In between   (a poem)
.
my mind struggles against its own illusion
nightmare tumbles out into still morning
light is heavy,
a fog of echoes...
and I am caught
.
day dreams the sunlight
dreams light the day
and I am caught in between
mourning echoes...
like a stillborn ghost
who can't take a breath in the present

….
  
I live on a tropical island and just want to go surfing with my husband, but the nausea in the early morning as I try to eat  breakfast and drive with him to the beach is so uncomfortable.  Day after day it makes even surfing a chore, and I consider not going anymore.  Background anxiety and unreasonable irritation interferes with our marriage, frustrates him enough to want me out.  

For me, a trip to the grocery store or meeting a group of people awakens the same dreadful fear as rockclimbing a cliff. Perspective has been lost in the extremes.  I try to gain some control over this hindering nuisance, seeking situations that bring the same surges of adrenaline so I can learn to master it.  If I can just push past the avoidance that would keep me inside doing nothing, if I can just ignore the feeling I want to throw up, if I can just get out there, I am rewarded with life’s potential beauty eventually.  Many days I do enjoy the thrill of mountain biking or connection with nature when surfing, but there are too many days of internal struggle that reduce what should be enjoyable to a relentless chore of wrestling inner demons.

The VA offers a few sessions of marriage counseling, and the doctor begins to explain PTSD.  ***, I’ve learned to cope with an unreliable brain, but now there’s this?  From what I understand (and that’s just me, an amateur philosopher) Sometimes the brain is so traumatized, that the memory is literally sealed off, encapsulated, protecting it from changing.  If later something happens that is similar, the brain triggers avoidance responses as a take-no-chances survival mechanism.  Literally the brain is protecting one’s self from one’s self.  This all-or-nothing strategy works fending off potential dinosaur attacks, but in our complex society, these automatic avoidance behaviors complicate functioning and well being.  Life becomes an attitude of constant reaction instead of motivated intention.

The website for the National center for PTSD says.  “After a trauma or life-threatening event, it is common to have reactions such as upsetting memories of the event, increased jumpiness, or trouble sleeping. If these reactions do not go away or if they get worse, you may have Posttraumatic Stress Disorder.”  

“Common reactions to trauma are:
• Fear or anxiety: In moments of danger, our bodies prepare to fight our enemy, flee the situation, or freeze in the hope that the danger will move past us. But those feelings of alertness may stay even after the danger has passed. You may:feel tense or afraid, be agitated and jumpy, feel on alert.  
• Sadness or depression: Sadness after a trauma may come from a sense of loss---of a loved one, of trust in the world, faith, or a previous way of life. You may:have crying spells, lose interest in things you used to enjoy, want to be alone all the time, feel tired, empty, and numb.  
• Guilt and shame: You may feel guilty that you did not do more to prevent the trauma. You may feel ashamed because during the trauma you acted in ways that you would not otherwise have done. You may:feel responsible for what happened, feel guilty because others were injured or killed and you survived.  
• Anger and irritability: Anger may result from feeling you have been unfairly treated. Anger can make you feel irritated and cause you to be easily set off. You may:lash out at your partner or spouse, have less patience with your children, overreact to small misunderstandings.  
• Behavior changes: You may act in unhealthy ways. You may:drink, use drugs, or smoke too much, drive aggressively, neglect your health, avoid certain people or situations.”   It lists four main symptoms: reliving the event, avoiding situations that remind of the event, feeling numb, and feeling keyed up (also called hyperarousal)”

Four words strung together: Post Traumatic Stress Syndrome.  They’ve become a tired cliché, exhausted from the endless threat of random cruelty camouflaged in banality, weary of the weight shouldering back the wall that separates death and gore from the living.  Living was a reflex beyond willpower and devoid of choice. Control was self-deception.  The mind was so preoccupied with A: survival, B: sanity, in that order.  Rest was a cruel illusion.  The tank was drained, no room for emotions ditched.  Empathy took too much effort, fear was greedy.  Hopefully they can be remembered and found on the other side, if there is one.  Sleep deprived cells were left hyper-alert from the imminent, shot up and addicted to adrenaline.  Living was Fate and Chance, and meant leaving that time and place sealed in forgetfulness.  

Now PTSD is a worn out acronym, a cold shadow of what it feels like.  I try to think of something more personal that can describe the way it randomly visits me, now resigned to its familiar unwelcome influence.  It steals through my brain, flying ahead of me with its own agenda of protecting sabotage.  Its like the Guardian Trickster of Native American legend.  Its an archetype but real enough to make mistakes: Chulyen, the black raven.

A decade after the ER, contentment is found in a garden of slow tranquility as a butterfly interrupts a sunbeam.  My heart fills with bittersweet as I’ve finally found something I love and want to keep.  Just then Chulyen’s grasping black claws clamp my heart with painful arrhythmia and it fills to burst, tripping in panic trying to recover its pace.  The sudden pain drops me to my knees, in the dirt between fragrant lavender and cherry tomatoes.  Pain stops breath and time and makes me remember the ER, when my heart rebelled its ordained purpose for a week.  I had tried to throw my bitter life back in God’s face but He didn’t take it.  Now that I have peace and a life that I treasure, He’s taking it now.  The price for my mistake is due.  It was all just borrowed time and I’m still so young, my children just babies.  God with a flick of cruelty reminds me not to put faith in the tangible, especially when its treasured.  The sharp claws finally relent and I can breathe, looking up with a gasp and the Raven takes flight overhead leaving a shadow.  Bright noon warmth, unusually heavy and foreboding, seems to say ‘there will come a time when you will not welcome the sun.’   Doctors run an EKG and diagnose ‘stress’.

The bird perches on my shoulder two more decades later, always seeing death just over there.  So I sit on the porch just a little longer and check my list again, delaying the unavoidable racing heart and rush of tension when I fix the motorcycle helmet strap under my chin.  I know all those stupid drivers have my life in their cell-phone distracted hands and hope my husband knows how much I love him, and my daughters too.  

Chulyen wakes me at 3:00 am when autumn’s wind aggravates the trees.  His rustle of black feathers outside unsettles summer’s calm night.  He brings an end-of-the-world portent that hints this peace is just temporary, borrowed.  Tribulation will return.

Ravens are attracted to bright shiny things.  Chulyen steals off with treasures like intention, and contentment.  I don’t realize they are missing until occasionally I find myself truly living in the moment.  I guess that is another reason why I crave adventure, for those instants and epiphanies that snap me out of that long term modis operandi of reacting, instead of being.  The daily list of ‘I must, or I should’ can for a brief while become ‘I want’  and I am free.

My companion the black bird perches relaxed in the desert on the gatepost of a memory.  A bullet-scarred paint-faded sign dangles by one corner from rusty barbed wire:
    No Trespassing    
    That Means You
I have a haunted idea what's behind the fence.  Chulyen implies the memory with a simple mistaken sound:
a Harley in the distance is for a second the agitating echo of a helicopter...
or those were the very same words they said when...
or I hear a few jangling clinks of forks in our warm kitchen...
hinting a cold cafeteria at 5:00 am smelling of fake eggs and industrial maple flavored corn syrup,
and everything else that happened that day...
My cells recollect, brace with the addictive rush of adrenaline.  But the raven denies access to the memory, distracting with discomfort.  I trip and I fall hard into the gritty dirt of irritation at the person who unknowingly reminded me.  Anxiety floods in along with fatigue of the helplessness of it all, back then and still now.  I can't go further.  Chulyen’s tricking deception says Leave This Memory, you never wanted to come back.
But I already knew from just recognizing the bird patiently sitting there a sentinal,
recalling every other time he tricked me with nausea and depression.
I tried to tell myself again that behind that gate,
the past has dried up from neglect.
Disintegrated into dust,
Blown away,
doesn't
exist.
…


After everything else, how to work through this?  The VA gave me a manual, a crudely printed set of worksheets with a government-looking blue cover page:  Cognitive Processing Therapy.
“In normal recovery from PTSD symptioms, intrusion, thoughts, and emotions decrease over time and no longer trigger each other.  However, in those who don’t recover, the vivid images, negative thoughts, and strong emotions lead to escape and avoidance.  Avoidance prevents the processing of the trauma that is needed for recovery and works only temporarily.  The ultimate goal is acceptance.  
There may be “stuck points”, conflicting beliefs or strong negative beliefs that create additional unpleasant emotions and unhealthy behavior.  For example, a prior belief may have been “ I am able to protect myself in dangerous situations.”  But after being harmed during military service, a conflicting belief surfaces, “I was harmed during service, and I am to blame.”  If one is ‘stuck’ here, it may take some time until one is able to get feelings out about the trauma, because one is processing a number of rationales.  “I deserved it because…” , or “I misinterpreted what happened, I acted inappropriately, I must be crazy…”  The goal is to change the prior belief to one that does not hinder acceptance.  For example, “I may not be able to protect myself in all situations.”

(chapter continues with recovery methods)

~

verse 1
in the town of Chateau Thierry,
along the banks of the Marne,
just up the road from Paris,
a’ fore it meets the Seine;
’twas here our soldiers fought
in nineteen-seventeen;
'twas here they took the Kaiser,
in the trenches, rain and mud.
the Great War, then they called it,
here the river ran with blood;
with bayonet and shovel,
here an Allied victory made;
to halt the enemy’s advancement,
here too many made their grave.

instrument of bow and strings,
in composition history sings.
if, one-day strings could talk like men,
if, we could sing like violin!
stories told will ne’er grow old,
tales of courage that build the soul,
of standing tall and shouldering on,
to play an orchestrated song.
all you archers raise your strings,
draw your bows despite the dark,
soldiers of a genteel king,
wield your power to strike the heart.

verse 2
near the town of Chateau Thierry
in a convent, St Joseph by name
a violin by Francois Barzoni,
a resident luthier by trade.
prized possession of the Sisters,
they tuned well it's strings.
their convent walls withstood the bombs,
though leaving here their mark;
defaced but not destroyed,
and so with grateful hearts,
the Sisters of St Joseph,
for brick and mortar trade,
gathered up their treasures
their convent to remake.

instrument of bow and strings,
with composure history sings.
if, only strings could talk like men,
if, we could sing like violin;
stories told will ne’er grow old,
tales of hope that build the soul,
of standing tall and shouldering on,
to play an orchestrated song.
all you archers raise your strings,
draw your bows to light the dark,
soldiers of a genteel king,
wield your power; rebuild the heart.

verse 3
from the town of Chateau Thierry,
they advertised their local gem,
“wanted: no strings attached;
no saint expected, no requiem.
just two hands to cherish,
and a patron of our instrument.”
this their prayer, “oh Lord, one wish,
may our search meet no resistance.
may we find a young apprentice,
please reward our long persistence.”
and so they found their debutant;
prayer answered in Saint Louis.
a boy who understood its voice,
with their strings again make music.

instrument of bow and strings,
of your journey history sings.
if, only strings could talk like men,
if, we could sing like violin;
stories told will ne’er grow old,
tales of old they build the soul,
of standing tall and shouldering on,
to play an orchestrated song.
all you archers raise your strings,
draw your bows and find your mark,
soldiers of a genteel king,
wield your power to soothe the heart.

verse 4
near the town of Chateau Thierry,
along the banks of the Marne;
ply this channel of the masters,
play us a river, Lowell Meyer;
once a boy, become grand-father,
then a treasure to receive;
heirloom placed within your trust,
your prize possession to bequeath
to yet another debutant,
its strings to pluck and bow to draw.
he a master of persistence,
who with practice met resistance;
yesterday’s grandson, beloved progeny;
tomorrow’s hope, an admired prodigy.

instrument of bow and strings,
with clarity your voice still sings.
if, only strings could talk like men,
if, we could sing like violin;
stories told will ne’er grow old,
for these are tales that build the soul,
of standing tall and shouldering on,
to play an orchestrated song.
all you archers raise your strings,
draw your bows and make your mark,
soldiers of a genteel king,
wield your power to touch the heart.

~

post script.

A violin…  an instrument of hollowed wooded frame, strung with five strings made of gut, played by the drawing of a bow of hair crosswise over strings tuned in perfect fifths; an instrument of song with uniquely, beautiful voice.  Whether played as a violin with symphonic overture in a seventy-piece orchestra in Carnegie Hall, or as a fiddle in a four-piece southern country band at a barn dance down in a Kentucky hollow, in the hands of a violinist… a master… a virtuoso… a fiddler, it becomes an hallowed instrument… of diplomacy… of peace.

When I heard the faint whisperings of story about a nephew’s instrument I pledged to learn the details of its journey.  Charlie obliged, allowing me to interview him one evening early this month.

The instrument came complete with an old typed letter from Lowell Meyer, Charlie’s maternal grandfather, whose family purchased the instrument on his behalf, from the Sisters of St. Joseph when he was yet in middle school in 1923.  An instrument in its own rite, the letter also acts as a legal document, sharing not only the violin’s European heritage and how it came to arrive in these United States, but also dictating its future journey, naming only three possibilities of conveyance.  First, while in the possession of his family, the violin is to be owned by all of Mr. Meyer’s children and their heirs rather than by any one single heir.  Second, it allows a method for its sale should an urgent financial need arise.  And third, it dictates the intent of Mr. Meyers for the violin’s return to its original owner into perpetuity, the Sisters of St. Joseph near Chateau Thierry.  Charlie scanned the letter and emailed it to me, giving me a greater sense of its history and helping to establish its authenticity.   Its making by well known French luthier Francois Barzoni, who unlike the Stradivari family made his hand-crafted instruments for the masses, its survival within the convent walls during the bombardment of the Battle of the Marne and its subsequent journey from Chateau Thierry, to Saint Louis, each detail carrying great significance. As an example of one detail among many, it did not escape the attention of this story lover, the significance of a journey from its setting on one river to a similar setting on another, from along  the banks of the Marne before it spills into the Seine, winding through the fertile rolling hills north of Paris, to the fertile banks of the Missouri at its confluence with the Mississippi in St Louis, two famous rivers, a half a world apart, each with their own folklore of simple people living a simple life, of battles fought by simple people with uncommon valor.

*This simple story of “the violin” is a story worth telling; just one facet of Charlie’s interesting heritage; one which has its own voice, and is a tale that begged to be written.

Silent crackle, tingle,
The smell of a sticky must. Floating dust in
An abandoned attic, where the rats roam and the dead skeleton of a fish
Still lies in an empty bowl of moldy rocks and plastic plants.
Yet, despite the emptiness, a girl curls up in the corner, black
Running down her face as she weeps for the things she longs for most.
She looks out the *****, broken window at the cloudy sky and imagines it
Blue. The brightest of skies with only few hints of cirrus.
A blanket on the ground and the man she loves, nothing else in sight.
The expanse of green in her head is contrasted to the rotting floorboards she lays
On, dreaming. The steady beat of Boy in Static thrumming through her headset
As she struggles not to scream and jump, finishing the job on the window
From troubled teens years before. The sound reminds her of VHS tapes,
Press rewind, take a turn and start over. But she can't, when something has changed.
The boy she knew, looking down with his hood not up, but covering his face, shielding
Himself from her. She knew he had a ***** in his head, but she just looked away. He never answered anything she asked. He was unable.
But her heart still dropped, she smiled her best. An amazing actress, fooling everyone, makeup allergy keeping her eyes dry. She just read Huck Finn as though nothing was wrong.
Now she sits in her room, writing and shaking her head. This line is not right.
Her walls were full of color and poetry, but her mind kept wandering to that attic.

She was there again. Blankly staring at her star charm anklet. A simple blue ribbon.
And the throbbing of her heartbeat through that one spot on her thumb,
That pressure point that hurts more than anything. But one thing could be worse.
Being left. Just like the broken rocking horse in the corner and the baby's cradle
Lined with blue silk that was shoved into a box. That baby is probably dead. Just like all
Of the others who lived there, burned by the fire. Goose flesh raises, prickly
Hairs on her legs from a week of no shaving. Scratch. Scratch. Scratch. Bleed.
Change the song. Bleed Like Me. Perfect. She draws on the peeling walls, two hundred
Years of wallpaper and lead paint, chalk barely leaving a mark. She sketches a masterpiece.
A child that she wishes she could have. Impossibly too young, but still...
A daughter she could raise better than her mother raised her. A chance to do something right.
More than the mechanic life she has lead, empty and useless.
Confused and pathetic. Like the broken grandfather clock that ticks backwards.
Three, two, one.
Ding-****, ****-ding. Grandfather never taught me anything. He was not a wise man.
He was a fool. Knew too much and too little, no room to know what was right.
She let another raindrop escape and suddenly it began to pour. Lightning crashes as a glass
Slipper collides with the picture drawn of her dream. Thunder as she releases a
Bloodcurdling scream. "Why!?"
Why her? The pain in her back is unbearable. She slouches too much, and her eyes burn.
She is not Cinderella; her ball gown does not glitter.
Piano is her least favorite instrument, but it somehow gets to her. Small hammers
Striking her heart strings, low notes reminding her of his voice and the soft, feminine
Voices radiating, remind her of when she was young... Immortal. She has aged since then.
Too quickly. Her entire life has been a masquerade ball. Unskilled idiots dancing
Around her and stepping on her toes. Shouldering her in the stomach,
Breaking her ribs. Beats of music guide her skilled toes, swerve around falling raindrops that
Her own eyes emit. And she crashes through the floor of that dismal attic. Broken free,
But she is still trapped. The walls are charred down here.

But the walls are not painted black. They were once a mint color, green and cheerful, healthy.
Until a psychopath lit a match.
"I didn't mean to do it." It was all in her head. The house.
She set it aflame.

She sits in her room, writing and shaking her head. This line is not right.
Her walls were full of color and poetry. It isn't worth it to stare. Nothing will change.
She is still just a girl in a glass box, being stared at and judged. Trapped and ridiculed because her eyes bleed and bless the onlookers with bad luck. It's amazing the things
That people don't know. Drifting deeper into a pit of endless darkness. A candle won't
Live down here. No oxygen to let it breathe. But one lit self portrait hangs in the air.
Years ago, drawn in pencil. Symbolic, it wants to be erased. To die.
And the ******* the page is wearing a mask. The girl in the parchment is me.
Medium length hair and a tear painted, permanent. A Parasite. Capitalized for its meaning.

A demon is running through me, singeing
My tissues, blisters on the insides of my bones. Swelled up, show through
My skin. Waves on a shore. But I am not a beach. A ***** maybe...
Still, I hate it. The hate killed whatever flowers I had left planted in my mind.
Tainted me with the horrible visions of a tear streaked face of paper mâché.
She was the one in the attic. Her whole persona
Wilted and ashen, grey. A silent movie might mask it; the hurt, I mean.
The grey lines on the screen hiding the bags under her eyes and the redness of her nose,
Get rid of the twinkling shards of glass frozen on her cheek from crying in the dead of winter.
Slip up once, and everything goes to hell. Well, I must have slipped years before I was born.
Few smiles are left on this dismal timeline. And I shall use them wisely. But, for now,
I think I will just weep, sleep forever and hope that you don't give up on me and pull the plug.
I am still here somewhere, just dormant. Please wake me up. Get me out of this charred cabin,
This glass box. Pull me out of my warped sense of everything, teach me again what
Love feels like. I have forgotten amidst everything that I have felt and remembered.
There is no more room for things to be learned. Only for things to be repaired.
I will give you a hammer. Come inside and fix me; that ***** in your head couldn't have taken your knowledge away. You are the only one that knows.

Use this never ending lightning and bring your bride to life.

Bride of the desert
the indomitable town
Solomon’s Kingdom

            
Lost in history, I wander through a city that was fortified by King Solomon, raided by Mark Antony and ruled by Queen Zenobia who made it the capital of an empire, only to be captured herself and paraded through Rome in gold chains.

Civilisation upon civilisation are entombed within Tadmur; in a huge plain of carved stone blocks, massive columns arched in rows or standing alone, a Romanesque theatre, senate and baths, dominated by a great temple whose origin dates back four thousand years.

Due to a clever mistranslation from Arabic by the euro-centric traveller who ‘discovered’ Palmyra, the city also has a modern name.

Here for millennia, a tribe of Bedu have camped within the folds of these desert steppes and blackened Tadmur’s ruins with their camp fires, to trade camels or herd goats and sheep. Walking the divide between city, desert and the more fertile steppes, I search for their surviving descendants and find a black woven goat’s hair tent with its edges raised to capture a cooling breeze.

Hamed and his sons, huge and wary of foreigners, welcome me to sit within on  carpets and then graciously serve dates with innumerable small glasses of tea. I indicate ‘enough’ in the traditional manner by rolling my right hand and the empty glass. Hamed continues to voice his concerns about the lack of feed for their sheep and the prices achieved at market. I readily succumb to several small cups of greenish Arabic coffee, before being allowed to take my leave.

For millennia the wealth of this city was based on tariffs levied on goods flowing out of the desert aboard swaying camel caravans. Today, these once proudly fierce tribal Bedu no longer breed, train or ride camels.

The Bedu greatly prize their reputation and the respect of their peers. Their traditions are the foundation of these small tribal communities and may predate Islam;  a life now undermined by borders, nationalism, government settlement plans, conscription, war, television and tourism.
                                         *+     +     +      +      +

Black torn empty shells
swept by Mount Lebanon’s shade
Cannabis Valley

As I recall a haiku of ‘images’ of  my very first journey to Damascus, from war-torn Beirut through the lushness of the Bekaa;

in the here and now
a dark suit and Mercedes
cross the Euphrates

Defence Minister, Rifaat al-Assad is in town with his fifty thousand strong Defence Companies, complete with tanks, planes and helicopters.  A coup d’état is in progress to assure Rifaat’s succession to the Presidency of his older brother Hafiz al-Assad, now recovering from a heart attack.

Last year, Rifaat massacred some forty thousand Syrian citizens when he ordered the shelling of the city of Hama. Nobody in Damascus will be underestimating him.

All political and military power is in the hands of the al-Assads and key generals, who command the military and police. The majority of whom are of the Alawite minority Muslim faith from the rural districts near Latakia in the North. Before their revolution, governments came and went in weeks.

My friend Elias is allied to Rifaat’s cause, by simply doing business with the son. Now he and his family share the risks and dangers of this coup failing and stand to lose a fortune. Monies paid locally in Syrian pounds for goods delivered to government agencies.

Elias’s connection with Rifaat and Latakia, as well as his confident presence, humour and love of life, still allows us easy access to the Generals’ Club. Sadly, there is to be no table and floorshow, but a closed meeting with two senior Generals, where we learn that Hafiz has recovered enough to take charge and is now locked in discussions with his younger brother.

The decision is therefore made for us. We say our goodbyes and drive to Latakia.

On Sunday Elias meets his brothers, then with his family, we visit his parents small holding and enjoy a meal together. A wonderful fresh mezza that includes my favourite, courgettes stuffed with ground lamb and rice, in a yogurt sauce. Syrian food is amazingly healthy and my cuisine of choice.

It is a cloudless Monday morning, as I, Elias, his wife and children drive into the docks to board an old 46 foot motor cruiser. Huge cases are stowed as I make my inspection, then start the twin diesels and switch on the over-the-horizon radar. Our early departure is critical. We cast off and the Mate steers for the harbour entrance below the cliffs that guard it. As the Mediterranean lifts our bow in greeting, the disembodied voice of the Harbour Master tells us to return as we do not have permission to sail.

Ignoring the order, I increase our speed through the short choppy surf. We are sailing under the Greek Cypriot flag and in an hour I hope to be out of territorial waters.  At 14 knots we are a slow target.

Fifteen nautical miles from the coast of Syria, I leave the mate to follow a bearing for Larnaca. Elias has opened a bottle of Black Label. I quaff a glassful.

Later noticing a noisy vibration and diagnosing a bent prop shaft, I shut down the starboard engine. Our speed is now a steady 8 knots, so I decide on a new heading to discern more quickly the shadow of the Cypriot coastline on the radar screen.

Midway, the mate and Elias begin babbling about a small vessel ahead and four separate armoured boxes encircling it. Ugly Israeli high speed gun boats or worse, Lebanese pirates. Should they board us and find stowed riches, we will be killed.

Leaving the Mate to maintain our course, I go on deck to play the ‘European Owner’.  The vessel they have trapped is long and lean with three tall outboard motors but no crew are in sight.  Leaving them astern, our choice of vessel now fully exonerated, I and Elias throw another whisky ‘down the hatch’.

With us holding the correct bearing, I ask Elias to wake me as soon as we near Cyprus. Feeling utterly exhausted I collapse into a bunk.  

I wake unbidden, to find the Mate steering for the harbour entrance. Shouldering him aside, I spin the wheel to bring the vessel about. Shaking, I ask them why there are minarets on the ‘church’ and did they not notice our being observed from the top of the harbour's hillock, below which a fast patrol boat is anchored?  The Mate sprints to the Greek Cypriot flag and is hugging it to his chest; Elias wisely prays.

I command the wheel as we motor directly away from the port of Famagusta and Turkish held Northern Cyprus. We later change bearing and pass tourist beaches, it is night fall before we moor-up in Larnaca.
                                         +     +     +      +      +


Later that same year I am called to a last urgent meeting in Cyprus with Elias. He calmly tells me that he will be arrested when he rejoins his family, who have returned to Syria. Elias asks me to take full control of his Cypriot Businesses, then returns home and ‘disappears’ with his brothers.
                                         +     +     +      +      +


Since sacking the two Arab General Managers when they tried to get control of the bank accounts, it has taken more than six months to locate the prison holding all the brothers. We obtain the release of all except Elias, who has been tortured.  We then ‘purchase’ him the exclusive use of the Prison Governor's quarters and twenty four hour access for Elias’s family, nurses and doctors.
                                         +     +     +      +      +


Over the last two years, I have honoured my promises and expanded trade as far as Pakistan. Elias is still imprisoned.
                                         *+     +     +      +      +

Matsuo Basho Translations

There are my English translations of haiku by Matsuo Basho...

My Personal Favorites

The first soft snow:
leaves of the awed jonquil
bow low
—Matsuo Basho translation by Michael R. Burch

Come, investigate loneliness:
a solitary leaf
clings to the Kiri tree
—Matsuo Basho translation by Michael R. Burch

The cheerful-chirping cricket
contends gray autumn's gay,
contemptuous of frost
—Matsuo Basho translation by Michael R. Burch

Whistle on, twilight whippoorwill,
solemn evangelist
of loneliness
—Matsuo Basho translation by Michael R. Burch

The sea darkening,
the voices of the wild geese:
my mysterious companions!
—Matsuo Basho translation by Michael R. Burch

The first chill rain:
poor monkey, you too could use
a woven cape of straw
—Matsuo Basho translation by Michael R. Burch

This snowy morning:
cries of the crow I despise
(ah, but so beautiful!)
—Matsuo Basho translation by Michael R. Burch

I wish I could wash
this perishing earth
in its shimmering dew
—Matsuo Basho translation by Michael R. Burch

Dabbed with morning dew
and splashed with mud,
the melon looks wonderfully cool.
—Matsuo Basho translation by Michael R. Burch



Basho's Butterflies

The butterfly
perfuming its wings
fans the orchid
—Matsuo Basho translation by Michael R. Burch

Will we remain parted forever?
Here at your grave:
two flowerlike butterflies!
—Matsuo Basho translation by Michael R. Burch

Air ballet:
twin butterflies, twice white,
meet, match & mate.
—Matsuo Basho translation by Michael R. Burch

Ballet in the air! ―
two butterflies, twice white,
meet, mate, unite.
―Matsuo Basho translation by Michael R. Burch

A spring wind
stirs willow leaves
as a butterfly hovers unsteadily.
―Matsuo Basho translation by Michael R. Burch

As autumn deepens,
a butterfly sips
chrysanthemum dew.
—Matsuo Basho translation by Michael R. Burch
aki o hete / cho mo nameru ya / kiku no tsuyu

Come, butterfly,
it's late
and we've a long way to go!
—Matsuo Basho translation by Michael R. Burch

Dusk-gliding swallow,
please spare my small friends
flitting among the flowers!
―Matsuo Basho translation by Michael R. Burch



Basho's Famous Frog Poem

An ancient pond,
the frog leaps:
the silver plop and gurgle of water
—Matsuo Basho translation by Michael R. Burch

An ancient pond sleeps...
untroubled by sound or movement...until...
suddenly a frog leaps!
—Matsuo Basho translation by Michael R. Burch

Explosion!
The frog returns
to its lily pad.
—Michael R. Burch original haiku



Basho's Heron

Lightning
shatters the darkness—
the night heron's shriek
—Matsuo Basho translation by Michael R. Burch

Lightning―
the night heron's shriek
severs the darkness
― Matsuo Basho translation by Michael R. Burch

A flash of lightning―
the night heron's shriek
splits the void
― Matsuo Basho translation by Michael R. Burch



Basho's Flowers

Let us arrange
these lovely flowers in the bowl
since there's no rice
—Matsuo Basho translation by Michael R. Burch

Like a heavy fragrance
snowflakes settle:
lilies on rocks
—Matsuo Basho translation by Michael R. Burch

High-altitude rose petals
falling
falling
falling:
the melody of a waterfall.
―Matsuo Basho translation by Michael R. Burch

Revered figure!
I bow low
to the rabbit-eared Iris.
―Matsuo Basho translation by Michael R. Burch

Cold white azalea—
a lone nun
in her thatched straw hut.
―Matsuo Basho translation by Michael R. Burch

Glimpsed on this high mountain trail,
delighting my heart—
wild violets
―Matsuo Basho translation by Michael R. Burch

Disdaining grass,
the firefly nibbles nettles—
this is who I am.
—Takarai Kikaku translation by Michael R. Burch

A simple man,
content to breakfast with the morning glories—
this is who I am.
―Matsuo Basho translation by Michael R. Burch
This is Basho's response to the Takarai Kikaku haiku above
asagao ni / ware wa meshi kû / otoko kana

Ah me,
I waste my meager breakfast
morning glory gazing!
―Matsuo Basho translation by Michael R. Burch

Morning glories blossom,
reinforcing the old fence gate.
―Matsuo Basho translation by Michael R. Burch

The morning glories, alas,
also turned out
not to embrace me
―Matsuo Basho translation by Michael R. Burch

Morning glories bloom,
mending chinks
in the old fence
―Matsuo Basho translation by Michael R. Burch

Morning glories,
however poorly painted,
still engage us
—Matsuo Basho translation by Michael R. Burch
asagao wa / heta no kaku sae / aware nari

I too
have been accused
of morning glory gazing...
—original haiku by by Michael R. Burch

Curious flower,
watching us approach:
meet Death, our famished donkey.
—Matsuo Basho translation by Michael R. Burch



Basho's Poems about Spring, Summer, Autumn and Winter

Spring has come:
the nameless hill
lies shrouded in mist
—Matsuo Basho translation by Michael R. Burch

Spring!
A nameless hill
stands shrouded in mist.
—Matsuo Basho translation by Michael R. Burch

The legs of the cranes
have been shortened
by the summer rains.
—Matsuo Basho translation by Michael R. Burch

These brown summer grasses?
The only remains
of "invincible" warriors...
—Matsuo Basho translation by Michael R. Burch

An empty road
lonelier than abandonment:
this autumn evening
—Matsuo Basho translation by Michael R. Burch

Autumn darkness
descends
on this road I travel alone
—Matsuo Basho translation by Michael R. Burch

Taming the rage
of an unrelenting sun—
autumn breeze.
—Matsuo Basho translation by Michael R. Burch
aka aka to / hi wa tsurenaku mo / aki no kaze

The sun sets,
relentlessly red,
yet autumn's in the wind.
—Matsuo Basho translation by Michael R. Burch
aka aka to / hi wa tsurenaku mo / aki no kaze

As autumn draws near,
so too our hearts
in this small tea room.
—Matsuo Basho translation by Michael R. Burch
aki chikaki / kokoro no yoru ya / yo jo han

Late autumn:
my neighbor,
how does he continue?
—Matsuo Basho translation by Michael R. Burch

Winter in the air:
my neighbor,
how does he fare?
― Matsuo Basho translation by Michael R. Burch

Winter solitude:
a world awash in white,
the sound of the wind
—Matsuo Basho translation by Michael R. Burch

The year's first day...
thoughts come, and with them, loneliness;
dusk approaches.
—Matsuo Basho translation by Michael R. Burch



Basho's Temple Poems

Graven images of long-departed gods,
dry spiritless leaves:
companions of the temple porch
—Matsuo Basho translation by Michael R. Burch

The temple bells grow silent
but the blossoms provide their incense―
A perfect evening!
—Matsuo Basho translation by Michael R. Burch

See: whose surviving sons
visit the ancestral graves
white-bearded, with trembling canes?
—Matsuo Basho translation by Michael R. Burch

Like a glorious shrine—
on these green, budding leaves,
the sun's intense radiance.
—Matsuo Basho translation by Michael R. Burch
ara toto / aoba wakaba no / hi no hikar



Basho's Birds

A raven settles
on a leafless branch:
autumn nightfall
―Matsuo Basho translation by Michael R. Burch

A crow has settled
on a naked branch—
autumn nightfall
—Matsuo Basho translation by Michael R. Burch

A solitary crow
clings to a leafless branch:
autumn twilight
―Matsuo Basho translation by Michael R. Burch

A solitary crow
clings to a leafless branch:
phantom autumn
―Matsuo Basho translation by Michael R. Burch

A crow roosts
on a leafless branch:
autumn nightmare
―Matsuo Basho translation by Michael R. Burch

NOTE: There has been a debate about the meaning of aki-no kure, which may mean one of the following: autumn evening, autumn dusk, the end of autumn. Or it seems possible that Basho may have intentionally invoked the ideas of both the end of an autumn day and the end of the season as well. In my translations I have tried to create an image of solitary crow clinging to a branch that seems like a harbinger of approaching winter and death. In the first translation I went with the least light possible: autumn twilight. In the second translation, I attempted something more ghostly. Phrases I considered include: spectral autumn, skeletal autumn, autumnal skeleton, phantom autumn, autumn nocturne, autumn nightfall, autumn nightmare, dismal autumn. In the third and fourth translations I focused on the color of the bird and its resemblance to night falling. While literalists will no doubt object, my goal is to create an image and a feeling that convey in English what I take Basho to have been trying to convey in Japanese. Readers will have to decide whether they prefer my translations to the many others that exist, but mine are trying to convey the eeriness of the scene in English.

Except for a woodpecker
tapping at a post,
the house is silent.
—Matsuo Basho translation by Michael R. Burch

Swallow flitting in the dusk,
please spare my small friends
buzzing among the flowers!
―Matsuo Basho translation by Michael R. Burch




Basho's Insects

A bee emerging
from deep within the peony's hairy recesses
flies off heavily, sated
—Matsuo Basho translation by Michael R. Burch

That dying cricket,
how he goes on about his life!
—Matsuo Basho translation by Michael R. Burch

The cicada's cry
contains no hint
of how soon it must die.
—Matsuo Basho translation by Michael R. Burch

Nothing in the cicada's cry
hints that it knows
how soon it must die.
—Basho translation by Michael R. Burch

The cicada's cry
contains no hint
of how soon it must die.
―Matsuo Basho translation by Michael R. Burch




Basho's Moon and Stars

Pausing between clouds
the moon rests
in the eyes of its beholders
—Matsuo Basho translation by Michael R. Burch

The moon: glorious its illumination!
Therefore, we give thanks.
Dark clouds cast their shadows on our necks.
―Matsuo Basho translation by Michael R. Burch

The surging sea crests around Sado...
and above her?
An ocean of stars.
—Matsuo Basho translation by Michael R. Burch
ara umi ya / Sado ni yokotau / Ama-no-gawa



Basho's Companions

Fire levitating ashes:
my companion's shadow
animates the wall...
—Matsuo Basho translation by Michael R. Burch

Among the graffiti
one illuminated name:
Yours.
—Matsuo Basho translation by Michael R. Burch

Scrawny tomcat!
Are you starving for fish and mice
or pining away for love?
—Matsuo Basho translation by Michael R. Burch



Basho's End of Life and Death Poems

Nothing happened!
Yesterday simply vanished
like the blowfish soup.
—Matsuo Basho translation by Michael R. Burch
ara nantomo na ya / kino wa sugite / fukuto-jiru

Fever-felled mid-path
my dreams resurrect, to trek
into a hollow land
—Matsuo Basho translation by Michael R. Burch

Sick of its autumn migration
my spirit drifts
over wilted fields...
―Matsuo Basho translation by Michael R. Burch

Sick of this autumn migration
in dreams I drift
over flowerless fields...
―Matsuo Basho translation by Michael R. Burch

NOTE: While literalists will no doubt object to "flowerless" in the translation above ― along with other word choices in my other translations ― this is my preferred version. I think Basho's meaning still comes through. But "wilted" is probably closer to what he meant. If only we could consult him, to ask whether he preferred strictly literal prose translations of his poems, or more poetic interpretations! My guess is that most poets would prefer for their poems to remain poetry in the second language. In my opinion the differences are minor and astute readers will grok both Basho's meaning and his emotion.

Too ill to travel,
now only my autumn dreams
survey these withering fields
― Matsuo Basho translation by Michael R. Burch



New Haiku Translations, Added 10/6/2020

Air ballet:
twin butterflies, twice white,
meet, match & mate
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Denied transformation
into a butterfly,
autumn worsens for the worm
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Dusk-gliding swallow,
please spare my small friends
flitting among the flowers!
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Up and at ’em! The sky goes bright!
Let’***** the road again,
Companion Butterfly!
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Higher than a skylark,
resting on the breast of heaven:
mountain pass.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Farewell,
my cloud-parting friend!
Wild goose migrating.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

A crow settles
on a leafless branch:
autumn nightfall.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

An exciting struggle
with such a sad ending:
cormorant fishing.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Secretly,
by the light of the moon,
a worm bores into a chestnut.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

This strange flower
investigated by butterflies and birds:
the autumn sky
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Where’s the moon tonight?
Like the temple bell:
lost at sea.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Spring departs;
birds wail;
the pale eyes of fish moisten.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon still appears,
though far from home:
summer vagrant.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Cooling the pitiless sun’s
bright red flames:
autumn wind.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Saying farewell to others
while being told farewell:
departing autumn.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  
Traveling this road alone:
autumn evening.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Thin from its journey
and not yet recovered:
late harvest moon.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Occasional clouds
bless tired eyes with rest
from moon-viewing.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The farmboy
rests from husking rice
to reach for the moon.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon aside,
no one here
has such a lovely face.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon having set,
all that remains
are the four corners of his desk.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon so bright
a wandering monk carries it
lightly on his shoulder.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The Festival of Souls
is obscured
by smoke from the crematory.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The Festival of Souls!
Smoke from the crematory?
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Family reunion:
those with white hair and canes
visiting graves.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

One who is no more
left embroidered clothes
for a summer airing.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

What am I doing,
writing haiku on the threshold of death?
Hush, a bird’s song!
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Fallen ill on a final tour,
in dreams I go roving
earth’s flowerless moor.
—Matsuo Basho, loose translation/interpretation of his jisei (death poem) by Michael R. Burch

Stricken ill on a senseless tour,
still in dreams I go roving
earth’s withered moor.
—Matsuo Basho, loose translation/interpretation of his jisei (death poem) by Michael R. Burch

Stricken ill on a journey,
in dreams I go wandering
withered moors.
—Matsuo Basho, loose translation/interpretation of his jisei (death poem) by Michael R. Burch


New Haiku Translations, Added 10/6/2020

Air ballet:
twin butterflies, twice white,
meet, match & mate
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Denied transformation
into a butterfly,
autumn worsens for the worm
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Dusk-gliding swallow,
please spare my small friends
flitting among the flowers!
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Up and at ’em! The sky goes bright!
Let’***** the road again,
Companion Butterfly!
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Higher than a skylark,
resting on the breast of heaven:
mountain pass.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Farewell,
my cloud-parting friend!
Wild goose migrating.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

A crow settles
on a leafless branch:
autumn nightfall.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

An exciting struggle
with such a sad ending:
cormorant fishing.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Secretly,
by the light of the moon,
a worm bores into a chestnut.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

This strange flower
investigated by butterflies and birds:
the autumn sky
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Where’s the moon tonight?
Like the temple bell:
lost at sea.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Spring departs;
birds wail;
the pale eyes of fish moisten.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon still appears,
though far from home:
summer vagrant.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Cooling the pitiless sun’s
bright red flames:
autumn wind.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Saying farewell to others
while being told farewell:
departing autumn.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  
Traveling this road alone:
autumn evening.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Thin from its journey
and not yet recovered:
late harvest moon.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Occasional clouds
bless tired eyes with rest
from moon-viewing.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The farmboy
rests from husking rice
to reach for the moon.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon aside,
no one here
has such a lovely face.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon having set,
all that remains
are the four corners of his desk.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The moon so bright
a wandering monk carries it
lightly on his shoulder.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The Festival of Souls
is obscured
by smoke from the crematory.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

The Festival of Souls!
Smoke from the crematory?
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Family reunion:
those with white hair and canes
visiting graves.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

One who is no more
left embroidered clothes
for a summer airing.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

What am I doing,
writing haiku on the threshold of death?
Hush, a bird’s song!
—Matsuo Basho, loose translation/interpretation by Michael R. Burch  

Fallen ill on a final tour,
in dreams I go roving
earth’s flowerless moor.
—Matsuo Basho, loose translation/interpretation of his jisei (death poem) by Michael R. Burch

Striken ill on a senseless tour,
still in dreams I go roving
earth’s withered moor.
—Matsuo Basho, loose translation/interpretation of his jisei (death poem) by Michael R. Burch

Stricken ill on a journey,
in dreams I go wandering
withered moors.
—Matsuo Basho, loose translation/interpretation of his jisei (death poem) by Michael R. Burch




NEW BASHO TRANSLATIONS 06-19-2025

SPRING

Blame the rainy season
for my absence,
old friend Moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

For yet a little while,
the pale moon
floating among blossoms...
—Matsuo Basho, translation/interpretation by Michael R. Burch

Moon past full:
darkness
increasing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spring rains
so heavy
they overflow the waterfall.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I’ll catch up
about cascading waterfall blossoms
when I drink with Li Bai.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Fluttering rose petals
fall
into the river’s gurgling waters.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spring rains
overwhelming the falls,
overflowing...
—Matsuo Basho, translation/interpretation by Michael R. Burch

The rainy season downpour
sours even the ears
of ripening plums.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Flood!
Stars will soon sleep
atop a rock.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I’ll dare drenching
my paper robes
to nab a sprig of spring blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Where is that handsome man
no long with us:
the rain-hidden moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So much harsher
than other mouths,
the wind devours newborn blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So taken by their beauty,
I long to take
the maiden flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Trembling, feeble,
heavy with dew:
the maiden flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Other flowers bloom,
the camellias
remain indifferent.
—Matsuo Basho, translation/interpretation by Michael R. Burch

An orchid’s
lingering fragrance
veils the bedchamber.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The boy’s bangs
retain the scent
of youthful grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spring winds
tickle the flowers
till they burst out in laughter.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Falling to the ground,
returning to its roots,
the flower’s farewell.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So many things
recur in memory:
spring blossoms reopen.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Seeing them naked
almost makes me caress
the ******* flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

As temple bells fade
flowers strike their fragrance
into the silence.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The bat also emerges
into the birds’
world of flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

When planting,
please handle the infant cherry tree tenderly,
gently, like a baby.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How can one fret
during cherry blossom time?
—Matsuo Basho, translation/interpretation by Michael R. Burch

How I envy them,
growing high above our transient world,
the mountain cherries.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Curiosity:
a butterfly alights
on nectarless grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A solitary butterfly
hovers over
its own shadow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A solitary butterfly
flutters above
its own shadow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Since spring showers insist,
the eggplant seeds
commence sprouting.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Never belittle
the tiniest seeds:
the spunky pepper reddens.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Once green,
behold!
The red pepper.
—Matsuo Basho, translation/interpretation by Michael R. Burch

After spring rains
mugwort shoots up
in grassy lanes.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Higher than the larks,
resting amid the blue,
this mountain pass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The blossom-filled day
makes the tree’s sadness
seem all the darker.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Goodbye, old friend:
no longer beckoning
miscanthus plumes.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spying plum blossoms
the infatuated ox
bellows, “Yes!”
—Matsuo Basho, translation/interpretation by Michael R. Burch

The day-lily,
dripping water
into the grasses’ forgetfulness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Scooped up by my hands,
the springwater
shocks my teeth with its iciness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The cats’ noisy mating subsides;
now into our bedroom
creeps the quiet moonlight.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Here at Wakanoura
I’m finally in step
with fleeting and fleeing spring.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A bell-less village?
Who will ring in
the end of spring?
—Matsuo Basho, translation/interpretation by Michael R. Burch

The temple bell unheeded?
Unheard?
Still, spring is fleeting.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The sun’s about to set:
the spring’s last shimmering heat ray.
—Matsuo Basho, translation/interpretation by Michael R. Burch

SUMMER

Such coolness
when shouldered:
the summer’s first melon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A wicker basket
shields the coolness
of the first melon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Morning dew:
the muddy melon
exudes coolness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Early summer rain:
the green spikemoss,
how long to remain?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Timidly the willow
refrains from touching
deutzia blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

An oiled paper umbrella
attempts to push aside
unobliging willows.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The ancient river
ogles
the slender willow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So like life:
this small patch of shade
beneath a wicker hat.

Still alive
despite the slightness of my hat,
I cherish its shade.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This summer world
floats in the lake’s
silver waves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A weary horse
collapsing in barley:
traveler’s rest.
—Matsuo Basho, translation/interpretation by Michael R. Burch

On the distant plain
the deer’s voice
seems an inch tall.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How sad, the bellowing of bucks,
The bleatings of does,
at night.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Even woodpeckers
hold this old hut sacred,
still standing in the summer grove.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Toppling from the topmost bough,
emptiness aloft:
the cicada’s husk.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The hollyhock
leans sunward
in the summer rain.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Ah, the splendid resplendence
of sunlight
on tender evergreen leaves!
—Matsuo Basho, translation/interpretation by Michael R. Burch

The fragrance of oranges...
In whose farmyard
is the cuckoo calling?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Temple bells reverberate:
cicadas singing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Shouldering hay bales,
someone left enough straw
to mark our way.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Fireflies
turn our trees
into well-lit lodges.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A noontime firefly,
dim by daylight,
hides behind a pillar.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Firefly watching,
the tipsy boatman
rocks the boat.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Rising above fields of rice and barley,
the cry of the summer cuckoo.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Tedious life!
Plowing the rice field
back and forth...
—Matsuo Basho, translation/interpretation by Michael R. Burch

Lying in the summer grass,
discarded like a king’s robe,
the snakeskin.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The shrubby bush-clover?
How impudent
her appearance!
—Matsuo Basho, translation/interpretation by Michael R. Burch

Glistening dew
sways without spilling
from the bush-clover.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I bow low
to the venerable
rabbit-eared Iris.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Rabbit-eared Iris,
pausing to chit-chat,
one joy of my journey.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The rabbit-eared iris
inspires
another hokku.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Rabbit-eared Iris,
admiring your reflection?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Inside Uchiyama,
unknown to outsiders,
blossoms full-bloom.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Uchiyama was a temple little-known to the outside world. In fact, uchi means “inside.”

AUTUMN

First of autumn:
the sea and the rice fields
the same green hue.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The autumn wind
like a ventriloquist
projects its piercing voice.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Voices in the reeds?
Ventriloquism
of the autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

East and West
united by the autumn wind
into a single melancholy.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Seeing a friend off,
his hunched back
lonely in the autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Illuminating
sawn-off tree trunks:
the harvest moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

After pausing
for harvest moon viewing,
we must be on our way.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Our moon-viewing interrupted
on Asamutsu Bridge,
dark yields to dawn.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Consider lonesomeness
surpassing even Suma’s:
this deserted autumn beach.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The temple bell
drowned in the sea,
and where is the moon?
—Matsuo Basho, translation/interpretation by Michael R. Burch

My humble take on the world?
Withered leaves
at autumn’s end.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Withering flowers:
out of such sadness
seeds emerge.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Red on red on red,
the sun relentless,
yet autumn’s unimpressed.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This lusciously cool autumn day
we peel
aubergine melons.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Cling to your leaves,
peach trees!
Autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This whiteness,
whiter than mountain quartz:
autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Shocking the grave,
my grief-filled cry:
autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spider,
to whom do you cry?
Autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How to reach safe haven?
An insect adrift
on a leaf.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Reverential tears:
the falling leaves
bid their trees goodbye.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Plates and bowls
gleaming dimly in the darkness:
evening coolness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Twice the pity:
beneath the headless helmet,
a chirping cricket.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Secretly
by moonlight
weevils bore chestnuts.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Cranes on stilts
surveying the rice paddies:
autumn village.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Thankfulness:
someone else harvests rice
for me.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How touching
to survive the storm,
chrysanthemum.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Slender again,
somehow the chrysanthemum
will yet again bud.
—Matsuo Basho, translation/interpretation by Michael R. Burch

As autumn deepens
a butterfly sips
chrysanthemum dew.
—Matsuo Basho, translation/interpretation by Michael R. Burch

His loosened jacket collar
invites the cool breeze.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Butterfly wings:
how many times have they soared
over human roofs?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Mosquitos drone
with dusky voices
deep within the cattle shed.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Basho leaves shred in the gale;
the basin collects raindrips;
all night I listen, alone in my hut.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The dew drips, drop-by-drop...
I’d rinse this world clean,
if I could.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The fire’s banked ashes
extinguish
your tears’ hisses.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Turn to face me,
for I am also lonesome
this autumn evening.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Plucking white hairs
while beneath my pillow
a cricket creaks.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Everything that blossoms
dies in the end:
wilted pampas grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

As autumn departs,
shivering
I scrunch under too-small bedding.
—Matsuo Basho, translation/interpretation by Michael R. Burch

It seems, to dullard me,
that hell must be like this:
late autumn.
—Matsuo Basho, translation/interpretation by Michael R. Burch

WINTER

The year’s first snowfall;
such happiness to be
at home in my hut.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Fire-making friend,
let me show you something grand:
a huge snowball!
—Matsuo Basho, translation/interpretation by Michael R. Burch

Written for Basho’s dear friend Sora, who visited Basho’s hut to feed the fire, cook, break ice and make tea.

Come, children,
let’s frolic in the snowstorm,
dodge the hail.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Farewell for now,
we’re off to find snow
until we tumble into it.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Let’s get up
until we fall into
the snow we seek.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Yesteryear’s snows,
have they fallen anew?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Winter drizzle;
irate, I await
snow adorning the pines.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Practicing bowing,
the bamboo
anticipates snow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Bowing low,
the upside-down world
of snow-laden bamboo.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Melancholic flowers
shrivel
in the frost.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Hailstones
stitching
the silken snow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Oars slapping waves,
the stomach a-shiver,
these nighttime tears.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Icefish
shoaling through seaweed
swim into my hands.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Sunrise:
one-inch sliver
of the whitefish’s iciness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Alive
but congealed into one:
the frozen sea cucumbers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Somehow alive
yet congealed into a single solid mass:
the frozen sea cucumbers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Water so cold,
rocks so hard,
where will the seagull sleep?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Plovers depart
as evening deepens
windward toward Hiei.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Crying in the darkness,
unable to locate its nest,
the homeless plover.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The plovers cry:
“Be watchful of the darkness
at Star Cape!”
—Matsuo Basho, translation/interpretation by Michael R. Burch

Mushroom-gathering,
rushing to beat
cold evening rains.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Ceremonious
hailstones
assail my hinoki hat.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Caught hatless
in a winter shower?
So it goes.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How many frosts
have tested
this pine’s mettle?
—Matsuo Basho, translation/interpretation by Michael R. Burch

A winter drizzle
obscures
the field’s freshcut stubble.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The drinkers’ faces
paler than the snow:
a flash of lightning.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The polished mirror
clear as snowflake petals.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The relentless wind
sharpens rocks and stones,
topples cedars.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Cold fear
desolate as a deserted
frost-crusted shack.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How marvelous,
the winter snow
will return as rain.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Children come running,
dodging jewels:
hailstones.
—Matsuo Basho, translation/interpretation by Michael R. Burch

At least the world has left,
unblemished and unbegrimed,
a single wooden bowl.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The bowl in question had been left by Rotsu in Osaka, and was returned undamaged seven years later. Rotsu was a Basho disciple.

The mud snail’s closed lid:
winter confinement.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Inside my hut,
watching my own breath:
winter confinement.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So weary of Kyoto,
of the withering wind
and winter life.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I will soon be included
among the fortunate ones:
beyond winter.
—Matsuo Basho, translation/interpretation by Michael R. Burch

VARIOUS

As clouds drift apart,
so we two separate:
wild geese departing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The old nest deserted,
how empty now
my next-door neighbor’s hut.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Yesterday?
Departed,
like the blowfish soup.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Exciting,
but with a sad conclusion:
cormorant fishing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The one who died:
her delicate kimono
hung out to dry.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Behind the veiling curtain,
the wife in her bedchamber:
plum blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

See her slim figure:
the ingenue moon
not yet ripened.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Clouds now and then
offer intermissions
from moon-viewing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Drinking
alone with the moon,
my shadow makes three.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The moon and the blossoms
lack only a man
drinking sake, alone.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Unbar the door,
allow moonlight
to enter Ukimido.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Ukimido was a temple Basho visited in 1691.

Drinking morning tea,
the monks
silent amid chrysanthemums.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Its fragrance whiter
than the peach blossoms’ whiteness:
the narcissus.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The narcissus
reflects the whiteness
of a paper screen.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Hibiscus flowers
garland
an otherwise naked child.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The overproud
pink begonia
thinks it’s a watermelon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Echo my lonesomeness,
mountain cuckoo.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The cuckoo’s lone voice
lingers
over the inlet.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Solitary hawk,
a heavenly vision
over Cape Irago.
—Matsuo Basho, translation/interpretation by Michael R. Burch

At Cape Irago
the incomparable cry
of the hawk.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Better than any dream,
the thrilling reality
of a hawk’s cry.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The hawk’s eye narrows
at the quail’s call.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Naptime!
But my drowsiness is nixed
by busybody warblers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Carolers:
the sparrows smile
at their warbling.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Giving thanks to the flowers
for brightening my visit:
farewell.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Melancholy nub!
The bamboo bud’s
sad end.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This lightning flash
the hand receives in darkness:
a candle.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Carrying a candle
into the dark outhouse:
the moonflowers’ whiteness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Seeing a moonflower,
I poke my sake-addled face
through a hole in the window.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Nighttime folly:
grabbing a thorn,
expecting a firefly.
—Matsuo Basho, translation/interpretation by Michael R. Burch

More nighttime weirdness:
a fox stalking
a melon?
—Matsuo Basho, translation/interpretation by Michael R. Burch

It’s better to become a beggar
than a critic.
—Matsuo Basho, translation/interpretation by Michael R. Burch

No rest:
the carpenter
hangs his own shelf.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Blowing away
the volcano’s molars:
the typhoon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

What decays
have you endured,
watchful tomb ferns?
—Matsuo Basho, translation/interpretation by Michael R. Burch

A disgusting smell
slimed on waterweeds:
pale chub entrails.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A country boy
shucking husks
gazes at the moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The poet’s heart?
Will we ever really understand
ume blossoms?
—Matsuo Basho, translation/interpretation by Michael R. Burch

For at least today
let all the poets be
melodious as winter rains.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I believe the haiku above was written during a gathering of poets.

What tree blossoms here?
I do not know
its mysterious aroma.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I will lodge here
until the tender goosefoot
matures into a walking stick.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I’d compare a flower
to a delicate child
but the field is barren.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Basho wrote the poem above for a friend, Rakugo, who had lost a child.

Even a poorly-painted
morning glory
pleases.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The morning glories
ignore our drinking,
drunk on themselves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Slender glistener!
Each dewdrop a burden
for the maiden flower.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The moon absent,
treetops cling
to the nighttime rain.
—Matsuo Basho, translation/interpretation by Michael R. Burch

May you tumble safely
onto sand or snow,
sake-addled horse rider.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I miss my mother and father
so much:
the kiji’s cry.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The kiji is a green pheasant but also a metaphor for the love of one’s family and kiji is also a homophone for “orphaned child.”

I pause from my journey
to observe the fleeting world
going about its housecleaning.
—Matsuo Basho, translation/interpretation by Michael R. Burch

No simile!
Nothing compares
to the crescent moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The overstaying moon
and I
linger in Sarawhina.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Her ascent easy
and yet still hesitant,
the cloud-veiled moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A cuckoo flying,
cawing, crying and cajoling:
busybody.
—Matsuo Basho, translation/interpretation by Michael R. Burch

What’s all the ado
about this busybody crow?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Art begins
with ancient rice-planting chants
drifting on the wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Today’s words
vanish tomorrow:
evaporating dew.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Basho may have proved himself wrong with the poem above, since so many of his poems are still being read, studied and translated.

Unregarded by the high-minded
the lowly chestnut
blossoms by the eaves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Clinging for dear life
to the bridge,
these winding vines.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This swinging bridge:
hard to imagine
horses crossing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Even in Kyoto,
a longing for Kyoto,
the cuckoo calling.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The cuckoo symbolizes nostalgia. Here Basho seems to be in Kyoto but longing for the Kyoto of his past.

Rock azaleas
dyed red
by the cuckoo’s tears.
—Matsuo Basho, translation/interpretation by Michael R. Burch

In Japan the cuckoo is said to shed tears of blood.

I would wipe away the tears
brimming in your eyes
with these tender leaves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Reincarnation?
The fawn’s first dawn
falls on Buddha’s birthday.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Forbidden to speak
of holy Yudono,
my sleeves wet with tears.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Let us learn
from the travails
of these ancient pilgrims.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The samurai’s
overlong discourse:
the tang of bitter daikon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Tender-horned snail,
point those tiny tips
toward distant mountains!
—Matsuo Basho, translation/interpretation by Michael R. Burch

A dragonfly
clings tentatively to the air,
hovering above waving grasses.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Tiny river crab
creeping up my leg?
Back to the water!
—Matsuo Basho, translation/interpretation by Michael R. Burch

The windblown butterfly
is unable to settle
in the waving grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Even the wild boar
is blown about
by buffeting winds.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The boat
comes to rest
on a beach of peach blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Lightning
does not enlighten,
of what value?
—Matsuo Basho, translation/interpretation by Michael R. Burch

A banked fire,
the shadow
of a guest.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Remember:
the thicket
guards plum blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Don’t chortle with glee:
through the leaves of the silk tree
stars wink at me.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The Kiyotaki’s unblemished waves
gently dispersing
still-green pine needles.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This is said to have been Basho’s last haiku. Kiyotaki means “clear” and is the name of a river.

Immaculate white chrysanthemums:
no matter how closely investigated,
without a blemish.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I suspect the two poems above are related because the first poem in one version had “without a blemish” or “nary a blemish.”

Faint
in a trace of water:
floating chrysanthemums.
—Matsuo Basho, translation/interpretation by Michael R. Burch

OTHER POETS

Observe:
see how the wild violets bloom
within the forbidden fences!
—Shida Yaba (1663-1740), loose translation/interpretation by Michael R. Burch

When no wind at all
ruffles the Kiri tree
leaves fall of their own free will.
—Nozawa Boncho (1640-1714), loose translation/interpretation by Michael R. Burch



Keywords/Tags: Basho, haiku, translation, Japan, Japanese, Oriental, Orient Occident, nature, season, seasons, waka, tanka, life and death, compassion, empathy, mrbhaiku, mrbbasho

These winter trees
cold and shouldering winds
their bending branches unhinge
falling limbs crash and break the snow
further still a secret world of mud and bulbs
that in the spring blooms of tulips and violet mossy lawns
and too, the sun that comes to warm and fills with green the tree arms
this wooded home that breathes with sheltering birdsong.

Gauguin or Michener
horizon lust inspired,
The South Pacific desired.
From early childhood on.
Fiji in the 70’s all alone in
A Personal journey of self
and world discovery.

From the big island of
Viti Levu, embarked
on native small boat, fifty
miles out to the Yasawa group.
Reaching tiny Yaqeta with
300 souls living close to the bone,
No Running water, or electric spark
glowing. Remarkably bright stars
shine at night, no city lights showing
to hide their heavenly glow.

Unspoiled Melanesian Island people
Meagerly surviving only on the sea
and a thousand plus years of tradition.

I welcomed like a friend of long
standing, with smiling faces and
open sprits. Once eaters of other
humans beings, converted now to
Methodist believers.

Their Island beautiful beyond belief,
Azure pristine seas in every direction,
Coral reefs abounding with aquatic life.
Paradise found and deeply appreciated.
I swam and fished, played with the kids
and laid about in my hammock, enjoying
weeks of splendor alongside people
I came to revere, generous and loving
at peace with themselves and nature,
Embracing a stranger like a family member.

My small transistor radio warned big
Cyclone brewing, of Hurricane proportions.
My thoughts turned to Tidal Waves.
The village and all those people
living a few feet above sea level.
Tried to express my concerns to
my host family and others, getting
but smiles and shrugs in return.
Spoken communication almost
nonexistent, me no Fijian spoken,
Them, little English understood.

It started with rain, strong winds,
Worsening building by the minute.
The villagers’ merely tightening down
the hatches of their stick, thatch houses.
Content it seemed to ride out the storm,
As I assumed they always did.

Shouldering heavy backpack
I hugged my friends and headed
for high ground, the ridgebacks
of low mountains, the backbones
of the Island. Feeling guilty leaving
them to their fate from high water.
Perplexed, they ignored my warnings.

In half an hour winds strong enough
to take me off my feet, blowing even
from the other side of the Island.
On a ridge flank I hunkered down,
pulled rubber poncho over my body,
Laying in watershed running inches deep
cascading down slopes to the sea below.

The wind grew to astounding ferocity,
Later gusts reported approaching 160
miles per hour. Pushing me along
the ground closer to the cliff edge
and a 80 foot plunge to the sea below,
Clinging to cliff with fingers and toes.

For three hours it raged, trees blowing
off the summit above, disappearing into
the clouds and stormy wet mist beyond.

A false calm came calling, the eye of the
Cyclone hovered over the Island, as I
picked my drenched self up and made my
way over blown down trees and scattered
storm debris to the Village of my hosts.

Most wooden, tin roofed structures gone
or caved in, the few Island boats broken
and thrown up onto the land. Remarkably
many of the small one room “Bure” thatched
huts still stood. Designed by people that knew
the ways of big winds blowing.

The high waves had not come as I feared.
Badly damaged, yet the village endured,
As did most of the people, some broken
bones, but, mercifully, no worse.

Back with my host family, in their Bure,
new preparations ensued, the big winds I
was informed would now return from the
opposite direction, and would be even worse.

For another three hours the little grass and
stick House shook, nearly rising from the
ground, held together only by woven vine
ropes, and hope, additional ropes looped
over roof beams held down by our bare
hands. Faith and old world knowledge
is a wonderful thing.

Two days past and no one came to check on
the Island, alone the people worked to save
their planted gardens from the salt water
contaminated ground, cleaned up debris and
set to mending their grass homes. The only fresh
Water well still unpolluted was busily used.

With a stoic resolve, from these self-reliant people,
life seemed to go on, this not the first wind blown
disaster they had endured, Cyclones I learned
came every year, though this one, named “Bebe”
worst in the memories of the old men of the island.

On the third day a boy came running,
having spotted and hailed a Motor yacht,
which dropped anchor in the lagoon on the
opposite side of the Island.

I swam out to the boat and was welcomed
aboard by the Australian skipper and crew.
Shared a cold Coke, ham sandwich and tales
of our respective adventures of surviving.
They agreed to carry me back to the Big Island.

A crewman returned me ashore in a dingy.
I crossed the island and retrieved my things,
Bidding and hugging my friends in farewell.
I asked permission to write a story about the
storm and the village, the elders' smiles agreed,
they had nothing to loose, seemed pleased.

One last time I traversed the island and stepped
Into the yachts small rowboat, my back to
the island. Hearing a commotions I turned
seeing many people gathering along the
shores beach. I climbed out and went among
them, hugging most in farewell, some and
me too with tears in our eyes, fondness, respect
reflected, shared, received.

As the skiff rowed away  halfway to the ship,
the Aussie mate made a motion with his eyes
and chin, back towards the beach.

Turning around in my seat I saw there
most of the island population, gathered,
many held aloft small pieces of colored cloth,
tiny flags of farewell waving in the breeze,
they were singing, chanting a island song,
slow, like a lament of sorts.

Overwhelmed, I stood and faced the shore,
opened wide my arms, as to embrace them all,
tears of emotions unashamedly ran down my face.
Seeing the people on the beach, the Aussie crewman
intoned, “****** marvelous that. Good on 'ya mate.”

Yes, I remember Fiji and Cyclone Bebe, most of all
I fondly remember my Island brothers and sisters.

                                    End

I remember the night you sang Objects in the Mirror to me on the phone. 



I never thought that it would feel this way.

You never taught me how to heal the pain.

I wish you caught me on a different day, when it was easier to be happy.

I kinda find it strange, how the times have changed.

*

I remember how we used to talk about love, like it was an institutionalized little child, drug down from what glory it used to hold; how it used to transcend time and knowledge and beauty and all other emotion.



Someone like you is so hard to find.

I remember that you thought I was put together perfectly. I still don’t understand how you ever reached that end of the spectrum, completely opposite my own view. I still don’t understand how everyone around me sees someone that I don’t see when I look in the mirror. I’m anti-altruistic and unintelligent and completely guilt ridden and not at all beautiful.


All I ask is don’t you worry, I won’t hurt you, don’t you worry.



I remembered how much stock I put in you. I remember how you promised you wouldn’t hurt me, because you had been put through the same wringer as I. I remember how you just unattached yourself one day, on the bias that it was my fault. You stranded me. Probably for another, prettier, girl. 



Listen to me I will set you free,

He ain’t gonna break your heart again.



And I could never figured out what that particular line meant in the scheme of things, but I realize now, as you’re trying to drift back into my life with the drive of a listless breeze, you were setting me up for the next heartbreak. 
After all, all my life really is, is a string of heartbreak.



Go through the worst to reach the ecstasy.

Wish we could go and be free, once baby you and me,

We could change the world forever, and never come back again.


 
I remember the feeling that bloomed in my heart when I realized someone like you cared about someone like me. That someone like you wanted to fix someone like me. Then I reached the conclusion that depression and mental illness isn’t attractive. That you were drawn to the prettier parts of me that resembled tarnished silver, in the hopes that you would have time to break in your silver polish in the spare time and privacy of your awful little home town.



You don’t havta cry. 

And mend a broken hearted girl if you can, I don’t expect you to be capable. 

You have the world right in your hands, your responsibility is unescapable.



I realized that boys don’t like sad girls, but you could see what I could be. I thought you wanted to help me and fix me, but eventually shouldering a burden that isn’t your own gets too heavy to carry. It gets heavier and heavier through the crying, sleepless nights that you would guide me through with your lantern, which became duller each time I needed saving.



Don’t even say you’re about to end it all,

Your life is precious ain’t no need to go and **** yourself. 


Then you left.

On my watch.

On my fault.

On something that wasn’t really my fault.



I promise that I’ll be a different man,

Give me the chance to go and live again.



But here you are with nonchalance and no apologies for the tears wasted on you. 

There may be another boy toying with my broken pieces, fitting me together because he can see the beauty you saw. 

But here you are pretending you still care and still find me beautiful.

There may be beauty in this other boy who helps me, who is just as broken as me, another boy who shares my pain in what I’ve never gotten.

But here you are rehashing memories of nights spent crying over a song.



You don’t have to cry.

Let’s leave it all in the rearview.



But here I am, telling you that broken girls give second chances.



Let’s leave it all in the rearview.

But here I am, telling you that I’m halfway mended.



Let’s leave it all in the rearview.



But here I am, telling you that for me, once you’ve left you cannot re-enter.



Leave it all in the rearview.


An earth sized boulder
dislodged with the thunder
Unleashing catacombs  
of terrestrial darkness
lay compressed beneath it
for a thousand years

The hidden ancients
heard its soul hold forth;  
their rumbling silence
    ―  laid bare ―
They heard its voice
rises up with the ears
of a new-born fawn

Beguiling roots,
solid as a rock,
hold together
like dark matter
A soul weight
beyond measure
shouldering the torn
of a divided heart

Heaviness ...
O' the heaviness ―
just a platitude for
what you feel
when it all comes
tumbling down
to the ground

Venerable
times immemorial:
an urging silence
pushing down
to the grave,
trying to unlearn
the things
never known
about the hearts
we leave behind


Jesse Stillwater

JOY ... weaving two violet petals for a coat lapel ... painting on a slab of night sky a Christ face ... slipping new brass keys into rusty iron locks and shouldering till at last the door gives and we are in a new room ... forever and ever violet petals, slabs, the Christ face, brass keys and new rooms.
  
are we near or far?... is there anything else?... who comes back?... and why does love ask nothing and give all? and why is love rare as a tailed comet shaking guesses out of men at telescopes ten feet long? why does the mystery sit with its chin on the lean forearm of women in gray eyes and women in hazel eyes?
  
are any of these less proud, less important, than a cross-examining lawyer? are any of these less perfect than the front page of a morning newspaper?
  
the answers are not computed and attested in the back of an arithmetic for the verifications of the lazy
  
there is no authority in the phone book for us to call and ask the why, the wherefore, and the howbeit it's ... a riddle ... by God.

I lay here
Wide awake
Like I slept all day
Which I did
Knowing I can't be upset
I knew this would happen
Who am I kidding
I knew it would end the same
The same ****** way
That makes me want to cry
Run and hide in a deep dark whole
Far away from this bed
Where promises were made
Where I thought I was close
But I guess I lied
Said it to make you feel good
Once again shouldering the pain

So now I lay here.
Wide awake
Unsatisfied and confused
Trying to decide who to blame
My over thinking mind
Or wonderful perfect you.

Flecks of violet, patch-quilt  loofah skin of  sponge-green iris, gold dusted
Emerald  eyes... wet stones in flesh tone, parachute baskets; paratroop lids
Descend... thin paradigms slip ; adrift upon a Seam of Tears. A saline Sea - with
Glass floor; lensing starlight over mint pink trampolines
covered in tiny copper filings,

And two Black Pools that Expand.
Two Sunbathing Night Blossoms -

Dead center. Unmanned...

Her cheekbones encroach upon Cataracts of Vacancy.
Lipid lathes of Lethe ; lips departed... red zeppelins, moist and mute . pontoons
Plump and mindless. Bee stung -
Open.

Soft mimes, glide
Over bleach and stain; over -
bone white; glide
Over Nicotine sigils, hiding -
in off-white
Enamel...

like anonymous petroglyphs for Dentists.
or Rosetta Stones for a lethargic Tongue.



II


Theta-wave turbines, throw rods and spark nods ... as others speak.
She resembles a dream-catcher’s mitt.
Words hiss now, and solid mist, twist the tell o' gram.
Into Fable's Armada !

Fog.... fog rolls in...   She rolls in, Beneath  a New Between. of Chasms
Hazardous grammar spasms, stammering -
Deaf tones of Diction -
All This ....In the Good Ear.
An Ear Of Cornucopias Delete.... The Dry Cob
Of  Annulled
Speech. [ but Morphine ]

Maybe a half-dozen kernels of distinct cream ; velveteen vague...
Or vivid - pleats in pure radiation.
?
Perhaps,  varicose inanities are expiation enough to drown a Kraken ?  Maybe God Happens ?

Let Ampule be the Judge.  Let Pack Mules be Priests.

As Others speak, Our Lily,  decrypts languidly left of linear... dislodged -
from Lexicons ....with long Odds, Against...
She Relents, Relentlessly-  And Utterly

Utterly Regardless...

She aborts pregnant ( .... )
pauses.

All this Fog rolls in... Agnostic.
She Robs
The Cuckoo... She De-bones the Soup
with Disjoint Comments.
And Scuttles
The Broth.

She's all Starlings and Polaroids.... Savage Pinwheels  and Aurora Vandals.

She's  All Plasma...
And Rapture -
with No Handles ...

She's Both Ends ... Burning
NOooo Candle .

A Wee Atlas; Shouldering A Loss
Ever Since Her World  
Was  Dismantled ..  A  Burden ( ... )
Lily
Phantom
Shrugs  

And Random Drugs..Atlantis.

The coca-cola breath!
Flashing lights, tweetie birds, the rough narcotic stench

The sky is devoid, it is scared of the streets etched in starlight, everything shining-- tangerine and Coit and ohhhh boy
don't'cha know what you're in for?

Twilight and she is a figment on my mind
the bark of cigar is fiery opal on my slender frame
I can hear something along the lanes of love
Echoing behind me, the rising sun

Funny dudes in new suits, pressed, steamed, machine-rolled
pills in the pockets
shipped locomotive
Every etching has its china
every etching is porcelain skin
The fog is a silken balloon, unconcerned, wayward
The men longingly abide in its cool, the breath of an over-excited lover, singing in the showerhead an embarrassing microphone
over the west coast

It's all over! it's the end
the roads are devoid of the things that called you
They are a clarion horn on the Claremont, facades etched with windowpanes
here the americans eat tofu and pretend it's bacon

I am in the rapidly rotating spoke, enjoying the taste of woodchuck, upchucking my guts every Sunday, white knuckle-- praying to god
release
release

what a steal that's a fantastic car for the price!
it is only 10 years of payment
only 10!
House worth 40, kids worth 60, medicinal payments
corn flakes
Fortified iron gates and god says,
naw let them all out until they drown,
I'll never flood the earth but I'll make it puddles
and if they want they can lay face down

I am eating Korean stew and wondering what will happen
when unification builds a railroad from Moscow to Busan
I will travel it and write a novel or two
it will be
"On the Railroad"
and start in San Francisco or a little while outside
on an October evening with not a fog in the sky
Just sky, blue, blue sky
A child on the hillside
blowing bubbles in the apartment complex or the gravel mound
next to new homes, now cookiebread gingerbed frames
Doing tricks on BMX bikes, getting our elbows smashed, a designated paramedic
It's all built up now, concrete streets and lonely streetcorner lamps saying
Hey we're gonna light up this little space
Hope you don't mind
Please don't play too loud

And given that these spheroids are monumentally moving
hurling like a pitched water glass
everything staying put under the motion of it
Such a lovely rooting of mass

I will call alongside it, crawling towards answers etching on murals and on the stamping of curbs
E-5 West main
4451 Lowell Street
554 Happy Valley Road
It's all the fun little tributaries of surface waters
heading with precognition towards seas
roped into it by specific gravity

On the phone i spoke to Mr. Victorious
I asked him about his particular drone
down south there in the more direct limelight of the night
he told me about his uncle, in prose
of course
we just hung our heads over the speakerphone
Not sleeping the way we should
shouldering burdens as ***** in deserted zones
laughing and preaching to cottonfields

Then there was the girl
the one we forgot, truth be told
The one unrequited impetus for all art, all physicality and feeling
loved by god in the corporeal
She is the saffron reed in my eye, the one i forgot to preach Victory to
She that one oblong pebble, rolled by the stream
passing our campgrounds and continuing her journey to sands
small little microscopic tetrahedral perfection
I could get stuck in between my teeth
or perhaps left on the sweat of the skin
the lost moments of beachside living, love for the expansiveness, left in the diner seat of the car, gotta keep moving
Carrying her away and if not careful,
nestling her back atop the summits from whence she came.

it is a cola in the glass on the shores of the bay,
it is a divine moment of contact in the oceans
two sailors acknowledging their vessels
with light shows and the play of eye
off the horizon, a green light o' sprite.

AMONG the bumble-bees in red-top hay, a freckled field of brown-eyed Susans dripping yellow leaves in July,
        I read your heart in a book.

And your mouth of blue *****-I know somewhere I have seen it rain-shattered.

And I have seen a woman with her head flung between her naked knees, and her head held there listening to the sea, the great naked sea shouldering a load of salt.

And the blue ***** mouth sang to the sea:
        Mother of God, I'm so little a thing,
        Let me sing longer,
        Only a little longer.

And the sea shouldered its salt in long gray combers hauling new shapes on the beach sand.

Your touch sends a quiver beneath my skin
And I feel a fire burn inside my chest
Your love pours over me, cleansing my sin
I feel the same fire, burn inside your breast
And when a fire burns, it starts to spread
Wrapping around everything you've cherished
I'm engulfed from my toe up to my head
Flames that burn this bright could never perish
Even when low, they're always smoldering
Cold on the outside, warm in the middle
And with all that weight you've been shouldering,
I hope I can heat you up a little

Now when I feel the cold, I lean on you
Feeling warm, enjoying October hues.

I lay here
Wide awake
Like I slept all day
Which I did
Knowing I can't be upset
I knew this would happen
Who am I kidding
I knew it would end the same
The same ****** way
That makes me want to cry
Run and hide in a deep dark whole
Far away from this bed
Where promises were made
Where I thought I was close
But I guess I lied
Said it to make you feel good
Once again shouldering the pain

So now I lay here.
Wide awake
Unsatisfied and confused
Trying to decide who to blame
My over thinking mind
Or wonderful perfect you.

These are English translations Haiku by the Japanese Masters of the form, including Matsuo Basho, Yosa Buson, Fukuda Chiyo-ni, Kobayashi Issa, Yamaguchi Seishi and Hisajo Sugita.

Grasses wilt:
the braking locomotive
grinds to a halt
― Yamaguchi Seishi, loose translation by Michael R. Burch

Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
― Takaha Shugyo, loose translation by Michael R. Burch

The first soft snow:
leaves of the awed jonquil
bow low
― Matsuo Basho, loose translation by Michael R. Burch

Come, investigate loneliness!
a solitary leaf
clings to the Kiri tree
― Matsuo Basho, loose translation by Michael R. Burch

Lightning
shatters the darkness―
the night heron's shriek
― Matsuo Basho, loose translation by Michael R. Burch

One apple, alone
in the abandoned orchard
reddens for winter
― Patrick Blanche, loose translation by Michael R. Burch

The poem above is by a French poet; it illustrates how the poetry of Oriental masters like Basho has influenced poets around the world.



I remove my beautiful kimono:
its varied braids
surround and entwine my body
― Hisajo Sugita, loose translation by Michael R. Burch

This day of chrysanthemums
I shake and comb my wet hair,
as their petals shed rain
― Hisajo Sugita, loose translation by Michael R. Burch

This sheer kimono—
how the moon peers through
to my naked skin!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

These festive flowery robes—
though quickly undressed,
how their colored cords still continue to cling!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Chrysanthemum petals
reveal their pale curves
shyly to the moon.
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Loneliness —
reading the Bible
as the rain deflowers cherry blossoms.
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

How deep this valley,
how elevated the butterfly's flight!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

How lowly this valley,
how lofty the butterfly's flight!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Echoes from the hills—
the mountain cuckoo sings as it will,
trill upon trill
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch



This darkening autumn:
my neighbor,
how does he continue?
― Matsuo Basho, loose translation by Michael R. Burch

Let us arrange
these lovely flowers in the bowl
since there's no rice
― Matsuo Basho, loose translation by Michael R. Burch

An ancient pond,
the frog leaps:
the silver plop and gurgle of water
― Matsuo Basho, loose translation by Michael R. Burch

The butterfly
perfuming its wings
fans the orchid
― Matsuo Basho, loose translation by Michael R. Burch

Pausing between clouds
the moon rests
in the eyes of its beholders
― Matsuo Basho, loose translation by Michael R. Burch

The first chill rain:
poor monkey, you too could use
a woven cape of straw
― Matsuo Basho, loose translation by Michael R. Burch

This snowy morning:
cries of the crow I despise
(ah, but so beautiful!)
― Matsuo Basho, loose translation by Michael R. Burch

Like a heavy fragrance
snow-flakes settle:
lilies on the rocks
― Matsuo Basho, loose translation by Michael R. Burch

The cheerful-chirping cricket
contends gray autumn's gay,
contemptuous of frost
― Matsuo Basho, loose translation by Michael R. Burch

Whistle on, twilight whippoorwill,
solemn evangelist
of loneliness
― Matsuo Basho, loose translation by Michael R. Burch

The sea darkening,
the voices of the wild ducks:
my mysterious companions!
― Matsuo Basho, loose translation by Michael R. Burch

Will we meet again?
Here at your flowering grave:
two white butterflies
― Matsuo Basho, loose translation by Michael R. Burch

Fever-felled mid-path
my dreams resurrect, to trek
into a hollow land
― Matsuo Basho, loose translation by Michael R. Burch

Too ill to travel,
now only my autumn dreams
survey these withering fields
― Matsuo Basho, loose translation by Michael R. Burch; this has been called Basho's death poem

These brown summer grasses?
The only remains
of "invincible" warriors...
― Matsuo Basho, loose translation by Michael R. Burch

Graven images of long-departed gods,
dry spiritless leaves:
companions of the temple porch
― Matsuo Basho, loose translation by Michael R. Burch

See: whose surviving sons
visit the ancestral graves
white-bearded, with trembling canes?
― Matsuo Basho, loose translation by Michael R. Burch

An empty road
lonelier than abandonment:
this autumn evening
― Matsuo Basho, loose translation by Michael R. Burch

Spring has come:
the nameless hill
lies shrouded in mist
― Matsuo Basho, loose translation by Michael R. Burch



The Oldest Haiku

These are my translations of some of the oldest Japanese waka, which evolved into poetic forms such as tanka, renga and haiku over time. My translations are excerpts from the Kojiki (the "Record of Ancient Matters"), a book composed around 711-712 A.D. by the historian and poet Ō no Yasumaro. The Kojiki relates Japan’s mythological beginnings and the history of its imperial line. Like Virgil's Aeneid, the Kojiki seeks to legitimize rulers by recounting their roots. These are lines from one of the oldest Japanese poems, found in the oldest Japanese book:

While you decline to cry,
high on the mountainside
a single stalk of plumegrass wilts.
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch

Here's another excerpt, with a humorous twist, from the Kojiki:

Hush, cawing crows; what rackets you make!
Heaven's indignant messengers,
you remind me of wordsmiths!
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch

Here's another, this one a poem of love and longing:

Onyx, this gem-black night.
Downcast, I await your return
like the rising sun, unrivaled in splendor.
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch



More Haiku by Various Poets

Right at my feet!
When did you arrive here,
snail?
― Kobayashi Issa, loose translation by Michael R. Burch

Our world of dew
is a world of dew indeed;
and yet, and yet...
― Kobayashi Issa, loose translation by Michael R. Burch

Oh, brilliant moon
can it be true that even you
must rush off, like us, tardy?
― Kobayashi Issa, loose translation by Michael R. Burch

Standing unsteadily,
I am the scarecrow’s
skinny surrogate
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Autumn wind ...
She always wanted to pluck
the reddest roses
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Issa wrote the haiku above after the death of his daughter Sato with the note: “Sato, girl, 35th day, at the grave.”



The childless woman,
how tenderly she caresses
homeless dolls ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

Clinging
to the plum tree:
one blossom's worth of warmth
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

One leaf falls, enlightenment!
Another leaf falls,
swept away by the wind ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

This has been called Ransetsu’s “death poem.” In The Classic Tradition of Haiku, Faubion Bowers says in a footnote to this haiku: “Just as ‘blossom’, when not modified, means ‘cherry flower’ in haiku, ‘one leaf’ is code for ‘kiri’. Kiri ... is the Pawlonia ... The leaves drop throughout the year. They shrivel, turn yellow, and yield to gravity. Their falling symbolizes loneliness and connotes the past. The large purple flowers ... are deeply associated with haiku because the three prongs hold 5, 7 and 5 buds ... ‘Totsu’ is an exclamation supposedly uttered when a Zen student achieves enlightenment. The sound also imitates the dry crackle the pawlonia leaf makes as it scratches the ground upon falling.”



This world?
Moonlit dew
flicked from a crane's bill.
—Eihei Dogen Kigen (1200-1253) loose translation/interpretation by Michael R. Burch

Seventy-one?
How long
can a dewdrop last?
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Dewdrops beading grass-blades
die before dawn;
may an untimely wind not hasten their departure!
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Dewdrops beading blades of grass
have so little time to shine before dawn;
let the autumn wind not rush too quickly through the field!
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Outside my window the plums, blossoming,
within their curled buds, contain the spring;
the moon is reflected in the cup-like whorls
of the lovely flowers I gather and twirl.
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch



Disdaining grass,
the firefly nibbles nettles—
this is who I am.
—Takarai Kikaku (1661-1707), loose translation/interpretation by Michael R. Burch

A simple man,
content to breakfast with the morning glories—
this is who I am.
—Basho, loose translation/interpretation by Michael R. Burch
This is Basho’s response to the Takarai Kikaku haiku above

The morning glories, alas,
also turned out
not to embrace me
—Basho, loose translation/interpretation by Michael R. Burch

The morning glories bloom,
mending chinks
in the old fence
—Basho, loose translation/interpretation by Michael R. Burch

Morning glories,
however poorly painted,
still engage us
—Basho, loose translation/interpretation by Michael R. Burch

I too
have been accused
of morning glory gazing ...
—original haiku by by Michael R. Burch

Taming the rage
of an unrelenting sun—
autumn breeze.
—Basho, loose translation/interpretation by Michael R. Burch

The sun sets,
relentlessly red,
yet autumn’s in the wind.
—Basho, loose translation/interpretation by Michael R. Burch

As autumn deepens,
a butterfly sips
chrysanthemum dew.
—Basho, loose translation/interpretation by Michael R. Burch

As autumn draws near,
so too our hearts
in this small tea room.
—Basho, loose translation/interpretation by Michael R. Burch

Nothing happened!
Yesterday simply vanished
like the blowfish soup.
—Basho, loose translation/interpretation by Michael R. Burch

The surging sea crests around Sado ...
and above her?
An ocean of stars.
—Basho, loose translation/interpretation by Michael R. Burch

Revered figure!
I bow low
to the rabbit-eared Iris.
—Basho, loose translation/interpretation by Michael R. Burch

Come, butterfly,
it’s late
and we’ve a long way to go!
—Basho, loose translation/interpretation by Michael R. Burch

Nothing in the cry
of the cicadas
suggests they know they soon must die.
—Basho, loose translation/interpretation by Michael R. Burch

I wish I could wash
this perishing earth
in its shimmering dew.
—Basho, loose translation/interpretation by Michael R. Burch

Dabbed with morning dew
and splashed with mud,
the melon looks wonderfully cool.
—Basho, loose translation/interpretation by Michael R. Burch

Cold white azalea—
a lone nun
in her thatched straw hut.
—Basho, loose translation/interpretation by Michael R. Burch

Glimpsed on this high mountain trail,
delighting my heart—
wild violets
—Basho, loose translation/interpretation by Michael R. Burch

The bee emerging
from deep within the peony’s hairy recesses
flies off heavily, sated
—Basho, loose translation/interpretation by Michael R. Burch

A crow has settled
on a naked branch—
autumn nightfall
—Basho, loose translation/interpretation by Michael R. Burch

Except for a woodpecker
tapping at a post,
the house is silent.
—Basho, loose translation/interpretation by Michael R. Burch

That dying cricket,
how he goes on about his life!
—Basho, loose translation/interpretation by Michael R. Burch

Like a glorious shrine—
on these green, budding leaves,
the sun’s intense radiance.
—Basho, loose translation/interpretation by Michael R. Burch



Yosa Buson haiku translations

On the temple’s great bronze gong
a butterfly
snoozes.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Hard to describe:
this light sensation of being pinched
by a butterfly!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Not to worry spiders,
I clean house ... sparingly.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Among the fallen leaves,
an elderly frog.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

In an ancient well
fish leap for mosquitoes,
a dark sound.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Flowers with thorns
remind me of my hometown ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Reaching the white chrysanthemum
the scissors hesitate ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

A kite floats
at the same place in the sky
where yesterday it floated ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Picking autumn plums
my wrinkled hands
once again grow fragrant
―Yosa Buson, loose translation/interpretation by Michael R. Burch

A silk robe, casually discarded,
exudes fragrance
into the darkening evening
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Whose delicate clothes
still decorate the clothesline?
Late autumn wind.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This is an example of a translation in which I interpreted the poem before translating it. In the original poem the clothes were thin (suggesting suggestive garments). In Japanese poetry an autumn wind can represent loneliness. So I interpreted the poem to be about an aging woman who still wears enticing clothes but is increasingly lonely. Since in the West we don't normally drape clothes on screens, I moved the clothes to a clothesline, which works well with the wind. For me it's a sad poem about something that happens all too often to people as they age.

An evening breeze:
water lapping the heron’s legs.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

gills puffing,
a hooked fish:
the patient
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The stirred morning air
ruffles the hair
of a caterpillar.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Intruder!
This white plum tree
was once outside our fence!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Tender grass
forgetful of its roots
the willow
―Yosa Buson, loose translation/interpretation by Michael R. Burch

I believe the poem above can be taken as commentary on ungrateful children. It reminds me of Robert Hayden's "Those Winter Sundays."―MRB

Since I'm left here alone,
I'll make friends with the moon.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The hood-wearer
in his self-created darkness
misses the harvest moon
―Yosa Buson, loose translation/interpretation by Michael R. Burch

White blossoms of the pear tree―
a young woman reading his moonlit letter
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The pear tree flowers whitely:
a young woman reading his letter
by moonlight
―Yosa Buson, loose translation/interpretation by Michael R. Burch

On adjacent branches
the plum tree blossoms
bloom petal by petal―love!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

A misty spring moon ...
I entice a woman
to pay it our respects
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Courtesans
purchasing kimonos:
plum trees blossoming
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The spring sea
rocks all day long:
rising and falling, ebbing and flowing ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

As the whale
    dives
its tail gets taller!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

While tilling the field
the motionless cloud
vanished.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Even lonelier than last year:
this autumn evening.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

My thoughts return to my Mother and Father:
late autumn
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Late autumn:
my thoughts return to my Mother and Father
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This roaring winter wind:
the cataract grates on its rocks.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

While snow lingers
in creases and recesses:
flowers of the plum
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Plowing,
not a single bird sings
in the mountain's shadow
―Yosa Buson, loose translation/interpretation by Michael R. Burch

In the lingering heat
of an abandoned cowbarn
only the sound of the mosquitoes is dark.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The red plum's fallen petals
seem to ignite horse ****.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Dawn!
The brilliant sun illuminates
sardine heads.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The abandoned willow shines
between bright rains
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Dew-damp grass:
the setting sun’s tears
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The dew-damp grass
weeps silently
in the setting sun
―Yosa Buson, loose translation/interpretation by Michael R. Burch

White plum blossoms―
though the hour grows late,
a glimpse of dawn
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The poem above is believed to be Buson's jisei (death poem) and he is said to have died before dawn.

Lately the nights
dawn
plum-blossom white.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This is a second interpretation of Buson's jisei (death poem).

In the deepening night
I saw by the light
of the white plum blossoms

―Yosa Buson, loose translation/interpretation by Michael R. Burch

This is a third interpretation of Buson's jisei (death poem).

Our life here on earth:
to what shall we compare it?
Perhaps to a rowboat
departing at daybreak,
leaving no trace of us in its wake?
—Takaha Shugyo or Yosa Buson, loose translation by Michael R. Burch



I thought I felt a dewdrop
plop
on me as I lay in bed!
― Masaoka Shiki, loose translation by Michael R. Burch

We cannot see the moon
and yet the waves still rise
― Shiki Masaoka, loose translation by Michael R. Burch

The first morning of autumn:
the mirror I investigate
reflects my father’s face
― Shiki Masaoka, loose translation by Michael R. Burch



Wild geese pass
leaving the emptiness of heaven
revealed
― Takaha Shugyo, loose translation by Michael R. Burch

Inside the cracked shell
of a walnut:
one empty room.
—Takaha Shugyo, loose translation by Michael R. Burch

Bring me an icicle
sparkling with the stars
of the deep north
—Takaha Shugyo, loose translation by Michael R. Burch

Seen from the skyscraper
the trees' fresh greenery:
parsley sprigs
—Takaha Shugyo, loose translation by Michael R. Burch

Are the geese flying south?
The candle continues to flicker ...
—Takaha Shugyo, loose translation by Michael R. Burch

Still clad in its clown's costume—
the dead ladybird.
—Takaha Shugyo, loose translation by Michael R. Burch

A single tree,
a heart carved into its trunk,
blossoms prematurely
—Takaha Shugyo, loose translation by Michael R. Burch



Silently observing
the bottomless mountain lake:
water lilies
― Inahata Teiko, loose translation by Michael R. Burch

Cranes
flapping ceaselessly
test the sky's upper limits
― Inahata Teiko, loose translation by Michael R. Burch

Falling snowflakes'
glitter
tinsels the sea
― Inahata Teiko, loose translation by Michael R. Burch

Blizzards here on earth,
blizzards of stars
in the sky
― Inahata Teiko, loose translation by Michael R. Burch

Completely encircled
in emerald:
the glittering swamp!
― Inahata Teiko, loose translation by Michael R. Burch

The new calendar!:
as if tomorrow
is assured...
― Inahata Teiko, loose translation by Michael R. Burch



Ah butterfly,
what dreams do you ply
with your beautiful wings?
― Fukuda Chiyo-ni, loose translation by Michael R. Burch

Because morning glories
hold my well-bucket hostage
I go begging for water
― Fukuda Chiyo-ni, loose translation by Michael R. Burch



Spring
stirs the clouds
in the sky's teabowl
― Kikusha-ni, loose translation by Michael R. Burch

Tonight I saw
how the peony crumples
in the fire's embers
― Katoh Shuhson, loose translation by Michael R. Burch

It fills me with anger,
this moon; it fills me
and makes me whole
― Takeshita Shizunojo, loose translation by Michael R. Burch

War
stood at the end of the hall
in the long shadows
― Watanabe Hakusen, loose translation by Michael R. Burch

Because he is slow to wrath,
I tackle him, then wring his neck
in the long grass
― Shimazu Ryoh, loose translation by Michael R. Burch

Pale mountain sky:
cherry petals play
as they tumble earthward
― Kusama Tokihiko, loose translation by Michael R. Burch

The frozen moon,
the frozen lake:
two oval mirrors reflecting each other.
― Hashimoto Takako, loose translation by Michael R. Burch

The bitter winter wind
ends here
with the frozen sea
― Ikenishi Gonsui, loose translation by Michael R. Burch

Oh, bitter winter wind,
why bellow so
when there's no leaves to fell?
― Natsume Sôseki, loose translation by Michael R. Burch

Winter waves
roil
their own shadows
― Tominaga Fûsei, loose translation by Michael R. Burch

No sky,
no land:
just snow eternally falling...
― Kajiwara Hashin, loose translation by Michael R. Burch

Along with spring leaves
my child's teeth
take root, blossom
― Nakamura Kusatao, loose translation by Michael R. Burch

Stillness:
a single chestnut leaf glides
on brilliant water
― Ryuin, loose translation by Michael R. Burch

As thunder recedes
a lone tree stands illuminated in sunlight:
applauded by cicadas
― Masaoka Shiki, loose translation by Michael R. Burch

The snake slipped away
but his eyes, having held mine,
still stare in the grass
― Kyoshi Takahama, loose translation by Michael R. Burch

Girls gather sprouts of rice:
reflections of the water flicker
on the backs of their hats
― Kyoshi Takahama, loose translation by Michael R. Burch

Murmurs follow the hay cart
this blossoming summer day
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

The wet nurse
paused to consider a bucket of sea urchins
then walked away
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

May I be with my mother
wearing her summer kimono
by the morning window
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

The hands of a woman exist
to remove the insides of the spring cuttlefish
― Sekitei Hara, loose translation by Michael R. Burch

The moon
hovering above the snow-capped mountains
rained down hailstones
― Sekitei Hara, loose translation by Michael R. Burch

Oh, dreamlike winter butterfly:
a puff of white snow
cresting mountains
― Kakio Tomizawa, loose translation by Michael R. Burch

Spring snow
cascades over fences
in white waves
― Suju Takano, loose translation by Michael R. Burch



Tanka and Waka translations:

If fields of autumn flowers
can shed their blossoms, shameless,
why can’t I also frolic here —
as fearless, and as blameless?
—Ono no Komachi, loose translation by Michael R. Burch

Submit to you —
is that what you advise?
The way the ripples do
whenever ill winds arise?
—Ono no Komachi, loose translation by Michael R. Burch

Watching wan moonlight
illuminate trees,
my heart also brims,
overflowing with autumn.
—Ono no Komachi, loose translation by Michael R. Burch

I had thought to pluck
the flower of forgetfulness
only to find it
already blossoming in his heart.
—Ono no Komachi, loose translation by Michael R. Burch

That which men call "love" —
is it not merely the chain
preventing our escape
from this world of pain?
—Ono no Komachi, loose translation by Michael R. Burch

Once-colorful flowers faded,
while in my drab cell
life’s impulse also abated
as the long rains fell.
—Ono no Komachi, loose translation by Michael R. Burch

I set off at the shore
of the seaside of Tago,
where I saw the high, illuminated peak
of Fuji―white, aglow―
through flakes of drifting downy snow.
― Akahito Yamabe, loose translation by Michael R. Burch



New Haiku Translations, added 6/27/2022

As the monks sip their morning tea,
chrysanthemums quietly blossom.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

The fragrance of plum blossoms
on a foggy path:
the sun rising.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

The sea darkens ...
yet still faintly white
the wild duck protests.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Pear tree blossoms
whitened by moonlight:
a young woman reading a letter.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Outlined in the moonlight ...
who is that standing
among the pear trees?
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Your coolness:
the sound of the bell
departing the bell.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

As the moon flies west
the flowers' shadows
creep eastward.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

By such pale moonlight
even the wisteria's fragrance
seems distant.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Leaves
like crows’ shadows
flirt with a lonely moon.
Kaga no Chiyo (1703-1775), loose translation/interpretation by Michael R. Burch

The next seven autumn moon translations are dedicated to Stephen I. Hsu, who suggested the Chiyo-ni poems to me.

Bright autumnal moon,
but no matter how far I walked,
unreachable.
—Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch

Bright autumnal moon,
but no matter how far I walked,
distant beyond my grasp.
—Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch

Here, “grasp” in both the sense of touch and understanding.

Walking, walking
toward the bright autumn moon,
never the nearer.
—Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch

I walk and walk
toward the autumn moon,
yet it remains distant.
—Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch

"meigetsu ya": "bright moon" or "harvest moon"
"ittemo ittemo": "however far I walked," or "no matter how much I walk"
"yoso no sora": "distant sky," "unknown sky," or "another's sky"



The bright autumn moon
even for those we keenly miss
shines just as full.

The bright autumn moon
even for those far from us
shines just as full.

The bright autumn moon
even for those far from us
seems just as close.

meigetsu ya: "bright moon" or "harvest moon"
rusu no hito ni mo: "for those far away"
maru nagara: "while round" or perhaps "remains round/full"



Let me die
covered with flowers
and never again wake to this earthly dream!
—Ochi Etsujin, loose translation/interpretation by Michael R. Burch

To reveal how your heart flowers,
sway like the summer grove.
—Tagami Kikusha-Ni (1753-1826), loose translation/interpretation by Michael R. Burch

In the thicket's shade
a solitary woman sings the rice-planting song.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Unaware of these degenerate times,
cherry blossoms abound!
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

These silent summer nights
even the stars
seem to whisper.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The enormous firefly
weaves its way, this way and that,
as it passes by.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Composed like the Thinker, he sits
contemplating the mountains:
the sagacious frog!
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A fallen blossom
returning to its bough?
No, a butterfly!
Arakida Moritake (1473-1549), loose translation/interpretation by Michael R. Burch

Illuminated by the harvest moon
smoke is caught creeping
across the water ...
Hattori Ransetsu (1654-1707), loose translation/interpretation by Michael R. Burch

Fanning its tail flamboyantly
with every excuse of a breeze,
the peacock!
Masaoki Shiki (1867-1902), loose translation by Michael R. Burch

Waves row through the mists
of the endless sea.
Masaoki Shiki (1867-1902), loose translation by Michael R. Burch

I hurl a firefly into the darkness
and sense the enormity of night.
—Kyoshi Takahama (1874-1959), loose translation by Michael R. Burch

As girls gather rice sprouts
reflections of the rain ripple
on the backs of their hats.
—Kyoshi Takahama (1874-1959), loose translation by Michael R. Burch



ISSA TRANSLATIONS


Petals I amass
with such tenderness
***** me to the quick.
― Kobayashi Issa, loose translation by Michael R. Burch

This world of dew
is a world of dew indeed;
and yet...
― Kobayashi Issa, loose translation by Michael R. Burch

Standing beneath cherry blossoms
who can be strangers?
― Kobayashi Issa, loose translation by Michael R. Burch

An enormous frog!
We stare at each other,
both petrified.
― Kobayashi Issa, loose translation by Michael R. Burch

Skinny frog,
hang on...
Issa to the rescue!
― Kobayashi Issa, loose translation by Michael R. Burch

Right at my feet!
When did you arrive here,
snail?
― Kobayashi Issa, loose translation by Michael R. Burch

I toss in my sleep,
so watch out,
cricket!
― Kobayashi Issa, loose translation by Michael R. Burch

In a better world
I'd leave you my rice bowl,
little fly!
― Kobayashi Issa, loose translation by Michael R. Burch

Cries of the wild geese...
Spreading rumors about me?
― Kobayashi Issa, loose translation by Michael R. Burch

While a cicada
sings softly
a single leaf falls...
― Kobayashi Issa, loose translation by Michael R. Burch

Wake up, old tomcat,
then with elaborate yawns and stretchings
prepare to pursue love
― Kobayashi Issa, loose translation by Michael R. Burch

This windy nest?
Open your hungry mouth in vain,
Issa, orphaned sparrow!
― Kobayashi Issa, loose translation by Michael R. Burch

The ghostly cow comes
mooing mooing mooing
out of the morning mist
― Kobayashi Issa, loose translation by Michael R. Burch

The snow melts
and the village is flooded with children!
― Kobayashi Issa, loose translation by Michael R. Burch

Full moon,
my ramshackle hut
is an open book!
― Kobayashi Issa, loose translation by Michael R. Burch

Oh, brilliant moon
can it be true
that even you
must rush off, late
for some date?
― Kobayashi Issa, loose translation by Michael R. Burch

Don't weep, we are all insects!
Lovers, even the stars themselves,
must eventually part.
― Kobayashi Issa, loose translation by Michael R. Burch

In our world
we walk suspended over hell
admiring flowers.
― Kobayashi Issa, loose translation by Michael R. Burch

In the thicket’s shade
a solitary woman
sings the rice-planting song.
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch

If my father were here,
we would gaze
over dawn’s green fields together.
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Unaware of these degenerate times,
cherry blossoms abound!
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch

These silent summer nights
even the stars
seem to whisper.
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The enormous firefly
weaves its way, this way and that,
as it passes by.
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Composed like the Thinker, he sits
contemplating the mountains:
the sagacious frog!
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch


Smug boss
plopped on his throne:
pompous bullfrog!
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Serene-faced
contemplating the stars:
Buddha-frog.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Standing stone-still
for the horse to smell:
Buddha-frog.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Such a racket!
Will I be your next meal,
cawing crows?
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

New Year’s Day
I welcome a guest:
nestless bird.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Likewise homeless,
this first day,
in Edo.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

New Year’s first rain:
my grass-roofed hut’s
first leak.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The wild daisies
celebrate:
first day of spring.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Spring returns:
more excuses for foolishness
from this fool.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Pretty
fresh-faced girls
multiplying like spring!
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

As the snow melts
the village brims
with children.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The child
gives her dolls
a good scolding.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The old doll
suns herself
in the store window.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Mocking
the perspiring farmer,
the jaunty crow.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Lit
by the lightning-flash:
spring snow falling.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

You’ve ruined my dream,
nightmare crow,
with your cawing!
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Spring returns
simply but elegantly
with a pale blue sky.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The spring’s
first butterfly
swaggers.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The pretty rice-planting girl
with a butterfly
asleep on her back.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The butterfly
flutters back
to Buddha’s lap.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Hole in the wall?
Peeping Tom!
I spy on the pretty sky.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Time flies,
so fast
the bonfires burn out.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A ritzy kite
smirks above
a beggar’s hut.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The great bronze
Buddha’s nose
itched by baby sparrows.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

From serene Jizo’s
holy neck it hangs:
the rice dumpling.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Little snail,
conquer Mount Fuji,
inch by inch!
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Intruder!
A loitering pheasant
pecks at my gate.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Don’t migrate geese!
There is sorrow everywhere.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Don’t cry,
migrating geese;
everywhere the world’s the same.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

How they glare
when I return:
the geese at my gate.
(Or is it theirs?)
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A talented goose
posed on one foot
in the rice field.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Winter breeze:
snowflakes flutter down
like confetti.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The old banner
***** lonely and cold
in the winter thicket.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Back door amusement:
******* scribbles
in winter’s first ice.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

How cold?
My only hand towel
frozen stiff.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

If you cross it,
cross carefully and lightly:
ice.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Safe beneath the ice,
the cat’s eyes follow
crazy fish.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

From the tip of Buddha’s
honorable nose
an icicle dangles.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Steering me home
to my hut:
winter rain.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Teased by the winter wind,
the pig giggles
in his sleep.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The winter wind
generously
sweeps my gate.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Winter night:
scratching at my window,
a banished cat.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Likewise in no mood
to sweep the snow,
the scarecrow.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

My little straw mat:
the cat arrives
with a coat of snowflakes.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The girl hugs
her ragcloth monkey:
winter hailstorm.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Patched
with wastepaper,
my ragged winter coat.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The cricket’s
cozy winter residence:
my quilt.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Hey mice,
quit ******* on my new friend’s
domicile!
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Forlorn sight:
from distant fields
a little hut’s light.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The generous wind
sweeps
my sooty hut.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A lonely
plum tree blooms
among pines.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Plum blossoms
giggle
at my rags.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

At the edge
of a reeking well,
elegant plum blossoms.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Are you illuminating
plum blossoms for stealing,
vagrant moon?
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Moonlit gate:
the mosquito-eating bats
make their rounds.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Like the bats
moonlit streetwalkers also
make their slow rounds.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A hot, humid night ...
bats dangle
by the riverbank.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A hot, humid day ...
I engage in a staring contest
with a gargoyle.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Glaring
like he’d devour the winter moon,
the gargoyle.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The dragonfly
works the late shift:
night fishing.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Having peeled off your skin,
snake,
are you any cooler?
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Left in Buddha’s lap,
a snake’s
discarded garment.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

From the great bronze Buddha’s
nose
morning mist emerges.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

On the great bronze Buddha’s
nose,
a **** bug.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Chestnuts falling:
even the stone Buddha
has an umbrella hat!
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A sparrow chirps
in his lap:
the snowbound Buddha.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Boars and bears
my only neighbors:
winter seclusion.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

My sinful dog
my sole companion:
winter seclusion.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

No good deeds
but unable to sin:
winter seclusion.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The winter houseguest
I spared, a little fly,
my cat murdered.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Eyeing the potato
baking on the banked fire,
a criminal crow.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Even the bullfrog
gapes
at brilliant fireflies.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Why do you
play with fire,
tiger moth?
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Mosquitoes
so thick
I exhale them.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Do you also
mourn your mother,
cicada?
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Even the insects
huddle at the window:
a cold night.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

My evicted fleas
have re-made me their landlord:
autumn rain.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Autumn cacophony:
the cicadas’ grumblings
grow louder.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

“It’s cold,”
the cicadas’ complaints
have begun.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The strutting crow
splashes
into the silver dew.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The woodpecker
sizes up
my tasty hut.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Unaware of life’s passage
the dewdrops
frolic.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

He makes
a splendid windbreak,
the sumo wrestler.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Standing alone
in a world of tranquility,
the scarecrow.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

As among men,
so among insects:
good singers, bad singers.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Settling to sleep
on the helpless scarecrow,
the dauntless dragonfly.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

An autumn butterfly
clings
to the scarecrow’s sleeve.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Reflected in the dragonfly’s
somber eyes,
the distant mountain.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The dragonfly
siestas
on the steer’s head.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The praying mantis
clings by one claw
to the temple bell.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The village dog
waters
chrysanthemums.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

There no shame
if we teeter-totter,
old chrysanthemum.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The briar chrysanthemum
blooms
in secret.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Atop the guady chrysanthemum
a caterpillar
snoozes.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Thanks to morning-glories
my hut
becomes a palace.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Eating my rice
alone
among morning-glories.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Droplets form
on the still, silent
morning-glories.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Rice field dew,
half of it
human perspiration?
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Through night’s gloom,
bit by bit it grows,
the gourd.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Clever as foxes,
the children
hide amid plume grass.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Even plume grass
waves farewell at last
to autumn.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

On the sleeping dog
gently descends
a leaf-hat.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Avert your eyes
while I **** in your field,
little wren!
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

This stand of trees:
my head
just as barren of leaves.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Lacking common sense
out-of-season flowers
bloom on my fence.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

All alone,
babbling nonsense,
I toast the departing year.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Kyoto:
even beneath bridges
beggars toast the departing year.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Living alone,
one bottle suffices
for toasting the departing year.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Come what may,
trust the New Year to Buddha
despite his former failures.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A wind chime’s
bubbly babble
ends the year on a bright note.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

It takes two
temple nuns
to yank out one radish.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Berating
my heavy drinking,
the mountain cuckoo.
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch




NEW BASHO TRANSLATIONS 06-19-2025

SPRING

Blame the rainy season
for my absence,
old friend Moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

For yet a little while,
the pale moon
floating among blossoms...
—Matsuo Basho, translation/interpretation by Michael R. Burch

Moon past full:
darkness
increasing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spring rains
so heavy
they overflow the waterfall.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I’ll catch up
about cascading waterfall blossoms
when I drink with Li Bai.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Fluttering rose petals
fall
into the river’s gurgling waters.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spring rains
overwhelming the falls,
overflowing...
—Matsuo Basho, translation/interpretation by Michael R. Burch

The rainy season downpour
sours even the ears
of ripening plums.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Flood!
Stars will soon sleep
atop a rock.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I’ll dare drenching
my paper robes
to nab a sprig of spring blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Where is that handsome man
no long with us:
the rain-hidden moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So much harsher
than other mouths,
the wind devours newborn blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So taken by their beauty,
I long to take
the maiden flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Trembling, feeble,
heavy with dew:
the maiden flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Other flowers bloom,
the camellias
remain indifferent.
—Matsuo Basho, translation/interpretation by Michael R. Burch

An orchid’s
lingering fragrance
veils the bedchamber.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The boy’s bangs
retain the scent
of youthful grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spring winds
tickle the flowers
till they burst out in laughter.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Falling to the ground,
returning to its roots,
the flower’s farewell.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So many things
recur in memory:
spring blossoms reopen.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Seeing them naked
almost makes me caress
the ******* flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

As temple bells fade
flowers strike their fragrance
into the silence.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The bat also emerges
into the birds’
world of flowers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

When planting,
please handle the infant cherry tree tenderly,
gently, like a baby.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How can one fret
during cherry blossom time?
—Matsuo Basho, translation/interpretation by Michael R. Burch

How I envy them,
growing high above our transient world,
the mountain cherries.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Curiosity:
a butterfly alights
on nectarless grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A solitary butterfly
hovers over
its own shadow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A solitary butterfly
flutters above
its own shadow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Since spring showers insist,
the eggplant seeds
commence sprouting.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Never belittle
the tiniest seeds:
the spunky pepper reddens.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Once green,
behold!
The red pepper.
—Matsuo Basho, translation/interpretation by Michael R. Burch

After spring rains
mugwort shoots up
in grassy lanes.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Higher than the larks,
resting amid the blue,
this mountain pass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The blossom-filled day
makes the tree’s sadness
seem all the darker.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Goodbye, old friend:
no longer beckoning
miscanthus plumes.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spying plum blossoms
the infatuated ox
bellows, “Yes!”
—Matsuo Basho, translation/interpretation by Michael R. Burch

The day-lily,
dripping water
into the grasses’ forgetfulness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Scooped up by my hands,
the springwater
shocks my teeth with its iciness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The cats’ noisy mating subsides;
now into our bedroom
creeps the quiet moonlight.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Here at Wakanoura
I’m finally in step
with fleeting and fleeing spring.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A bell-less village?
Who will ring in
the end of spring?
—Matsuo Basho, translation/interpretation by Michael R. Burch

The temple bell unheeded?
Unheard?
Still, spring is fleeting.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The sun’s about to set:
the spring’s last shimmering heat ray.
—Matsuo Basho, translation/interpretation by Michael R. Burch

SUMMER

Such coolness
when shouldered:
the summer’s first melon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A wicker basket
shields the coolness
of the first melon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Morning dew:
the muddy melon
exudes coolness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Early summer rain:
the green spikemoss,
how long to remain?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Timidly the willow
refrains from touching
deutzia blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

An oiled paper umbrella
attempts to push aside
unobliging willows.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The ancient river
ogles
the slender willow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So like life:
this small patch of shade
beneath a wicker hat.

Still alive
despite the slightness of my hat,
I cherish its shade.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This summer world
floats in the lake’s
silver waves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A weary horse
collapsing in barley:
traveler’s rest.
—Matsuo Basho, translation/interpretation by Michael R. Burch

On the distant plain
the deer’s voice
seems an inch tall.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How sad, the bellowing of bucks,
The bleatings of does,
at night.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Even woodpeckers
hold this old hut sacred,
still standing in the summer grove.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Toppling from the topmost bough,
emptiness aloft:
the cicada’s husk.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The hollyhock
leans sunward
in the summer rain.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Ah, the splendid resplendence
of sunlight
on tender evergreen leaves!
—Matsuo Basho, translation/interpretation by Michael R. Burch

The fragrance of oranges...
In whose farmyard
is the cuckoo calling?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Temple bells reverberate:
cicadas singing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Shouldering hay bales,
someone left enough straw
to mark our way.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Fireflies
turn our trees
into well-lit lodges.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A noontime firefly,
dim by daylight,
hides behind a pillar.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Firefly watching,
the tipsy boatman
rocks the boat.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Rising above fields of rice and barley,
the cry of the summer cuckoo.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Tedious life!
Plowing the rice field
back and forth...
—Matsuo Basho, translation/interpretation by Michael R. Burch

Lying in the summer grass,
discarded like a king’s robe,
the snakeskin.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The shrubby bush-clover?
How impudent
her appearance!
—Matsuo Basho, translation/interpretation by Michael R. Burch

Glistening dew
sways without spilling
from the bush-clover.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I bow low
to the venerable
rabbit-eared Iris.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Rabbit-eared Iris,
pausing to chit-chat,
one joy of my journey.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The rabbit-eared iris
inspires
another hokku.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Rabbit-eared Iris,
admiring your reflection?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Inside Uchiyama,
unknown to outsiders,
blossoms full-bloom.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Uchiyama was a temple little-known to the outside world. In fact, uchi means “inside.”

AUTUMN

First of autumn:
the sea and the rice fields
the same green hue.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The autumn wind
like a ventriloquist
projects its piercing voice.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Voices in the reeds?
Ventriloquism
of the autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

East and West
united by the autumn wind
into a single melancholy.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Seeing a friend off,
his hunched back
lonely in the autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Illuminating
sawn-off tree trunks:
the harvest moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

After pausing
for harvest moon viewing,
we must be on our way.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Our moon-viewing interrupted
on Asamutsu Bridge,
dark yields to dawn.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Consider lonesomeness
surpassing even Suma’s:
this deserted autumn beach.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The temple bell
drowned in the sea,
and where is the moon?
—Matsuo Basho, translation/interpretation by Michael R. Burch

My humble take on the world?
Withered leaves
at autumn’s end.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Withering flowers:
out of such sadness
seeds emerge.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Red on red on red,
the sun relentless,
yet autumn’s unimpressed.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This lusciously cool autumn day
we peel
aubergine melons.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Cling to your leaves,
peach trees!
Autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This whiteness,
whiter than mountain quartz:
autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Shocking the grave,
my grief-filled cry:
autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Spider,
to whom do you cry?
Autumn wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How to reach safe haven?
An insect adrift
on a leaf.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Reverential tears:
the falling leaves
bid their trees goodbye.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Plates and bowls
gleaming dimly in the darkness:
evening coolness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Twice the pity:
beneath the headless helmet,
a chirping cricket.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Secretly
by moonlight
weevils bore chestnuts.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Cranes on stilts
surveying the rice paddies:
autumn village.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Thankfulness:
someone else harvests rice
for me.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How touching
to survive the storm,
chrysanthemum.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Slender again,
somehow the chrysanthemum
will yet again bud.
—Matsuo Basho, translation/interpretation by Michael R. Burch

As autumn deepens
a butterfly sips
chrysanthemum dew.
—Matsuo Basho, translation/interpretation by Michael R. Burch

His loosened jacket collar
invites the cool breeze.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Butterfly wings:
how many times have they soared
over human roofs?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Mosquitos drone
with dusky voices
deep within the cattle shed.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Basho leaves shred in the gale;
the basin collects raindrips;
all night I listen, alone in my hut.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The dew drips, drop-by-drop...
I’d rinse this world clean,
if I could.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The fire’s banked ashes
extinguish
your tears’ hisses.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Turn to face me,
for I am also lonesome
this autumn evening.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Plucking white hairs
while beneath my pillow
a cricket creaks.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Everything that blossoms
dies in the end:
wilted pampas grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

As autumn departs,
shivering
I scrunch under too-small bedding.
—Matsuo Basho, translation/interpretation by Michael R. Burch

It seems, to dullard me,
that hell must be like this:
late autumn.
—Matsuo Basho, translation/interpretation by Michael R. Burch

WINTER

The year’s first snowfall;
such happiness to be
at home in my hut.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Fire-making friend,
let me show you something grand:
a huge snowball!
—Matsuo Basho, translation/interpretation by Michael R. Burch

Written for Basho’s dear friend Sora, who visited Basho’s hut to feed the fire, cook, break ice and make tea.

Come, children,
let’s frolic in the snowstorm,
dodge the hail.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Farewell for now,
we’re off to find snow
until we tumble into it.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Let’s get up
until we fall into
the snow we seek.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Yesteryear’s snows,
have they fallen anew?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Winter drizzle;
irate, I await
snow adorning the pines.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Practicing bowing,
the bamboo
anticipates snow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Bowing low,
the upside-down world
of snow-laden bamboo.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Melancholic flowers
shrivel
in the frost.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Hailstones
stitching
the silken snow.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Oars slapping waves,
the stomach a-shiver,
these nighttime tears.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Icefish
shoaling through seaweed
swim into my hands.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Sunrise:
one-inch sliver
of the whitefish’s iciness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Alive
but congealed into one:
the frozen sea cucumbers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Somehow alive
yet congealed into a single solid mass:
the frozen sea cucumbers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Water so cold,
rocks so hard,
where will the seagull sleep?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Plovers depart
as evening deepens
windward toward Hiei.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Crying in the darkness,
unable to locate its nest,
the homeless plover.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The plovers cry:
“Be watchful of the darkness
at Star Cape!”
—Matsuo Basho, translation/interpretation by Michael R. Burch

Mushroom-gathering,
rushing to beat
cold evening rains.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Ceremonious
hailstones
assail my hinoki hat.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Caught hatless
in a winter shower?
So it goes.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How many frosts
have tested
this pine’s mettle?
—Matsuo Basho, translation/interpretation by Michael R. Burch

A winter drizzle
obscures
the field’s freshcut stubble.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The drinkers’ faces
paler than the snow:
a flash of lightning.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The polished mirror
clear as snowflake petals.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The relentless wind
sharpens rocks and stones,
topples cedars.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Cold fear
desolate as a deserted
frost-crusted shack.
—Matsuo Basho, translation/interpretation by Michael R. Burch

How marvelous,
the winter snow
will return as rain.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Children come running,
dodging jewels:
hailstones.
—Matsuo Basho, translation/interpretation by Michael R. Burch

At least the world has left,
unblemished and unbegrimed,
a single wooden bowl.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The bowl in question had been left by Rotsu in Osaka, and was returned undamaged seven years later. Rotsu was a Basho disciple.

The mud snail’s closed lid:
winter confinement.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Inside my hut,
watching my own breath:
winter confinement.
—Matsuo Basho, translation/interpretation by Michael R. Burch

So weary of Kyoto,
of the withering wind
and winter life.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I will soon be included
among the fortunate ones:
beyond winter.
—Matsuo Basho, translation/interpretation by Michael R. Burch

VARIOUS

As clouds drift apart,
so we two separate:
wild geese departing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The old nest deserted,
how empty now
my next-door neighbor’s hut.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Yesterday?
Departed,
like the blowfish soup.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Exciting,
but with a sad conclusion:
cormorant fishing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The one who died:
her delicate kimono
hung out to dry.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Behind the veiling curtain,
the wife in her bedchamber:
plum blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

See her slim figure:
the ingenue moon
not yet ripened.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Clouds now and then
offer intermissions
from moon-viewing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Drinking
alone with the moon,
my shadow makes three.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The moon and the blossoms
lack only a man
drinking sake, alone.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Unbar the door,
allow moonlight
to enter Ukimido.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Ukimido was a temple Basho visited in 1691.

Drinking morning tea,
the monks
silent amid chrysanthemums.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Its fragrance whiter
than the peach blossoms’ whiteness:
the narcissus.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The narcissus
reflects the whiteness
of a paper screen.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Hibiscus flowers
garland
an otherwise naked child.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The overproud
pink begonia
thinks it’s a watermelon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Echo my lonesomeness,
mountain cuckoo.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The cuckoo’s lone voice
lingers
over the inlet.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Solitary hawk,
a heavenly vision
over Cape Irago.
—Matsuo Basho, translation/interpretation by Michael R. Burch

At Cape Irago
the incomparable cry
of the hawk.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Better than any dream,
the thrilling reality
of a hawk’s cry.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The hawk’s eye narrows
at the quail’s call.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Naptime!
But my drowsiness is nixed
by busybody warblers.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Carolers:
the sparrows smile
at their warbling.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Giving thanks to the flowers
for brightening my visit:
farewell.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Melancholy nub!
The bamboo bud’s
sad end.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This lightning flash
the hand receives in darkness:
a candle.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Carrying a candle
into the dark outhouse:
the moonflowers’ whiteness.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Seeing a moonflower,
I poke my sake-addled face
through a hole in the window.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Nighttime folly:
grabbing a thorn,
expecting a firefly.
—Matsuo Basho, translation/interpretation by Michael R. Burch

More nighttime weirdness:
a fox stalking
a melon?
—Matsuo Basho, translation/interpretation by Michael R. Burch

It’s better to become a beggar
than a critic.
—Matsuo Basho, translation/interpretation by Michael R. Burch

No rest:
the carpenter
hangs his own shelf.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Blowing away
the volcano’s molars:
the typhoon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

What decays
have you endured,
watchful tomb ferns?
—Matsuo Basho, translation/interpretation by Michael R. Burch

A disgusting smell
slimed on waterweeds:
pale chub entrails.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A country boy
shucking husks
gazes at the moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The poet’s heart?
Will we ever really understand
ume blossoms?
—Matsuo Basho, translation/interpretation by Michael R. Burch

For at least today
let all the poets be
melodious as winter rains.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I believe the haiku above was written during a gathering of poets.

What tree blossoms here?
I do not know
its mysterious aroma.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I will lodge here
until the tender goosefoot
matures into a walking stick.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I’d compare a flower
to a delicate child
but the field is barren.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Basho wrote the poem above for a friend, Rakugo, who had lost a child.

Even a poorly-painted
morning glory
pleases.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The morning glories
ignore our drinking,
drunk on themselves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Slender glistener!
Each dewdrop a burden
for the maiden flower.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The moon absent,
treetops cling
to the nighttime rain.
—Matsuo Basho, translation/interpretation by Michael R. Burch

May you tumble safely
onto sand or snow,
sake-addled horse rider.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I miss my mother and father
so much:
the kiji’s cry.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The kiji is a green pheasant but also a metaphor for the love of one’s family and kiji is also a homophone for “orphaned child.”

I pause from my journey
to observe the fleeting world
going about its housecleaning.
—Matsuo Basho, translation/interpretation by Michael R. Burch

No simile!
Nothing compares
to the crescent moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The overstaying moon
and I
linger in Sarawhina.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Her ascent easy
and yet still hesitant,
the cloud-veiled moon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

A cuckoo flying,
cawing, crying and cajoling:
busybody.
—Matsuo Basho, translation/interpretation by Michael R. Burch

What’s all the ado
about this busybody crow?
—Matsuo Basho, translation/interpretation by Michael R. Burch

Art begins
with ancient rice-planting chants
drifting on the wind.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Today’s words
vanish tomorrow:
evaporating dew.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Basho may have proved himself wrong with the poem above, since so many of his poems are still being read, studied and translated.

Unregarded by the high-minded
the lowly chestnut
blossoms by the eaves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Clinging for dear life
to the bridge,
these winding vines.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This swinging bridge:
hard to imagine
horses crossing.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Even in Kyoto,
a longing for Kyoto,
the cuckoo calling.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The cuckoo symbolizes nostalgia. Here Basho seems to be in Kyoto but longing for the Kyoto of his past.

Rock azaleas
dyed red
by the cuckoo’s tears.
—Matsuo Basho, translation/interpretation by Michael R. Burch

In Japan the cuckoo is said to shed tears of blood.

I would wipe away the tears
brimming in your eyes
with these tender leaves.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Reincarnation?
The fawn’s first dawn
falls on Buddha’s birthday.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Forbidden to speak
of holy Yudono,
my sleeves wet with tears.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Let us learn
from the travails
of these ancient pilgrims.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The samurai’s
overlong discourse:
the tang of bitter daikon.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Tender-horned snail,
point those tiny tips
toward distant mountains!
—Matsuo Basho, translation/interpretation by Michael R. Burch

A dragonfly
clings tentatively to the air,
hovering above waving grasses.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Tiny river crab
creeping up my leg?
Back to the water!
—Matsuo Basho, translation/interpretation by Michael R. Burch

The windblown butterfly
is unable to settle
in the waving grass.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Even the wild boar
is blown about
by buffeting winds.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The boat
comes to rest
on a beach of peach blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Lightning
does not enlighten,
of what value?
—Matsuo Basho, translation/interpretation by Michael R. Burch

A banked fire,
the shadow
of a guest.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Remember:
the thicket
guards plum blossoms.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Don’t chortle with glee:
through the leaves of the silk tree
stars wink at me.
—Matsuo Basho, translation/interpretation by Michael R. Burch

The Kiyotaki’s unblemished waves
gently dispersing
still-green pine needles.
—Matsuo Basho, translation/interpretation by Michael R. Burch

This is said to have been Basho’s last haiku. Kiyotaki means “clear” and is the name of a river.

Immaculate white chrysanthemums:
no matter how closely investigated,
without a blemish.
—Matsuo Basho, translation/interpretation by Michael R. Burch

I suspect the two poems above are related because the first poem in one version had “without a blemish” or “nary a blemish.”

Faint
in a trace of water:
floating chrysanthemums.
—Matsuo Basho, translation/interpretation by Michael R. Burch

Keywords/Tags: haiku, oriental, masters, translation, Japanese, nature, seasons, Basho, Buson, Issa, waka, tanka, mrbhaiku

Ah, where to begin, take it from the crown,
And roll down the usual bump of your bouncy hairsanality,
Teasing your cerebrum with every spin,
Then quietly continue along your slender necking with a whisper,

To gently land on the heavy shouldering of your broad world,
Resting a moment to tickle loose those knots of compassion,
Move onward carefully, tiptoe to your pendant earlobes,
Grown wise from listening freely, flirting for a subtle nibble.

Lets swing over to perch on the bow of your maple cheeks,
Held up by the strength of your Ernest smile,
A spring of rose petals on a landscape of pure snow,
Alas, how the rose must envy the radiant hue of your lips,

Now, leap off to the cushion of your ample *****,
Perfect for nourishing presents of unique creation,
The pounding of your heart, speaks through, ba-dum ba-dum
Half the necessary beat to a lifelong dance, till death.

Next, a slide down the concave curves, slim fitting to your flawless figure,
To carriage at your slender swinging hips,
The favorite resting place of your healing hands,
Supporting the vertebrae that keeps strong your secure dorsal,

Start at the bottom and slowly shiver up the spine,
Only to shake back down with a relieved sigh, past the seeds of life,
And massage down sturdy legs carrying you through strife,
Come to a rest on the tip of your twinkle toes,
Those shine at the end of your lily starfeet.

With hopes that they’re moving to a compass where I mimic north,
And those bright almond eyes cast their gaze through the pane,
Your visage, making the difference between my dawn and dusk.

You come to fetch me from my work to-night
When supper’s on the table, and we’ll see
If I can leave off burying the white
Soft petals fallen from the apple tree
(Soft petals, yes, but not so barren quite,
Mingled with these, smooth bean and wrinkled pea);
And go along with you ere you lose sight
Of what you came for and become like me,
Slave to a Springtime passion for the earth.
How Love burns through the Putting in the Seed
On through the watching for that early birth
When, just as the soil tarnishes with ****,

The sturdy seedling with arched body comes
Shouldering its way and shedding the earth crumbs.

Hidden in the grey morass out there amidst your workforce
Are Pearls in a lattice work of intricate disguise.
Gems of enlightenment and soldiers of conscience
Who battle with adversities’ regressive, shut eyes.

Clad in the rigging of everyday costume
Hidden to all but the discerning few,
Seeing the gold of the extra steps taken,
And observing initiatives made there for you.

Gold in the form of an everyday worker
One who excels far above average way,
Unrewarded and unacknowledged
Responsibly shouldering this all in his day.

Towering over the mass mediocrity
Holding the strands of a mess of loose ends,
Always dependable, doggedly purposeful
Easily marked as definitive friend.

Driven by his own hard volition
In striving for that extra won mile,
True champion of mans’ Endeavour
Unheralded in his own low profile.

The movers and the shakers all
Fly their flags of self acclaim
But the Pearls of the Unobvious
Shall be this nations’ future fame.


Marshalg
Victoria Park Tunnel
24 November 2010

we labor under an oppressive thumb
not realizing the very leaders
we exalt will use that power to
hold us down

we've armed them with
the greatest of weapons
blind conformity
empty apathy
unquestioning obedience
what we believe in is a puppet

as our so-called democracy devolves
we increase in callousness
masses designed with a singular purpose
to extinguish original thought

accept or die
embrace or be ostracized
belabor the point
that your purpose is to labor forever
another slave along the chain
another cog in the machine
bent-kneed
stooped before some
corporate conglomerate
a faceless superpower
pulling the strings behind the scenes

politicians bought and paid for
shouldering the burdens of the
Fortune 500 companies
who helped them purchase their office
beholden to back alley deals
and smoke and mirror gimmicks

artists traded rebellion for comfort
now they ply their craft for profit
to appease the brainwashed masses a
morally—and financially—bankrupt populace

they catalogue our every thought
metadata ensnared in the dragnet
mass surveillance a tool to bend the whims
of the people to their rulers

we **** black kids in Ferguson
as they walk down the middle of the street
shoot 'em down as the snack on skittles
and sip Arizona ice teas
they forbid us to feed the homeless
lock us in a jail cell if we dare to disobey
city ordinances designed to keep the
City Beautiful looking beautiful
but i see beyond the thin facade

expose war crimes
thanks for your service
Chelsea Manning
that'll be 35 years in federal penitentiary
hack a surveillance network spying on
activists and protesters
can't have that
that'll be 10 years at State
Jeremy Hammond
blow the whistle on the panopticon
thanks Edward Snowden
but we've grown to adore our own shackles

fear
24/7/365
fear this fear that
fear god fear death
fear Muslims fear blacks
just don't fear the rich white straight
males in their 4k suits and crooked smiles
pay the white-collar Wall St. Bankers no mind
the 1% who've left us all behind
as they lurk in the shadows
ruining everything

a fearful electorate will bow to the
whims of its masked dictatorship
and march without thought to the beat
of the war drums

**** them
**** all of them
ISIS Pakistan Iran Syria
all the Muslim savages in countries
whose names we can't even pronounce
render weapons to tyrannic despots
so we can pretend we
don't have blood on our own hands
torture extrajudicial assassination
extraordinary rendition drones bombing
civilians in record numbers
all cards we've stowed up our sleeves
in a war that is designed to never end
fight terrorism with terrorism
revenge not justice
but if our army is abusing children
then who the **** are the bad guys

confront the ambivalence that
roars like machine gun fire
violence is never the answer
and i refuse to stand by and watch
as we wreak havoc upon this earth

our leaders are liars
our gods are frauds
we're going to have to save ourselves

the answer does not rest above
a utopic afterlife in the clouds is a farce
we've been led like sheep to the slaughter
obedience and reverence have crippled us
if we want heaven
we'll have to raise hell

stand in solidarity with our brothers and sisters
in direct action cooperatives
nonviolent civil disobedience
insurrection against the State
anarchy is the answer

beat your swords to plowshares
and seek peace

We adore the hour
Of enduring madness
We are crude and cruel
Like tigers in the morning
We are food for the gods
Who stayed too long
And strayed too far
From their solitary pantheons
We are the shadows of Psyche
Tirelessly shorn from our bodies
We are retired armies
These conglomerates of hatred
Fed up with feminine values
We are salivating angst
We are manic depressive virgins
Coercion is comical
This is evil incarnate
Sardonic solitude shrouds You
In it's vision-less vicissitudes
We are used to being used
And fed ignorance like food
We are bored and longing
For some muscles to flex
So we could attest to our problems
I contest your victory
And seek meaning in expression
Anger is reflexive yet still we beg to differ
Our questions rejected
By an authority we entrusted
To naively negate our egos
We collect puzzles and never solve them
We form alliances with psychedelic buffalo
While meditating butterflies chart
Their ancient transmigration patterns
We are pinnacles of virtue in vitriolic prisons
We administer to the needs of the ordinary soldier
We are shouldering too much responsibility
For if you were entrusted with love
Then please don't abuse it
We are bundles of wood
Woven together like fragile tapestries
We are strategies unused
We are moody lovers confused by each other’s apathy
Our lack of touch erupts into violent volcanoes
Spewing fumes in our bedrooms
We are ****** handed
Balancing on our fingertips
While plummeting a thousand feet
To the bottom of endless seas
We are cheap like sheet-rock and shelves
Upended in an earthquake
We are all that we tell each other
We are purely made from stories
Defending our allegorical right to exist
We are so ******* boring
That our own made-up gods
Can do nothing but laugh
At the infinite ignorance of our species
We are a genus of ingenious desperation
Who gave measurement such an important trophy
That we are beyond permanently broken
And can now fatefully begin authentically working
On fixing our sights, minds, hearts
Hands and bodies upon uniting
With our deepest spiritual longing
I gave up stroking my ego a long time before I met you
What’s next will you expect me to beg for your indulgence
We are making amends for the ways
We dissected our reality
It's a tragedy that the objectification of objects
Leads to a such a Complex Elegance:
These isolated sediments are perplexed at our own self-vehemence

What a way to begin
The end of our undoing
Begs for our compassion
We are not allowed to forget
So we go to sleep
And whenever we awake
You immediately take
Our breath away
To protect against
The faintest chance
Or hint of our remembering

the scratch and scrape against my soul
of days gone by, of words unknown
to my ears
the rush of air across my cheek
hair on end, fingers tingling
unsteady footsteps and too much oxygen
all at once
life comes rushing in

life comes rushing in
and i run into hiding
guess i just don't want to be trampled
guess i'm just not ready
to stand up, turn
and join the herd

the back and forth, neither here nor there
seems like the words, the letters
are never in the right order
it all makes sense to my body and logic
but something's off, something's wrong
it's a puzzle i have yet to put together
afraid to set that last piece in
and see the whole picture for what it is

life comes rushing in
and i hold it back
Moses parting those red waters
my hands, pressing on either side
against the **** tide, against the **** grain
against the refrain of harsh truth and soft air
and sweet breath and smooth hands
and familiar sounds
and safety

i'll stay in danger a little while longer
still afraid to feel safe
still afraid to calm down
still afraid to let the Red Sea wash over me

blue skies wavering above
and i blink them away
i'll stay under cloud cover a little while longer
still afraid of the sun's rays

life comes rushing in
and i turn away, holding it at bay
like Atlas, shouldering the weight
but never looking it in the face

neither here nor there
the Red Sea fades away

The heart that beats within me now
Was silent for a while:
Shouldering the guilt of years
And clothed in my denial.

And when, those blurry months ago,
It stirred to life again,
I tried to still my beating heart
The way it was back then.

I should have known, I should have seen
Through my soul's sad disguise;
But ev'ry time I saw the truth
I quickly closed my eyes.

The heartbeat in my shackled chest
Was loud, but I was louder.
Sticking fingers in my ears,
I hummed to quell the doubter.

"Your heart's alive! It beats again!
The fears you loved have faded."
But I felt safe behind the bars
My jailed heart had created.

So, silently, this gentle Trust
That I had never known
Came whisp'ring through to save my heart
Of flesh, and not of stone.

Trust wrapped its arms around me
And lifted up my soul
From depths of blue obscurity
And I gave up control.

I opened up my eyes that day
And though they shone with tears,
The hurting heart inside of me
Felt stronger than those fears.

I've lent a hand
In times of need
Shouldering their pain
Shouldering their tears
Bearing the brunt of depression
Second listing my own childish fears
Giving, not grieving
Til I swore my heart had wings
Guardian of those I could shelter with them
An angel in no such terms
But an Angel nonetheless
Seeing the needing through
The all too near reaper
Claiming those we held dear
Sometimes hiding, and others
Keeping him from claiming another
Cuts and blood and quietness
Withered and weathered
I've seen them, felt them
Held them, beat them
Reaching out, trying to give solace
And I've come out ahead
Many claimed, but the two remained
And now I remain
Changed, but the same
Smiling that I've seen those I cherish
Or cherished
Through their trials
I want to be a savior
Though never called one
And I find myself
Completing another cycle
Seemingly no closer
No more learned
Forcing me to wonder
To ask
To ***** for the comforting embrace
Of white wings
Who Saves Me?