YOUR FATHER IS BALD: Selected Hay(na)ku Poems
TU PADRO ES CALVO: Poemas escogidos hay(na)ku
TATAL TAU E CHEL: Poeme hay(na)ku
Publisher: Pim Publishing House’s “Bibliotheca Universalis” Collection, Iasi, Romania
Release Date: 2017 / Now Out of Print
Page Count: 140
Eileen R. Tabios’ first trilingual edition features a selection of her hay(na)ku poems with translations into Romanian and Spanish—form matches content given the hay(na)ku’s focus on 3s (tercet). The poems’ translators include Gabi Apetrei, Irina Secarescu, Ioana Agafitei, Elena Tapean, Diana Dragomirescu, and Rebeka Lembo.
Published by PIM Publishing House’s “Bibliotheca Universalis” Collection in Iasi, ROMANIA / EU, with coordination by Daniel Dragomirescu, the book also presents guest poet Vince Gotera who had named the hay(na)ku poetic form as well as essays on the history of the hay(na)ku. Also included are feedback on the hay(na)ku from a variety of poets–here are some examples:
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.
Eileen R. Tabios would like to thank Filipino-American poets Jon Pineda, Patrick Rosal and Oliver de la Paz for being good sports in “enacting” a version of “Bald Dads” for the book’s second cover:
FROM APPEARANCE IN CLH DICTIONARY: