεντρα κόσμος
Jas H. Duke, Poets Are Not Good Lovers
Θεοχάρης Παπαδόπουλος, Το παντελόνι
Αντώνης Αντωνάκος, Ανίκατε μάχαν
ανίκατε μάχαν ο έρως
κι ας κατουράνε μπύρα οι χωροφύλακες
ας ξεψειρίζουν αρκούδες οι φονιάδες
εδώ βουίζουν περίστροφα
εδώ αρραβωνιάζεται ο θάνατος
την αναμμένη δάδα
εδώ ο έρωτας δηλητήριο και γιατρικό
*Από τη συλλογή “Γλυκόλογα για μολότοφ”. Δείτε το ιστολόγιο του ποιητή “Αδέσποτος Σκύλος” στη διεύθυνση http://dromos.wordpress.com
Aden Rolfe Reviews Kevin Brophy’s Walking
Walking,
by Kevin Brophy
John Leonard Press, 2013
Poetry collections aren’t prone to extensive reprints, so Kevin Brophy’s Walking, – which includes selections from five previous books – is somewhat of a trove for anyone wanting to access his earlier work. It also features a suite of new poems which, in their gentle complexity, are among his most interesting – testimony to a writer who’s carefully honed his craft over a 30-year stretch.
Brophy is a poet who positions the metaphysical in the domestic, who measures philosophical inquiry in pensive everyday moments. Take this stanza from ‘How to Stop’, for instance:
With next year’s diary open
on my desk I am rich with the future.
Later the cat will come to lie beside me
as I work in the garden.
I will be able to say the sunlight fell
exactly on our garden today. (12)














