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#10 Poem - Ogura Hyakunin Isshu (小倉百人一首)

Ogura Hyakunin Isshu (小倉百人一首) is a classical Japanese anthology of one hundred waka-poems by one hundred poets in the thirteenth century. My challenge is to translate the poems and write a return poem (返歌) in English. 

The Tenth Poem:

これやこの
行くも帰るも
別れては
知るも知らぬも
逢坂の関
--蝉丸

This is the way
to go east or back to Kyoto;
farewell for a while,
we’ll meet again
here at “Ausaka no Seki.”

Detroit is my airport
to fly in from Nagoya, Japan;
there is a tea cup shop
where a bald guy used to work.
After nine years, he is gone. 

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RHINO Poetry 2017 this Saturday, April 29, at The Book Stall

3 pm RHINO editors write poems-on-demand! Order a poem-to-go on any topic of your choice. RHINO editor-poets will compose a poen for you on the spot in ild school typewriters for a small donation to the magazine.

4-5 pm Featured reading by RHINO 2017 poets and editors. Copies of the new issue will also be on sale. Grab some RHINO swag--bookmarks and buttons and meet the editors and poets of this 40+ award-winning literary magazine.

Featured readers:

Naoko Fujimoto was born and raised in Nagoya, Japan. She was an exchange student and received a B.A. and M.A. from Indiana University South Bend. Her recent publications are in Prairie Schooner, Hotel Amerika, RHINO, Cream City Review, and many other journals. Her first chapbook, “Home, No Home”, won the annual Oro Fino Chapbook Competition by Educe Press. Other short collections, “Silver Seasons of Heartache” and “Cochlea”, will be published by Glass Lyre Press in May, 2017. Currently she is working on her graphic poetry co…

Pre-Order "Mother Said, I Want Your Pain" Today!

"Mother Said, I Want Your Pain" (The winner of the Shared Dream Immigrant Contest, selected by Janine Joseph) will be available from Backbone Press (Spring 2018).

Of the collection, Janine Joseph writes:“I do not know/ if I am even right to be a mother at a right time,” discloses the speaker in the opening poem of Mother Said, “I Want Your Pain.” Evocative and startling in their unflinching clarity of image, these poems are inheritors of the aftermath of nuclear fallout and chemical warfare. They are tuned to the movement of transgenerational traumas. Grandmothers who “hid in a ditch with three horses” while B-29s shot bullets overhead, leave relatives who later ask of our bequeathed earth, “Is the land poisoned or not poisoned?” Here is a striking collection with a deft voice, poised even as it turns on or transcends an observation or emotion: “Grandfather watches TV on the highest volume,/ the howling-wind.”

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