LOC Control No.: 2018943545
Paloma Press’ Book Page
Release Date: Summer 2018
Distributors: Paloma Press, Amazon, Lulu, among others
One, Two, Three / Uno, dos, tres is a bilingual English/Spanish edition of a selection of Eileen R. Tabios’ hay(na)ku poems. More information about the hay(na)ku, invented in 2003 by Ms. Tabios, is available HERE.
Since its debut in 2003, the hay(na)ku has been taken up by poets around the world, generating five anthologies and numerous single-author collections as well as appearances in literary journals. In 2018, the hay(na)ku’s 15-year anniversary generated exhibition and reading celebrations at the San Francisco Public Library and Saint Helena Public Library as well as an anthology, HAY(NA)KU 15.
ABOUT THE AUTHOR & TRANSLATOR:
About the Author
Eileen R. Tabios loves books and has released over 50 collections of poetry, fiction, essays, and experimental biographies from publishers in nine countries and cyberspace. Her 2018 poetry collections include HIRAETH: Tercets From the Last Archipelago; MURDER DEATH RESURRECTION: A Poetry Generator; TANKA: Volume 1; and the bilingual edition (English/Spanish) of One, Two, Three: Selected Hay(na)ku Poems. She is the inventor of the poetry form “hay(na)ku” whose 15-year anniversary in 2018 was celebrated with exhibitions and readings at the San Francisco Public Library and Saint Helena Public Library. Translated into eight languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays as well as served as editor or guest editor for various literary journals. Her writing and editing works have received recognition through awards, grants and residencies. More information is available at http:// eileenrtabios.com
Acerca de la autora
Eileen R. Tabios ama los libros y ha publicado más de 50 colecciones de poesía, ficción, ensayos y biografías experimentales con editoriales en nueve países y en línea. Sus colecciones de poesía para el 2018 incluyen: HIRAETH: Tercetos desde el último archipiélago; ASESINATO MUERTE RESURRECCIÓN: Generador de poesía; y la edición bilingüe (inglés/español) de Uno, dos, tres: Selección de hay(na)kus. Inventó la forma poética “hay(na)ku” cuyo decimoquinto aniversario en 2018 fue celebrado con lecturas y exhibiciones en la Biblioteca Pública de San Francisco y la Biblioteca Pública de Santa Elena. Ha sido traducida en ocho idiomas y ha editado, coeditado y conceptualizado 14 antologías de poesía, ficción y ensayos; asimismo, ha sido editora y editora invitado de diversas revistas literarias. Su trabajo de escritura y edición ha sido reconocido con premios, becas y residencias. Puede encontrarse más información en: http:// eileenrtabios.com
About the translator
Rebeka Lembo has an undergraduate degree in English Literature and a Masters in Comparative Literature from UNAM. She kept the multilingual blog Ecce Mulier (http://eccemulier.blogspot.com) from 2004 to 2012. Her translations have been published in The Boy Bedlam Review, Poemeleon, Revista Fractal, The Light Sang As It Left Your Eyes, etc. Her poetry has been published in Otoliths and The Second Hay(na)ku Anthology (Meritage Press and xPress(ed)). She currently lives in San Jose, California.
Acerca de la traductora
Rebeka Lembo estudió la carrera de Letras Inglesas y la maestría en Literatura Comparada en la Facultad de Filosofía y Letras de la UNAM. Mantuvo una bitácora literaria multilingüe Ecce Mulier (http://eccemulier.blogspot.com) del 2004 al 2012. Sus traducciones han sido publicadas en The Boy Bedlam Review, Poemeleon, Revista Fractal, The Light Sang As It Left Your Eyes y sus poemas se han publicado en Otoliths y The Second Hay(na)ku Anthology (Meritage Press y xPress(ed)). Actualmente reside en San Jose, California.
Also featured is “Blue Bravura,” a hay(na)ku by Vince Gotera. Mr. Gotera had coined the name “hay(na)ku” for this poetic form.
Eileen R. Tabios, who created the fascinating form of poetry called Hay(na)ku, curated this collection of works in tandem with Rebeka Lembo who provides Spanish translations of the works….enlightening….This is experimental poetry now, but there were days when sonnets and villanelles were considered experimental….Very successful book, this.
-Grady Harp, San Francisco Review of Books and at Goodreads
In One, Two, Three: Selected Hay(na)ku Poems, Eileen R. Tabios, creator of the hay(na)ku, proves that she is not only adept at invention, but also at exposition. The collection contains hay(na)kus and variations of the form, as well its history, description, a selection of hay(na)kus written by Vince Gotera, and seven poets’ comments about the form. This book is part poetry collection, part manual, and an invitation to participate: at the end of the introduction, Tabios writes, “I hope this collection encourages readers to try their hand at the hay(na)ku!
-Erica Goss, Sticks & Stones, May 2019
This is a very welcome addition to the growing number of books on this form of writing and it should encourage other writers to try their hand at the hay(na)ku and, in the process, invent even more variations of this versatile form. . Credit should be given to Rebeka Lembo for her sensitive translations of these works into Spanish. Of particular note is the way in which she managed to preserve the word count of the tercet form in translation. Fully recommended
-Neil Leadbeater, My Haiku Pond, June 25, 2019
Selected Responses to the Hay(na)ku:
Watching the birth & evolution of a new form is fascinating. And, unlike flarf, which is a process, hay(na)ku is a form. But what kind of form is it? Poem or stanza? Again, I think the answer lies in looking at the quatrain, which is more stanza than finished work. That, ultimately, is what I think this first generation of hay(na)ku writers have created–not a poem, but a stanza, simple, supple, elegant, capable of considerable variations. That’s quite an accomplishment.
…a way of revealing…a “thinking” form–emotional as well as intellectual thinking. By allowing a lot of space on the page it keeps things tight and loose. Hay(na)ku creates or pushes certain syntactical structures, potentially disruptive through its arbitrariness. Forms aren’t games, or just games–they are ways of paying attention.
…an elegantly minimalist form (a bit like the tip of an Oulipian “snowball”)
The diasporic nature of the hay(na)ku attracted me from the very beginning because it allowed me to express myself in English without being a native speaker…I feel the hay(na)ku is a form that grants a common space for poetic practice in different languages; a way of writing in English without completely obliterating one’s “mother tongue.” Instead of the conquest and influx that has defined English in relation to other “less powerful” languages, the hay(na)ku is open and flexible, an invitation to share different ways of thought and writing.
Saint Helena Star, June 21, 2018