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              <elementText elementTextId="1922343">
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                <text>Black and white photograph of the exterior of a building, looking straight up toward the roof, reliefs near the bottom of the photograph.</text>
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                <text>This black and white photograph captures a low-angle perspective of a stone building with ornate carvings along its lower architectural elements. These carvings depict detailed floral motifs and several stylized animal figures. The center of the image features white text identifying it as the Poetry Collection of the University Libraries at the University at Buffalo.</text>
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                <text>A stone building wall displays a plaque with a German inscription about Lenin's residence. Below the plaque sits a window with a dark shutter, and a large sign for a restaurant is partially visible at the bottom. A text overlay for the University at Buffalo Poetry Collection is centered on the frame.</text>
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                    <text>frog pond

one moment's fragrance ...
petals in the wind
Marianna Monaco

Vol. XIX, No.1
May 1996
HAIKU SOCIETY OF AMERICA

�cloudburst . . .
drip-drying
all the way home

April showers
umbrella blows its top:
so do I ...

shut tight
against the spring rain
windflowers

Edith Mize Lewis
first day of spring ...
the colors of bright umbrellas
reflect on the wet sidewalk

Mary Fran Meer
spring rain
&amp; pink slicker bobbing
around its toddler

Lois Gregory

light rain
the violets you left
blooming again

50th anniversary
we argue about planting
the Peace Rose

Marian Olson

Carol Conti-Entin
the puka-puka
of rain on a tarpaper roofa child's muddy boots

Carol Dagenhardt
cold March morning ...
dragging the trash to the curb
. . . pausing for crocus

Kathleen Hellen
spring storm
cat moves her kittens
one by one by one

Robert Gibson

I stand in the rain,
seeing my life's reflections
pass before my

clearing the garden:
discovering the first rose
and the first bee

C. Stuart-Powles
ring around the roses
the toddler stamping
each yellow crocus

hummingbird
canvassing
the crocuses

Elizabeth Howard

Junaid Khan

wipers steady
-----

"no vacancy"
again

the storm passingover the painter's scaffold
another rainbow

l

Gail Sher

Ernest 1 Berry
office window
cannot open . . . outside
a crocus sways
Tears of homesickness
a crocus bleeds onto snow
in my inner land

Jim Mullins

Clarissa Stein

Jack Lent

in this field
beyond the lawn
wild daisies

After spring showers
children playing hopscotch leap
rainbow to rainbow

Robert Gibson

Nancy A. Jensen

across the river
rainbow and swallow
arc

Cecily Stanton
8

Not quite hidden
by the junk in the
lilies-of-the-valley

Mountain trail:
two wild irises
five miles apart

.

Dave Sutter
9

�my son asks
casually
what a tree costs
John Stevenson

a few snowflakes fall
yet behind the dark-blue pines
still the sun

through the drizzle
spruce growing
bluer and bluer

billboard:
the black hole
in her Colgate smile

Chris Linn

Elizabeth StJacques

in the street a batch of red strawberries
all smashed but one

Sheila Hyland

anniversary
two acorns sprout two leaves
in an old crosstie

Awake all the night . . .
I watch the green sun rise
through my third glass of tea

Rick Woods

heat from the tug's stack
in passing wavers the shaft
of the Empire State

Nina A. Wicker

home at last
not a single leaf
on the crooked tre

Paul 0. Williams

Rain drops
From the crack in the ceiling . . .
-getting out the pot

Gail Sher

shadows of
windblown trees on the rose rug
we talk of travel

late sunlight
climbs the wall
cigarette by cigarette

Ruth Holter

rushing across the rocks the felled tree's shadow

Lisa Pretus

Lany Kimmel

waiting room
the early evening sky
threatens rain

Susan Stanford

at last
the old oak has fallenthe sky it left

Waiting ... we listen
through electronic shadowshow cold this house tonight!

Jeanne Emrich

moonlit shore:
only this leaning pine and
the old fisher's silhouette
spring night
this newborn moon
swaddled in haze
George Ralph

Elizabeth St Jacques

night's garden
sleepless petals
tossing

James Chessing

silhouetted tenements
cut the rising moon
into slices

Peggy Olafson

full moonafter hospital curfew
patients' shadows stirring

Joseph DeLuise

Yoko Ogino

telescope's tight field
surprise jetliner leaves
Saturn awash

Judith Liniado

20
21

David Nelson Blair

�ing this, I can laugh at the chagrin of the jewel thief reaching for it
until he realizes that all the glitter is in the name.
Although I do not approve of theft or of the greed of he who
covets, I feel an affection for these thieves. It may be because the
thieves of the first haiku are humble and naive, and the thief of the
second haiku has played the fool. But I think it goes beyond this.
Both poets have written with total objectivity; they have passed no
judgement, and in this way they have slyly slipped me into the roles
of the thieves. I too have been enchanted by the falling star, and I too
have laughed at myself for being hoodwinked by a name.
Patricia Neubauer
1
2

"A Small Ceremony." From Here Press, 1988. © Dee Evetts.
"The Cottage of the Wild Plum." Modern Haiku Press, 1991. ©Robert Spiess.

ERRATA, Winter 1995

·n

Errors occurred in two sequences and in one haiku in the :1995 Winter issue. These
works are printed correctly below. Furthermore, Helen K. Davie should have appeared
as cojudge of the Nicholas A. Virgilio Memorial High School Haiku C'..ompetition.

After surgery
after surgery
she feeds me ice chips
with a plastic spoon

visiting hours over
she sneaks back
with chocolate ·
her finger
traces the line
just above my incision
one week post-op
sign of recovery
first erection
wedding picture
how thin I was
two months after surgery
John Sheirer

ight Fans
night fallsskin folds
around my bones

·

slouching toward the toilet
night wind sears me
to the bone

·1

\
\
\

full moon-facing it
knees braced
beneath my robe

I
I

these fifty years
having accom.plished nothing
I sail home

\
·

Gail Sher _...
.-----·------·---·---· ····· ···-······-··
camera light
news anchor's smile
off
off
Lee R. Seidenberg

52

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                <text>1996</text>
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            <name>Rights</name>
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            <elementTextContainer>
              <elementText elementTextId="1358163">
                <text>Copyright Gail Sher and used with permission. Contact the &lt;a href="http://library.buffalo.edu/pl/"&gt;Poetry Collection&lt;/a&gt; for more information.</text>
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                    <text>3ive Lines C"Down

a tanka journal

�Five Lines Down is a bi-annual journal devoted to

the art of tanka, featuring poetry, essays and book
reviews. Submissions must be previously unpublished and not under consideration by any other
publication.
All correspondence should be addressed to the
editor: Kenneth Tanemura, 10 Wayne Court, Redwood City, CA 94063, or co-editor: Sanford
Goldstein, Maison Dankuro #602, 11-28 Megumicho, Sekiya, Niigata-shi 951, Japan.
Subscription: $10 USA and Canada; $16 overseas,
by airmail only. Canadian and Overseas subscribers should use International Postal Money Orders
in US funds. All subscriptions include two issues
of Five Lines Down.
All materials should be accompanied by a selfaddressed stamped envelope. Persons submitting
from countries other than the United States of
America should enclose two international reply
coupons for airmail reply.
Full rights revert to contributors upon publication.
Five Lines Down assumes no responsibility for failure by contributors to give proper acknowledgement or for copyright infringements.

Copyright© 1995 by Five Lines Down

�CONTENTS
TANKA

.Suezan Aikins
Nasira Alma
C. M. Buckaway
Tom Clausen
Steven D. Conlon
Marje A. Dyck
Ellie Friedland
Michael Ketchek
James Kirkup (translations)
Evelyn Lang
Geraldine C. Little
M. L. Harrison Mackie
Sandra M. Martin
Dorothy McLaughlin
Lenard D. Moore
Elizabeth Nichols
Zane Parks
Brent Partridge (translations)
Robert Poulin
George Ralph
William M. Ramsey
Edward J. Rielly
CeRosenow
Alexis Rotella
Pat Shelley
..........
J
c&lt;!ini Sber
Michael Dylan Welch
Jeff Witkin

10
2
14
14
13
11
11
13
9

13
8

13
14
14
4-5
13
12
8-9

3-4
12
8

14
7

10
1
12
S-6

7

�she knees me in the crotch
oh
so gently
this comely topless
table dancer
on the verge of
tearing my hair out
I realize
!haven't
any to spare

Zane Parks
How long has it been
since I've heard a cricket's chirp,
as now,
in the darkening
before a summer's rain?

D. W. Parry
rwinds blow briskly this evening
\ crickets are beginning to chirp
tell me-blue Jesuswhy
do you pick now
(
to be silent?
j

\
I

L

Gail Sher

S_eptember
moon fades
one more love
leaves me behind
at dawn

George Ralph

12

�</text>
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GALLERY WORKS SIX

\

�;
.

Peter Holland, Jeanne Lance and John Yurechko

Edited by

Address

GALLERY WORKS
1465 Hammersley Avenue
Bronx, New York 10469

Gallery Works appears yearly. Submissions should be accompanied
by a stamped return envelope. Issues One to Five are available for
$4 from the above address.

Tl)is publication is made possible in part by a grant from the Coordinating Council of Literary Magazines, CCLM, with funds from
the National Endowment for the Arts.

Copyright © 1984 by Poets' Commune Publications. All rights
retained by authors.

A part of "from A READING" was first published in "Potrero Hill
Literary Supplement," San Francisco, Spring, 1982.
\

\

�GAIL SHER

WHICH COLLATERAL BENDS THE SEA

Which collateral bends the sea
as face
co-ordinates time.
Lovingly is
(lovingly) holocaust
though the fault
lay
somewhat peacefully.

\

\

�GAIL SHEA
\\

DEFT AND RESILIENT

Deft and resilient
hovered or pierced
(as the pair was cold).
For air often as a plan
presses the associate.
Can on not
to loss
spares off.
Each one
too far
(as) though
sand
bent
the vi II age.

�</text>
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                    <text>ISSUE NUMBER
THIRTY- FIVE

July 1, 1988
$2.50 or $17/year
from Potes &amp; Poets Press Inc, 181 Edgemont Avenue, Elmwood CT 06110, Peter Ganick, editor.

GAIL

SHER

w/

Patten.
slept.
Cluck.

The

�Mina &amp;

khi.
Gander.

Fah oat.
Cow imago • •.
Twilight.

�Parcheesi •••
Is rided
day-bread.

Have I dais.
The backer.
Dearie.

�Said dray.
Can cam

Ass is.

Well isotope.
Mani gala
am.

�Frauline.

Clocks.

Frito an
ochre.

Sirius monk.
Passing too
breath.

�Grosbeak till
string.
Font weir font
taxiing.

Was kid
Shasta.

Yemen birdie
gosling.

�Mien less
jasmine.
Nuestro uh-huh.

Each dildo
sannyasi.
Hansel data
greenleaf.

�Lark I.
Patter. Patter.
Strut. Hush.

Not bass
cyclops.

Dune Tuileries.
Snap.

�Take sailors•
Booker islet.
Yarrow mia
tendril•

Of brushes
grasped.
Bayou an
taro.

�Kraut•
Radha.
Char one.

In lasts
chartreuse.
Angelica tho'
daft.

�Nihility
frocks•

Jackerel w/
Bo dead.

Tiller.

Are are
rein.

Soto.

�Gail Sher's latest book is Cops (Little Dinosaur
Press, Berkeley, 1988).

She has published four

other books and has appeared widely in journals.
She lives in Berkeley California and is on the
staff of the Mills College Counseling Center.

:1

Potes &amp; Poets Press Inc
181 Edgemont A venue
Elmwood CT 06110

FIRST
CLASS
MAIL

ISSN 0886- 4047

�</text>
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                    <text>J .· .u

X

T

#

A

4

1996
T

B

A

L

E

OF

CONTENTS: Bruce Andrews, Sheila Murphy,
Jake Berry, Tom Taylor, Jolm M. Bennett, Dale
Jensen, Ivan Argi.ielles, Adam. Comford, Paul ·
.Weidenhoff, Merle Bachman, Celestine Frost;
Bob Heman, David Hoefer I. Barry . Coiner I
Robin Hoefer, John Nato, Jeffrey Little, Gail
Tills, Fernando Aguiar,
de
Araujo, Ficus Strangulensis, b. thales, Daniel
Barbiero, Clemente Padin, Larry Tomoyasu,
·spencer Selby, Pedro -Juan Gutierrez, John
Byrum, Peter Ganick, Chris Daniels, John
Crouse, M. Kettner, Jvfike Basinski, Stephen
Ratcliffe, Paul Green, Cheryl Burket, Jim
McCrary, Matt Hill, Chris Stroffolino, Brian
Stefans '/Judith Goldman
cover

·by

- Rebecca Lasley

EDITORS: Ken Harris, Jim Leftwich

ADDRESS:
JUXTA
Jim Leftwich
. 1512 Mountainside Ct
Charlottesville, VA 22903-9707
E-MAIL: Juxta43781@aol.com

All · rights.
Single

revert
copies:
$6

to

authors
upon
publication.
Subscriptions: · $1"2 per year

or

..j' PeA

tJv

(4VL (_t&gt;-(Vl.

l,

1

�Gail Sher
The Paintings of Social Concern

nip atrium.
tip or are

The Subway 1950

femme wits "hoes-thief"
(washes Bartholomew)
Elle.
till assay
chitchat

yes

�Government Bureau 1956

a-tisket
Wenceslaus
urn plateful
what/hoosier
sackc6at

�Supermarket 1973

oops!

· redbreast
Way or
(slicker) Cheapside

cowbell
tell new
wetlands
teary-eyed

�Highway 1953

Tudor. wry by
plume Tibet
tri do
chrysalis aegis.

@ Asia kill
prescient

Balkan fjord.
Yeti senora
wolfskin

�Men and Women Fighting
1958

Yantra huntress: congas tzaddik
go lashes

�Teller 1967

Yam a

Yama: chedis
ojas Anschluss

clackity clack.
pin-the-tail
Abednego

�"ja ja"
sou'wester.
Waiting Room II 1982
"pulps" Shadrach
(Meshach) rocking yes

cowgirl Escene
(deeper)
gosling

�Corporate Decision 1983

pins &amp;
once
tomboy
(shant)
puzzlement jaggery
the stargaze:

�Terminal 1986

bohea
(thew) ·
"endlessly rocking"

bluebell (four
mar Ophelia
"the two of them"

�</text>
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                    <text>'!19: tL\§----------------

FALL, 1986

Edmond J abes:
from The Book of Dialogue, translated by Rosmarie Waldrop ............................................... 3
Clark Coolidge:
We Leave What We Knovv Behind Desire ................................................................................. 9
Figures ..................................................... ........................................................................... 10
Notebook . . . . . . . .. . . . . .. . . . . . . . .. . . .. .. . . ... . . .. . . . . . . .. ... . .. . . . . . .. . ... . .. . . . .. .. . . .. .. .. . . . . .. . . ... .. .. . . . .. .. .... .. .. .... .. ... .. .. . 11
The Lady Is Interested In .....................................................................
12
The Lanyard ......................................................................................................................... 13
Robert Creeley:
Interior .............: .......................................................... ........................................................ 22
"Go Float the Boat" .............................................................................................................. 23
Not Much .............................................................................................................................. 24
Common ........................·.................................. ............................................................... .... 25
John Sinclair:
"spirtual" after jol1n coltrane .................................................................................................. 26
from Fattening Frogs for Snakes: Delta Blues Suite
"Louisiana Blues" ............................................................................................ ................ 27
Gita Brown:
Girl ......................................................................................................................... 30
Robert Kelly:
Her Hair on Fire for Elizabeth Robinson ............................................................................... 36
Allemande for Mary Moore Goodlett ................................. .................................................... 38
Text Beginning With a Sequence From Imagines for Richard Marshall ................................. 40
Anne W aidman:
·
from IOVIS OMNIA PLENA ........................... :.................................................................. 41
John Yau:
Double Feature ....................................................................................................................... 53
Double Feature (2) .................................................................................................................. 54
Faded Crossbow .................................................................................... ... .. ................ ... .•.. 55
For You- ................................................................................................................................. 56
No One Ever Kissed Anna May Wong ..................................................................................... 57
David C.D. Gansz:
Animadversions (sections I &amp; ll) ............................................................................................ 58
David Matlin:
·from . Udan .Adan ·(four .poems) ............................................................................................. 63
Keith Taylor:
Landed Immigrants .............................................................................................................. 69
Laura Chester:
In Regard to Him . .. . •. •. .. . •. ... ••. . . . •... . . .. .. •.. . . .. •. . •. . . ••.. . •. . •. . .. . . •.. . . .. .. . . •.. . . •. •. . .. . . •. ... •. . . •. . .. .. .. .• . .•. .. •.. • 7 0
Henri Michaux:
d 'Endo1'91i
from
d'tveille, translated by James Wanless
from ''The Curtain of Dreams" ........................ ........................................................... 72
from "Some Dreams"
''Some Remarks" ................................................................................................ 74

�cover by ANN MIKOL0"7SKI

The cover of this issue was created by Ann using pen and ink. For years Ann has been known
for her miniature oil portraits; however, more recently, she has also been working with large
canvasses of rolling waves and turbulent skies. The idea for the cover of Notus ( otherwind) evolved
quite naturally as it captures the power and essence of an unseen otherforce moving and molding the
elements.
Ann is currently teaching in the Michigan Council for the Arts funded "Artist in the Schools"
program in Port Austin, Michigan near her home in Grindstone City, where she and Ken run The
Alternative Press. Her work has been reviewed by John Y au in Art in America, and will be shown
this fall by two galleries: the Allen Stone Gallery in New York City, and the Feigenson.,Gallery in
Detroit.

NOTUS new writing
ISSN
published semi-annually by OtherWind Press, Inc.
Editor: Pat Smith

Business Manager: Marla Huber Smith
Art Director: Jan Detlefs
Subscriptions: individuals $10/yr. (U.S. &amp; Canada)
$14/yr. (outside U.S. &amp; Canada)
institutions $20/yr.
Enclose SASE with submissions.
Address correspondence to:
Marla &amp; Pat Smith, 2420 Walter Dr., Ann Arbor, Michigan, 48103
Calligraphy for this issue: Mary Maguire
Printed at Partners Press Inc., Ann Arbor, Michigan

--&amp;--

Copyright 1986 OtherWind Press, Inc. All rights revert to the authors.
Edmond J
Le Livre Du Dialogue, .Copyrigh.t
1

�GAILSHER

The Lanyard

To layer the bike.
Slowly cracking
mama's chestnut
dynasty.
Poised to
ax in half
a totem common to
hisself.
Tries winter.
·Here a hog
crows.the ·
fugue.

Pale courteous
deaf.
Fish sweat pee.
These wheat high
&amp; brightly yellow
backs.
Daylights our homestead.
Opens earth whose prone
earth. Liver discs repeat
can eat the gay
door.

- 13-

�Such as rivers.
The shore-raising
nun.
Feet to pedal
farther bays.
Herring bond
agree to blade.
Stroke one
gramophone.

papa. Mouth
fuck sweet organic
lye-powder. She sheeps
whereas lunch per se
bunches &amp;
hackneyed.
Like watchwords.
Goes chiseling wildwood
horn. Try gaberdine
bodies.

- 14-

�The wing deem which she
said.
Bees inhale dust.
Browns the
nipple.
Birdies spay.
Lilies checkers
breaks often surfers
tattle to
her.

My dlxie. My smell
case.

High-priced cobs play &amp;
play.

-15-

�Say tart. Moues
equal to
it..

Salmons link forests.
Piracy mops what
little has
·
gone.
Pulls my crony
jacking popes in an
afternoon. ·

Keeling on
him.

Foreruns err. Rant errs a little
card.

- 16-

�Fox cycles see.
Pink birds rule
the sweeter
pole.
Oral lads has
potions horseshoes
waiting with my long
neck
Grins pounding &amp; pounding.
Coils sound ·
caged with its
partially prerequisite
seductiveness .
.Chicks beat chicks.
Throats vend
not to eat
me•.
Face child nor
places to swim
rigorously walking
ahead.

- 17-

�The tulip throws
its head strip
back.
She licks cars.
Yellow mommy towns.
I want floors to
saturate my hate for
her.
Lawns snow sound.
Succumb gnats press
such as whirlpool
·gnats.
Concubine yarns strap
and yet a
fool.
Pigs croon see
&amp; its bastard
repetition.

- 18-

�Insects cream
preciously.
Pidgeons swell.
Bullion are hollow
nesting somewhere peaked
frittering.

Boots tart in.
Skirts have feathers
each yielding
something.
The lubricant which
they have
races.

- 19-

�Drought that the
bird has. One even
foot passes
away.
His mouth deeply
explosive cult
spots.
Or heron intrusion
wandering at
her.

The only snout
indefatigably.
Wiggling apart.
Smothering the
mover.

-20-

�A clinging queen
infra
queen.
My lot is small &amp;
dainty stucco
graze at the
edge.

-21-

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                    <text>The Fasting Spirit
Andersen, Arnold. "Fasting Saints and Medieval
Asceticism: Forerunners of Anorexia Nervosa?"
In Contemporary Psychology, vol. 32, no. 7, 1987.
Bell, Rudolph. Holy Anorexia.
Chicago, University of Chicago Press, 1985.
Bromberg, Joan Jacobs. Fasting Girls.
Cambridge, Harvard University Press, 1988.
Bynum, Caroline. Holy Feast and Holy Fast:
the Religious Significance of Food to Medieval Women.
Berkeley, University of California Press, 1987.
Spignesi, Angelyn. "Starving for Salvation."
In The Women-'s Review of Books, vol. 3, no. 12, 1986.
Reviewed by Gail Sher
I.

In 1985 Rudolph Bell, a historian from Rutgers University, published
Holy Anorexia. By examining autobiographical writings, letters,
confessors' testimonies and canonization records of 261 Italian
holy women (saints and others recognized by the Catholic Church
as venerable) Bell posits a similiarity of unconscious motivation
between contemporary anorexics and fasting medieval saints: both
seek liberation from a patriarchal family and society.
Bell's claim has met with sharp criticism. Arnold E. Andersen,
Associate Professor of Psychiat.ty and Behavioral Sciences at Johns

The San Francisco ]unglnstituteLibrary]ournal, Vol. 8,No.2, 1988

61

�Hopkins Hospital and Director of their well-known Eating and
Weight Disorders Program, faults Bell for making unprofessional
diagnoses. Angelyn Spignesi, a Jungian analyst who has explored
the rich and paradoxical ways food can further women's accessibility
to unseen worlds, criticizes Bell's methodology. Joan Jacobs Brumberg, historian and author of Fasting Girls) questions Bell's four
underlying assumptions: 1) that there is certainty about the etiology
of anorexia, 2) that there are complete, verifiable case histories
available on historic subjects, 3) that a particular sequelae of symptoms automatically indicates anorexia, and 4) that the psychology
of women is fixed in time, as if past and present cultural conditions
were alike. Finally, Caroline Bynum, historian and author of Holy
Feast and Holy Fast) says that medieval attitudes toward food are far
more diverse than those that modern researchers have found in
anoreXIcs.
Nevertheless, Bell's instinct to compare anorexia mirabilis
(miraculously inspired loss of appetite) with anorexia nervosa is
understandable. Twice in the course ofWestem civilization noneating has loomed as an important motif in women's experience:
during the predominantly Catholic 13th-16th centuries and throughout the present postindustrial age. There is of course a difference,
as Bell's critics have been quick to point out: in the earlier era,
control of appetite was linked with piety and faith. The medieval
ascetic strove for perfection in the eyes of God and, on the whole,
achieved it. Today's diet-conscious young woman emerges from
patterns of class, gender and family relations established in the 19th
century. The modem anorexic, while striving for perfection in the
eyes of a glitzy youth-oriented culture, cannot, even when successful, overcome the suspicion that something essential is missing from
her life.
For her, there is much to be learned about anorexia from the
religious issue that Bell has raised and forced his critics to examine.
Even though the parties to this debate end up talking around the
spiritual issue that I believe is at the heart of anorexia, they have
come closer to this core of meaning than most have. In particular
we can be glad this dialogue has raised the following crucial questions: ( 1) To what extent is the anorexic's hunger spiritual? (2) Can
her healing be accomplished without including a spiritual component? ( 3) What is the difference between a spiritual path and a psychological path and what bearing does each have upon the anorexic's

62

Gail Sher reviews

�healing process? Perhaps a fourth question could be, What is the
nature of the anorexic's inner longing? I will try to provide an
experiential base for a consideration of these questions in the
following pages, before I offer my own evaluation of Bell's thesis.
I am a recovering anorexic, and I am aware that most of the
literature on anorexia (aside from the genre of goty self-confessionals) is not written by anorexics but by ''healers" of anorexics.
Anorexics, however, do not always reveal themselves to their
healers. Often an anorexic won't entirely trust her healer because
she senses that being intent upon his own agenda, he will not see
her. In the earliest cases, described by Bromberg in Fasting Girls,
the healer is typically a male physician who consults the anorexic's
mother for accurate information, suspicious of any input the girl
herself might make. The logic is that anyone who will so craftily
conceal her true motives can't be expected to be anything but crafty
to the doctor. This failure to hear from the psyche of the sufferer is
ironic because the diagnosis of anorexia "netvosa" by definition
excluded a physical explanation. Yet, having determined upon the
diagnosis of anorexia, the first doctors proceeded to treat the
physical symptoms only. The anorexic's state of mind and underlying feelings about not eating were not of sufficient interest to
warrant investigation. Even today, what is missing from the much
more sophisticated psychodynamic literature, the quality that most
eludes the reader waiting for it, is -the soul of the anorexic. By
focusing on saints, noted for the greatness of their souls, Bell comes
the closest of any modern writer to including this aspect, yet even
Bell, I think, finally misses the point.
Bell misses for the same reason that the 19th century doctors
were blinded to the nature of the anorexic's pain: a superior stance
and an inflexible agenda. In his efforts to explain what in fact is
inexplicable (one can barely conceive much less explain a saint's
experience) Bell positions himself against the saints as a wiser equal
who with his modern knowledge will situate and codify them within
the broader framework of their socio-political environment. By so
doing he cuts himself off from the one venue available to him to
truly understand-his heart.
Interesting though they are, even the questions that Bell and
his critics raise about anorexia come from perspectives outside the
experience of the anorexic. "How much of her hunger is spiritual
hunger?" "Does her healing need to include a spiritual compo-

Rudolph Bell's Holy Anorexia and its critics

63

�nent?" and "What is the difference between the psychological and
the spiritual vis-a-vis the anorexic's healing process?" are questions
one can mull over, explore, deliberate and conclude about, but they
are finally thinking matters. The right question, "What is the nature
of the inner longing of her soul?" is a
of feeling. One is let
in by it and if one's heart is open, one "gets" an answer. One may
not be able to describe or even comprehend what he "got." But.
without at least a sense of the anorexic's soul (or psyche) any
discussion of anorexia is bound to miss the point because it is
precisely her soul that is in need of healing. Physically anorexics are
quite healthy. They rarely get sick. And, according to Andersen, the
mortality rate from anorexia is "often as low as 1%." (Andersen, A.,
et al. "Inpatient treatment for anorexia netvosa" in D .M. Garner &amp;
P.E. Garfinkel (Eds. ), Handbook of Psychology for Anorexia and
Bulimia. New York: Guilford, 1985, pp. 335-336).
II
It is in the spirit of offering a clearer view of
anorexic's
interior life ·that I present the following autobiographical material,
taken from a partly theoretical, partly autobiographical work in
progress. My purpose in presenting these excerpts of that work is to
describe (rather than explain) the displacement, hollownesss and
spiritual craving ravaging the anorexic's soul. Here, then, are some
passages which describe my own spiritual hunger.
AGES

7-12
There was always a slight feeling of discomfort, a lack of
gracefulness in my relationship with activities. As a child,
during long summer afternoons, I would lie on a cot on our
upstairs porch feeling astray, a foreigner to the porch-that it
didn't belong to me. Or I would go across the street and up the
block always to a lot where I caught butterflies. There were
Monarch butterflies and Yellow Tails and also grasshoppers and
other interesting bugs. I lay in the sun and captured one or two
with a little net I made, feeling out of place. The idea of
catching butterflies sparked my imagination. I could think, "I'll
go across the street and catch butterflies'' and then when I got
there I could think,"It's a beautiful sunny day and I am
catching butterflies" but there was a gap. I could belong to the
idea which was lovely, with many provocative nuances, and I
could belong to the feeling of containment in a specified

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�activity, but I was disrupted in myself and could not enter the
activity, offer it enough of myself to make it come alive. Like
everything else, it did not glow for me. I returned home
dissatisfied and lonely, in reality trying to catch what would
allow me to rest.

*
An image that recurs in my adult
captures my
earlier disheveled existential stance-that there is no room for
me in my life, somehow I don't belong to it. I dream I have to
go to the bathroom. I go into a public stall and there is urine
all over the floor and on the toilet seat and I cannot find a clean
place to stand. Usually I end up standing in the urine which
soaks through my shoes. I hold myself poised above the wet
seat, relieving myself physically but I come away feeling filthy,
contaminated and wrong, just as I have always suspected I am.

*
We also had a downstairs porch. It was screened in on two
sides and had brick walls on the other two. The bricks were
painted pink and from them, in pots, hung artificial red
geraniums. A couch and several chairs as well as a table with its
dining chairs were black wrought-iron with pink upholstery.
The table was glass and when you looked down another pot of
red geraniums appeared below you in the center. Although this
was a prettier world than my urine-soaked unconscious one, it
was too precious and again didn't leave room for me. The
furniture took up all the space. I felt I would trip over it or bump
myself trying to get in and out.

*
I liked to bake cookies; I liked to read in my green chair
and be in bed writing in my diary. I liked to knit. These activities
involved my hands. I have a lot of "hand energy" which must
·
be expressed or I feel at loose ends.

*
As I was then, I am a very slow reader. The words need to
capture my heart, be vitalized by my heart before my mind will
accept them. For this to happen I must be relatively undistracted. Because I was already so distracted, I was vigilant to the
possiblity of something more imperative coming along.

*
I rocked incessantly. I rocked in my desk at school, I
rocked in bed at night. In my room I had a rocking chair and

Rudolph Bell's Holy Anorexia and its critics

65

�I rocked and rocked. My all time blissful childhood memocy
happened in my room rocking to a record of the Uncle Wiggily
Stories (Peter Rabbit and Brer Bear) and the theme from The
Third Man.

*
I loved my grandma. We would sit on her glider and talk.
She told me things about organizing my closet and my clothes
and I began to think this was extremely important. Suddenly I
had a picture ofmyselfbeing in control. I could choose the kind
of clothes I wanted to wear and I could order my environment
so that I knew where things were and what condition they were
in. I fantasized a lot about my clothes and about my grandma
who always wore black and white, usually black and white
check, and how "together" it was to have things narrowed
down like· that. I was in awe of her simplicity and selfknowledge, which is how I interpreted her modest wardrobe.
She knew she didn't like jewelty. She was always neat and clean,
which I believed was a kind of containment. I started wanting
to restrict myself too, to have just a few things. My mother's
outrageous clothes-buying sprees baffled and repulsed me. To
a large extent my relationship to clothing has been shaped by
combat against this-establishing precautions, so that my
mother's influence is kept to a minimum.

*
I was in junior high, perhaps seventh grade. Each day I
walked to school, which took about half an hour. In the winter
it was bitterly cold. Bundled up so that I could hardly move, I
left home numb in my being for lack oflove or enthusiasm for
anything. On my block lived another girl who was in my grade.
I went by for her and if she was ready we would walk together.
One morning her front door opened just as I approached, so
I waited on the sidewalk. As she and her mother were saying
goodbye, her mother leaned over and whispered something in
her ear. I froze. I thought, "Her mother just told her something
bad about me." As I walked I was aware that she "covered up"
with chatter her secret knowledge of my badness.

*
One day when I was about twelve, I came home from
school and found my mother sitting dejected in her red chair.
"What is it, Mother?" I asked, horrified that the crisis one could
feel unremittingly swelling in our household had finally erupted.
She was ccying and said what I understood to imply that

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\•

�evecyt:h.ing was meaningless to her, that she had missed all her
chances to be something in life and was miserable. Eventually
the idea of her returning to school came up. Here was a ray of
hope. "Yes, Mother, why don't you do that? That would be
wonderful!" I felt netvously excited, as if everything depended
on this. She said, "I would, but you know I always get a
headache when I have to read something. If it's assigned, I get
a headache making mysdfread it." I stood there and racked my
brains for an answer. At that moment I felt that it all rested with
me. If only I could ... but I knew there was no chance. She'd
get a headache. The only thing I could really do was join her
in her deadness-or outdo her in her deadness, rendering her
alive by comparison. For example, I could become ill (as I later
"got" anorexia) so that she would have to care for me.
Somehow I knew that if she projected care into the world, she
could become alive in it.
AGES

27-32

I decided to go to Tassajara. I allowed what I had heard
about this magic place to camouflage its potential hardships.
Everything I owned fit into a back pack. I arrived at summer
practice period canying no extra weight. My first task was to sit
tangaryo, a five-day period of practicing zazen continuously
from early in the morning until late at night instead of the usual
practice of walking meditation between designated fortyminute periods of zazen. This initiation stemmed from a tradition in Japan whereby a suppliant is asked to wait outside the
monastery doors for an unspecified time before being allowed
to request entry. The long wait is a test of the suppliant's
sincerity. Then I was assigned to work in the kitchen. Our small
group offour or five cooked, setved and cleaned up three meals
a day. As soon as the zendo students finished their food, we ate,
often in the zendo but sometimes informally. These meals were
difficult. I was exhausted. The effort required to serve ourselves
in the zendo was almost more than I, a new student, could bear
on top of our excruciating work load. The majority of the
kitchen staff, my exclusive eating partners, were rigid and
somewhat puritanical macrobiotics, though they .disguised
these qualities (i.e., made them harder to confront) by their
conviviality. My eating practices, the quantities I accepted and
so forth, were subject to much observation and
If I
took a little too much salad (usually made with tomatoes and
dressing-very yin), or was lax about chewing every bite of rice

Rudolph Bell's

Anorexia and its critics

67

�fifty times, the wrongness of my behavior was conveyed to me.
Eating was petrifying. Grains became the only food about
which I felt fairly safe. Grains, however, did not fill me.
Also there was a time factor. The "kitchen" ate together.
We chanted at the time for chant, ate after the clackers indicated
"begin," and washed our bowls in unison. I couldn't get
enough.
I grew thinner. At first I was glad. Some months earlier
I had tried to lose weight. (When I arrived at Tassajara I
weighed 92. When I left I weighed 78. I am 5'3" .) For a brief
time my energy peaked. Then the incredible heat, flies, intense
schedule, and, perhaps most important for me, the lack of a
kindred spirit (soul mate) prevailed. I lost consciousness. On a
mat on a porch high over gurgling Tassajara Creek, I lay in a
coma. When I awoke, above me were the first red leaves of
autumn.
Suzuki Roshi was just there. He was joyful and simple like
a boy, but his compassion was that of a great man. So long as
he was present, I could not die. At the very end of summer
during our Shosan Ceremony, a formal ceremony during which
each student presents her understanding to the Master in the
form of a public question, I asked, "When I awoke from my
illness I saw the first red autumn leaves. Is that zazen?» Suzuki
Roshi smiled warmly and approved. I felt cleansed. My whole
being shined.

*
After my summer at Tassajara I moved to the Berkeley
zendo. I was given my own box-shaped room with high walls
lined in burlap.
a tall narrow window facing an exquisite
monkey tree, hard wood floors and my harpsichord. I felt
contained but very unhappy.
·
The zendo was in the attic. Two other students lived
below, like me, in single rooms. Mine was the middle in the line
of three. Adjacent to our rooms in a parallel line was a living
room, dining room and kitchen. It was a big old house with a
huge rambling yard.
I ate almost nothing. After zendo in the morning (often
it was still dark) I went up to the U.C. cafeteria and had tea. I
put many lemons in my tea and ate the lemons but that's all. I
had more tea at noon, and at night I tried not to eat dinner.
Sometimes I would read in my room instead, drinking
thing warm and eating some small suckable thing. Other
people were having dinner in the dining room right outside my

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�door, but I refused. When I did eat, I needed to be alone. People
and noise disturbed me. Of course I was statVing. Around
midnight when everyone was asleep, I would go to the refrigerator and scavenge through the leftovers. Or else I would stand in
the pantry and dip raisins in peanut butter and eat them right
there, compulsively, for a long time. A bout like this held me
three or four days.

*
I awakened at 4:15 to a certain kind of quiet that only
occurs in the early morning. No one stirred. I felt that the
world-all parts of it that I needed and nothing more-was
entirely available to me. I arranged a kettle ofwater to boil while
I washed and put on something warm. Then I made the best
coffee I knew how, hand-grinding the beans, and so on. When
it was done I turned offthe lights and took my coffee into a large
bare room. I could see above and into the quiet streets. It was
this particular minute to which I felt I belonged. I was alone. I
realized how utterly precarious was this one minute. How so
many factors needed to come together and what tremendous
energy this took. I knew definitely that I was alive. And I knew
that I had to work hard (strain psychically) to stay alive. I listened
intently to the silence, to the lack of anything stirring but the
slight creak of the blades of my wooden rocker against the
hardwood floor.

*
I moved to the San Francisco Zen Center. My room was
tiny and spare. A gigantic rubber tree grew by my window,
blessing my space. When I left it I felt assaulted by people's
endless questions and greetings.
During low periods I hinged, which brought me much
lower. Binges are virulent and have their own life span, their own
arising and falling. Mine would click on and I was utterly at their
mercy. Efforts to control them were fruitless and took away the
pleasure of mindlessly eating for hours and hours. It had to be
mindless and it had to be "endless," otherwise it didn't really
satisfy. Part of the joy was leaving one's consciousness and
entering a sphere where one is uncondemned.
There is also the iniquity, the barbaric and primitive
· grasping with which one is shameless before the urge to fill one's
mouth. And it is the mouth, not stomach, that is the highlighted
region. Quantities of food are washed through the mouthoften food which in a different frame of mind would be
unpalatable, crude or disgusting.

Rudolph Bell's Holy Anorexia and its critics

69

�Once in motion, the progression of my binge was absolutely regular. I ate mountains of whatever tipped it off. This
was invariably followed by anything I could lay my hands on,
first that was rich (with butter or cheese), second that was
starchy, and lastly that was sweet. A typical finale might be a box
of filled chocolates. Curiously, these stages were irreversible. It
seems as if it would hardly matter, but once I had entered stage
three, for example starchy foods, foods from the previous stages
were unappealing.
Afterwards I would sleep. I would sleep as if passed out
sometimes till late in the afternoon of the following day.
Waking from a binge one feels sluggish, toxic, putrid. I
ofmy life too. That
wanted to sleep more, to drown out the
day I rarely ate anything. Two days later I would be fairly stable,
though ashamed, humiliated, and aware that it was not over. It
would happen again. I was not in control. I would see to itnay-look forward to and prepare for it again. The mere
thought of it made me tingle with excitement.

III

Though anorexia existed before mass cultural preoccupation
with dieting and slimness, today it is found predominantly in the
middle and :upper social classes of developed countries. This
suggests a relatively leisured class, leisured in the sense of not living
on a survival level and therefore not constantly distracted from
ultimate questions by survival concerns. Anorexics deliberately keep
their life at a survival level, and though they act out of compulsion,
it is a different kind of compulsion from that of being compelled to
starve for lack of provisions. In her role as psychopomp the anorexic
asks, "What is this life?" "Who am I?" If one really doesn't have
enough to eat, such questions are too abstract. However, if one is
surrounded by glitz, even choked by glitz, then these questions
bring one back to reality.
Starvation by choice traditionally has served a soul-regenerative function. In a passage about Jung' s attempt to understand the
source of the healing process, Groesbeck refers to the writings of
Mircea Eliade about Eskimo shamans, the earliest healers.
Eliade noted that with some Eskimo shamans their
initiation involved the making of a long effort of physical
privation and mental contemplation directed to "gaining the

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�ability to see himself as a skeleton." By thus seeing himself
naked he is "freed from the perishable and transient flesh and
· blood and thus can consecrate himself to this sacred task." To
reduce himself to the skeletal condition was equivalent to
"reentering the womb of his primordial life to complete a
mystical renewal and rebirth." (C. Jess Groesbeck. "The Analyst's
Myth." Quadrant, vol. 13, 1980, p. 45)

Bell's Holy Anorexia is the first book, however, to hit upon the
idea of comparing fasting girls with fasting saints. Why did Bell
choose saints and other highly developed religious women? Hunger strikers fast, even to the point of death, yet Bell wasn't called to
draw them into comparison. There is a commonality, and it is
spiritual in nature, but it isn't as obvious a one as Bell implies. Bell's
critics, both when they are correct and incorrect, help elucidate the
subtleties involved in the comparison.
As for the female religious, Bromberg in Fasting Girls tells us
that her capacity for survival without eating meant that she found
other forms of food: prayer and the Eucharist. 17th and 18th
century physicians called this anorexia mirahilis. Medical writers
and some historians (Bell) claim that anorexia mirahilis and anorexia nerJJosa are the same. Bromberg's rebuttal is in four parts.
1) "Advocates of this view naively adopt and apply the biomedical and psychological models of anorexia nerJJosa as if there
was absolute certainty about the etiology of the disease and as if
there were complete, certifiable case histories available on historic
subjects." (Fasting Girls, p. 42) Documentary evidence, she says, is
extremely weak and often rests on interpretive acts of faith or on
inconclusive clusters of symptoms like loss of appetite and ceasing
to eat and menstruate. These, Bromberg says, need not necessarily
indicate anorexia nervosa.
2) Proponents of the theory that anorexia mirabilis and anorexia newosa are the same ignore what Bromberg has so perceptively identified as the anorexic's two-stage process: the first,
"recruitment," stage is that in which a girl may begin to restrict her
eating because of aesthetic and social reasons related more or less
normally to gender, class, age and sense of style. Many ofher friends
may also be "dieting." Bromberg says an individual's dieting goes
from normal to obsessive because of other factors: emotional,
personality issues, personal physiology and body chemistry. If
refusing food happens to serve these needs, she may continue to do

Rudolph Bell's Holy Anorexia and its critics

71

�so as an efficacious strategy. After weeks or months her mind and
body are acclimated both to feeling hungcy and to nutritional
deprivation. This marks the beginning of the second stage in which,
Bromberg says, there is evidence to suggest that hunger pangs
decrease and that the body adjusts to a state of semi-starvation.
Statvation may even become satisfying or tension"relieving." At
this point, anorexia becomes a "career" and includes physiological
and psychological changes that condition the individual to exist on
a subsistence level. This is the stage of concern to medical and
mental health professionals because it is historically invariant. Only
stage one involves the historian who can trace and name its
particular evolving formative circumstances.
3) "In order to understand fully the long tradition of female
food refusal, one must do more than merely 'lay-on' psychological
constructs drawn from modern life or search out look-alike symptoms." (Fasting Girls, p. 43) Bromberg also points out that much
of what is taken to be the true or hidden histocy of anorexia nervosa
does not discriminate between primacy and secondacy loss of
appetite.
4) The medieval woman's pattern of renunciation and austerity is not the whole stocy. "Some pious women did deny themselves
ordinary food in order. to become receptacles for the food that was
God, but power and setvice to others, through 'holy eating,' was the
ultimate goal." (Fasting Girls, p. 45)
Bromberg's attitude on the question of anorexia mirabilisvs.
anorexia nervosa may be summed up as follows:
Although Catherine of Siena and Karen Carpenter do
have something in common-the use offood as a symbolic language-it is as inappropriate to call the former an anorectic as
it is to cast the latter as a saint. To describe premodern women
such as Catherine as anorexic is to flatten difference in female
experience across time and discredit the special quality of
eucharistic fervor and penitential asceticism as it was lived and
perceived. To insist that medieval holy women had anorexia
nervosa is, ultimately, a reductionist argument because it converts a complex human behavior into a simple biomedical
mechanism. (It certainly does not respect important differences
in the route to anorexia.) To conflate the two is to ignore the
cultural context and the distinction between sainthood and
patienthood.

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�Once we understand the special meaning and significance of anorexia mirabilis, we can assert the following: the
modern anorectic is one of a long line ofwomen and girls who
have used food and the body as a focus of their symbolic language. Although there are some important biomedical continui ties in female fasting behavior, anorexia mirabilisand anorexia
nervosa are not literally the same. (Fasting Girls, pp. 46-47)

Angelyn Spignesi's scathing review of Holy Anorexia entitled
"Starving for Salvation'' criticizes Bell's stubborn and at times
unconscious adherence to scientific methodology. Although she
applauds Bell's venture into the subject of how food and fasting
were integral to religious women's visionary experience and agrees
with Bell that the behavior of these female ascetics has implications
for modern anorexia, Spignesi shuns Bell's "two-part hypothesis
... that holy anorexia was caused by woman's quest for personal
autonomy in a 'contest' to win freedom from the patriarchy and also
by her desire to war against bodily urges." ("Starving for Salvation,"
p. 15) Spignesi raises the following questions:
1) Bell insists on using biosocial factors to explain "holy
anorexic" behavior. This is reductionistic, and though Bell himself
admits it he does it anyway.
2) Bell's approach commits him to
determinism (patriarchal social structures cause holy anorexia), naturalism (spiritual
phenomena are explained by functions of culture) and to overly
generalized predictions (similar 20th century patriarchal structures
provoke similar symptoms).
3) Bell is so intent on explaining self-starvation according to
his power/mastery hypothesis that he selects material from the
biographical texts explicitly to prove himself correct. He never
mentions the saints' miracles, the social impact of their visions, or
even the precise relation of food to their spiritual lives. He consistently refuses to see the saints' psychic forces as autonomous.
4) In the end .Bell presents the saints as sick instead of the
modem anorexic as possibly visionary.
5) "Translating possession into self-mastery in order to argue
that these women used their ascetic practices for personal or social
power, reduces what is a very complicated phenomenon to the mere
whim of a stubborn ego." ("Starving for Salvation," p.l7) At other
times, contradicting himself, Bell admits that ascetic behavior lies
beyond personal will.

Rudolph Bell's Holy Anorexia and its critics

73

�6) Bell's understanding is that holy women saw their bodies as
an impediment to being Christ's bride whereas we know that no
other period of Christian spirituality valued Christ's humanity as
physicality so highly. Fasting was flight to physicality. (Bynum's
work confirms this. In Holy Feast and Holy Fast, she writes "Into her
body, as into the eucharistic bread on the altar, poured the inspiration of the spirit and the fullness
humanity of Christ." (p. 20)
7) Bell ignores the saints' interior lives and thereby ignores the
secret ofhow Catherine ofSiena, for example, could be "completely
satiated" (Starving for Salvation, p. 17)-seeing a host or even a priest
who had touched one. Her effort was not to suppress bodily urges.
It was to. become one with God. Biosocial explanations lack the
scope to include this kind of information.
8) The stories of these women call us to take more (as opposed
to less) seriously our own interior lives. Spignesi asks
What ifwe listened to the women who are still flagellating
themselves in modem ways? We need to create a 'convent'
rather than a· clinic, a protected place in which to listen. We
need to help these women reach a better relation with those
demons; but the demons themselves will not be eradicated, nor
do I think they ought to be. ("Starving for Salvation," p. 17)

9) Bell neglects the works of in-depth psychology written by
the psyche is naive and
women. Spignesi says that his
dualistic, making intuition, emotion and unseen forces inferior to
mind, politics and men.
10) In fact Bell does not linger long enough at a descriptive
level. Though his theses are on the surface somewhat feminist, actually they are removed from the women and their contexts. Instead
he "uses his women as data." ("Starving for Salvation," p. 18)
In his review ofBell, Arnold Andersen notes that "Fundamentally, asceticism as a spiritual goal differs in its very essence from selfinduced starvation in the pursuit ofthinness to accomplish purposes
related to resolution ofcrisis in development." ("Fasting Saints," p.
663) Andersen, however, mistakes the issues involved on several
counts. First, asceticism is not a spiritual goal. Asceticism is a
spiritual means as is the so-called "pursuit of thinness." Second, the
pursuit of thinness is a description of a symptom and cannot be
understood psychodynamically as part of the origin of anorexia.
Admittedly, the anorexic's symptoms are fascinating, but the more

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�we focus on her appearance, her persona, the less we see of(i.e., the
more protected is) the motivating force of her core self, her fragile,
incipient, "shameful" search for God. Third, the main difference
between holy anorexics and modern anorexics is that holy anorexics
were conscious of their deepest psychic self, i.e., the image of God
within. The medieval church contained these elements and made
them visible. Holy anorexics merely internalized what was evident
to all. Modern anorexics are not conscious of their deepest psychic
sel£ They are consumed in ceaseless effort, but their purpose, i.e.,
contacting the soul, remains unacknowledged. Indeed, their ceaseless effort is psychically and spiritually stagnant. It is the opposite of
living in a state of trust and receptivity. Bynum tells us, "In the
chapter on fasting in his Summa for preachers, Alan ofLille argued
that abstinence must be inner and outer, that mere obedience to the
law is not enough. Simply going without food, as the sick do, is
morally indifferent." (Holy Feastp. 44) For an anorexic, who fantasizes about food constantly, the ability to have a spiritual practice,
to manifest, in other words, "correct striving," is tantamount to
cure. This is because a true spiritual practice would involve turning
her tight control of externals into inwardly attuned responsiveness,
accessing the image of God in her and releasing her life from there.
According to the March, 1988, "Clinician's Research Digest," 61% of anorexics show a poor outcome in therapy regardless
of treatment modality. We know this. Anorexics are notoriously
hard to treat. They prove recalcitrant and try the patience of many
an exasperated therapist. Jack Engler, however, clinical psychologist in the Department of Psychiatry at Harvard Medical School,
relates the following stoty of a non-recalcitrant anorexic:
I once had the good fortune to overhear a fascinating discussion between a clinical psychologist and an Asian meditation teacher concerning their respective treatments of an anorectic patient ... The meditation teacher was visiting the
U.S. for the first time and was very interested in Western psychotherapeutic approaches to mental illness. The clinical psychologist was describing a very difficult case of an anorectic
woman who was proving refractory to treatment. The teacher
quickly became engrossed in the case and asked many detailed
questions about the illness and the treatment. When the psychologist finished, I asked him why he was so interested. He
said a woman had once come to the meditation center in Burma

Rudolph Bell's Holy Anorexia and its critics

75

�where he was teaching with the same presenting problems. In
addition she was suffering from chronic insomnia. She wanted
to learn to meditate, presumably believing that might bring
some relief. I asked him ifhe taught her. To my surprise, he said
"No." For six weeks he merely let her come each day and pour
out her complaints against her husband, her children, her·
parents and the injustices of life in general. He mostly listened.
He also talked with her but he did not describe precisely how.
This first part of her "treatment" then was conducted in effect
through the medium of a special kind ofinterpersonal relationship. He also encouraged her to sleep. Within a short time she
began to sleep 4; 8, 1-:Z, 14, 16 and finally 18 hours a nightat which point she came to him and said "I have slept enough.
I came here to learn meditation." "Oh," he replied, ''you want
to learn meditation. Why didn't you say so?" I interrupted to
ask if he taught her Vipassana, the type of insight meditation
practiced in his Theravada lineage. "No," he said to my surprise
again, "no Vipassana. Too much suffering." What she needed
was to experience some happiness, some joy, some tranquility
and relieffrom so much mental agitation first, before she would
be able to tolerate the deeper insight that all her psychophysical states were characterized by change and were associated with suffering, not simply the obvious vicissitudes in her
personal life histocy. Since concentration forms of meditation
lead to one-pointedness, serenity and bliss, he instructed her in
a simple concentration exercise offollowing the breath instead.
She began to sleep 16 hours a night, then 14, 12, 8, 4 and finally
two hours a night again, this time because two hours was all she
needed. Only at this point did he switch her over to Vipassana
and have her obseiVe the moment-to-moment flux of mental
and physical events, experiencing directly their radical impermanence, unsatisfactoriness and the lack of any self or subject
behind them. Within another three weeks her mind opened
and she experienced the first stage of enlightenment (sotapatti). The anorectic symptoms disappeared. She has not been
anorectic since. (Jack Engler. "Therapeutic Aims in Psychotherapy and Meditation: Developmental Stages in the Representation ofSelf." Journal ofTranspersonalPsychology, vol. 16,
no. 1, pp. 31-32)

Several features of this woman's "treatment" are striking:
l) The Burmese meditation master recognized her need for an
empathic selfobject, i.e., "a special kind of interpersonal relation-

76

Gail Sher reviews

�ship" and gave her this when he provided her with a safe place to talk
and then "mostly listened."
2) The Burmese meditation master recognized that meditation was not enough. I am reminded of the following journal entty
of a Zen student and compulsive overeater. Having attained a
certain amount of control over her binges, she yet again found
herself back in a pattern of having one a week:
This week I wanted to avoid it. It's the week before a
sesshin. For just this one week I thought I could avoid it.
I did avoid it in my office all day. I was conscious and I
made it. At dinner at Zen Center I was filled with a neiVous
energy that made me very funny. I went on for an hour with
several people being very funny and making them laugh and
laugh.
Then I realized I was very agitated. I didn't want to go
home. I was afraid to be alone. I was about to sit down in Zen
Center and read newspapers. But I did better than that-1
summoned up the control to go to the 8:30p.m. zazen, to
which I felt much resistance because it seemed to call for most
consciousness and calm, and I was so agitated.
I went and sat 40 minutes. Good. I went home. Immediately I had a binge, a big one, with worse effects than my
daytime ones because I threw myself into bed with the last of
the food and slept with it/on it, with no break of consciousness
and effort before bed as I've had in previous weeks when I had
"office binges."
I ate practically a quart of old ice cream, left over from a
party last week, then toast and butter. Fell asleep. Now house
a mess. I am weak, quivering, stumbling. Can hardly control
pen. Body-mind wiped out.
Meditation is not the answer for these crucial times. Expression and release are.
Her discovery does not surprise me. The fact that the Burmese
meditation master already knew it, does surprise me. Meditation
goes a long way in calming and stilling the mind and body, but for
significant healing to occur, an anorexic needs an attachment to
another person. The divine comes to her via the divine in someone
else, a loving person.
3) The meditation master recognized "too much suffering."
He saw that the anorexic needed happiness, joy, tranquility and
relief from mental stress first, before she would be able to tolerate

Rudolph Bell's Holy Anorexia and its critics

77

�deeper insight. He understood that without this relief, she would
be likely to experience a serious meditation practice simply as more
stress, instead of as a way of centering herself to prepare her mind
for enlightenment.
4) The meditation master recognized and responded to what
Jung calls the "most important of the fundamental instincts, the
religious instinct for wholeness." (C. G. Jung. Civilization in
Transition, Collected Works. Vol. 10, p. 344) Once he saw it, he
mirrored it and fostered it nonintrusively. Unfortunately; in the
treatment ofanorexia, the fundamental instincts that are focused on
are usually sex and aggression. This of course follows the thinking
ofFreud. Because Freud's thoughts are so influential to psychoanalytic literature, it is important to say that Freud was simply wrong
about the nature of anorexia. He spoke of the anorexic's disgust for
food instead ofher obsessive control ofher appetite. Although both
lead to non-eating, disgust implies repulsion for food while obsessive control implies such a strong attraction to it that limits must be
set to avoid total merger with the object of desire.
Perhaps the greatest Freudian misunderstanding of anorexic
experience is in the realm of sexuality. For a long time anorexics
were considered asexual because of their adolescent/preadolescent
figures. By today's standards ofbeauty, however, this figure increasingly represents the height of sex11ality. While our standard of
beauty grows increasingly younger, the standard anorexic grows increasingly thinner. Movie stars, models and ballerinas, those who
set our precedents ofbeauty, are sometimes strikingly anorexic. This
being the case, it is not so easy, as in the Marilyn Monroe days, to
accuse an anorexic of "fear of womanhoood." Women with less
control over their eating envy, nay, imitate her. Indeed there is a
whole new generation of "me-too" anorexics, those who copy the
anorexic's "beautifying" tricks.

IV
A spiritual path has to do with union with God. A psychological path, at its best, might lead to individuation, the process of
becoming whole. It is not surprising that the two are sometimes
confused. Jung tells us that for those who experience God as dead,
dead means unconscious. Thus, in order to awaken the transcendental self, which awakening must precede even a curiosity about
a spiritual path, one must first get in touch with one's

78

Gail Sher reviews

�But we must not lose track of the forest as we explore the trees.
Finding God is the forest. In practice, getting a taste ofthe Godhead
in oneself frequently leads one to take an interest in oneself
psychologically. One is intrigued by the sense of one's higher self
and motivated to explore the psyche. But such an exploration, no
matter how exhaustive, ultimately is insufficient. One can be
thoroughly analyzed and still not have transcended the cycles of
birth and death.
I have come to believe that the role of the spiritual in the
anorexic's healing must be equal to that of the psychological. It is
not enough, as Spignesi posits, to enter with an imagining eye the
regions of the anorexic's persuasive demons. Entering these regions
releases these images and unlocks the anorexic's tightly bound
psyche, but her longing is more profound and more intense. In an
epilogue to Holy Anorexia WJ.lliam N. Davis, M.D., Director of the
Center for the Study of Anorexia and Bulimia, describes the
anorexic as expressing "a powerful urge to feel deeply, intensely, and
consistently connected in a way that is beyond the abilities of most
human relationships." (p. 18 3) When I first came across this
sentence, I found it the most provocative and impelling statement
I had ever read about anorexia. My own life story dramatically
exemplifies it. I am constantly searching for a place to belong: my
early idea of catching butterflies, my overly furnished childhood
home, my compulsive hand activities, my rocking, my newly
discovered sense of organization, my "illness," my spiritual community, in the end all left me feeling stranded. Eventually I found
a spiritual practice that reflected my deepest needs. My heart
became engaged and I began to open. Once I entered therapy, my
efforts at connection became more conscious, but excruciatingly so
because what I wanted so desperately seemed ever to evade me.
Soon I realized that my therapist's caring for me was genuine and
my heart opened even more. Only then could I enter into a loving
and meaningful relationship outside of therapy.
Part of an anorexic's healing is experiencing connectedness on
more than one level. She has lost her way in the first place by being
denied a primary connection (typically her parents were unavailable
to her). Relationships of any kind become impossible so she creates
a relationship, an incredibly intense one, with non-eating. Here is
yet another difference between the anorexic and the saint: for
fasting saints, the
relationship was with God. They strove

Rudolph Bell's Holy Anorexia and its critics

79

�for a distinctly physical identification with Christ in his
humanity, with flesh in its suffering; and food, Eucharistic
food as nourishment, was the medium of this connection.
Their longing for God was expressed in pangs of hunger (holy
eating), not in control of hunger (self-induced starvation). They
sought to redeem their souls with and through the body, not to
free their spirit from fleshly enclosure. For fasting girls, on the
other hand, the primary relationship is with non-eating. To their
bewildered and harassed spirit this relationship, more genuine
and penetrating than any they have thus far achieved, becomes
and end in itself.
Jack Engler's solution, to position Buddhism and
psychodynamic psychotherapy within an integrated model of
therapeutic intervention seems at first glance an ideal program.
But a word of caution is in order. Finding the right spiritual path
is a long and personal process. There is no "formula" spiritual
path. All my spiritual hunger couldn't be satisfied in the midst
of a deeply serious Zen community. It took eleven years for me
to accept that Zen Buddhism and I were a mismatch; but that
admission was spiritually my most significant step forward. I
learned that instead I had to find what was right for me, follow
the path which was my own, and offer myself entirely to my
chosen way, so that I am one with it in principle and carry it
everywhere, endlessly in my heart.

So

Gail Sher reviews Rudolph Bell's Holy Anorexia and its critics

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                    <text>woodnotes
summ•r 1996- NumiMr 29
Editor • Michael Dylan Welch
248 Beach Park Boulevard, Foster Cit

·

ia 94404

Associate Editor • Gail Sher

IUtk--1../

700 Heinz Avenue, Suite 310, Berkeley, California 94710

Tanka Editor • Pat Shelley
19223 Shubert Drive, Saratoga, California 95070

Art Editor • Cherie Hunter Day
15584 N.W. Trakehner Way, Portland, Oregon 97229
Copyright© 1996 Michael Dylan Welch
lllusb'ations Copyright© 1996 Cherie Hunter Day
ISSN 1050-4664

1bmissions of poems, haibun, news, and articles are encouraged.
submissions to the appropriate editor (addresses above). Only
·ork accompanied by a self-addressed, stamped envelope (SASE)
ill be considered (or SAE with two IRCs internationally). You may
so submit poems, articles, or news items via electronic mail to
felchM@aol.com. All work submitted must be the original, unpub;hed effort of the contributor unless otherwise noted. The· editors
•sume no responsibility for contributors' views, for failure to give
roper acknowledgment, or for copyright infringement. Copyright
!Verts to authors upon publication.
A one-year, four-issue subscription to Woodnotes is $16.00 postdd. International subscriptions are us$19.00 in Canada, us$22.00
sewhere. Single copies of Woodnotes are $5.00· in the United States,
\d us$6.00 elsewhere. Please make all checks or money orders
1yable to "Michael D. Welch," and send them to the editor.
ontributions also welcome.

DeadUn• for nexc lssu• (In-hand) - Augusc 2, t 996

�hideaway covescribbling another haiku
on the bread wrap
H. F. Noyes

striking
the dust-covered globe
summer sun
Nika

the boy dozes ...
perched on his fly rod
a red admiral
Gail Sher

Grimy store fa.;adethe clean silhouettes
of absent letters
Donna Claire Gallagher

cabinetmaker's shop
the dial scotch-taped
toNPR
Dee Evetts

the retired gardenerhis balcony filled
with plastic flowers
Brian Tasker

organizing the house
for weeks
suddenly nothing to do
]ames Tipton

staff lounge chess gamea pawn on the verge
of promotion
Carlos Col6n

To write a nature haiku
I flip the pages of
a flower guide
FayAoyagi

checking the driver
as I pass a car
just like mine
fohn Stevenson

waterfallthe man with the booming voice
stops talking
H. F. Noyes

10 •

•

11

�first yellow tulip
the click of cutting shears
in the winter sun
Lynne Leach

snowmeltthe smell of a wooden door
all day in the sun
Jeff Witkin
winter sunpale wings
flutter about the woodpile

L

dove vanishes
from my windowsill ...
morning mist
Jim Mullins

grey morning drizzle
falling softly into moss
camellia blossom
CeRosenow

Merton's essays
all afternoon
the steady rain
Cherie Hunter Day

Gail Sher ..

at my approach
the sparrows fall quiet
winter dusk
Grant Savage

winter thawsparrow at the spigot
waits for its drip
Nina A. Wicker

late evening rainthe row of parked cars
left sparkling
GaryHotham

storm windows
stacked against the housespring sunset
LeeGurga

soon after the child
the puppy
goes to sleep
Christopher Herold

22 •

•

23

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\

GALLERY WORKS SEVEN

I

�Peter. Holland and Jeanne Lance

Editors

Editor Emeritus
Typesetting

John Yurechko

Diane Lubarsky

Address

GALLERY WORKS
25 Carlin Street
Norwalk,

06851

Gallery Worl&lt;s issues One to Seven are available for $5 from the
above address. Please make checks payable to Jeanne Lance.

Copyright © 1987 by Poets' Commune Publications.
All rights retained by authors.

\

\.

�GAIL SHEA·

Even can ·horses
are dead
inside me.

I!I

II
II

I

•j

t

.!

!
1,1

Ii
II!

ll!

li i[
ill

IP

II
l

\

\

�GAIL SHEA
\\

Nor is it
Mongolian downs

that is
castigation.
Darkened green
men onto whose
mechanical

window.

�GAIL SHEA

Unified dolls
b_ing-bong freely &amp; ·
discount spherical
merchandise.

. .Ii

�GAIL SHEA
\

Night becomes..

-

a braid.

Worn &amp; .elaborate ·

coitus.

\

�GAIL SHEA

Or burst of grass
her ·
mirroring fellowship.

.

:

:

I
I

�GAIL SHER

\

Honey see the_m bake.
Hard &amp; sweet as
you will see.
A sire melts
us. One two
three us.

\

�GAIL SHEA

Be near somehow.
Make the division ·
small.
Regress inside
where there is ;
no memory of me.

�GAIL SHER
\

Each prune is
a monument
such as captivity
is a monument.

\

�GAIL SHEA

Connubial mines
such &amp; such.
Long salubrious ·
wait asking why
the jillion
emblems.

\

\

�GAIL SHEA
\

Its fleece repellent
&amp;.sadness.
Like a hood
1eaps to
me.

\

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                    <text>BIG ALLIS

Contemporary Writing

Issue Number One
1989

�BIG ALLIS
Issue Number One
Copy!ight @ 1989 Big Allis
All rights revert to authors upon publication
ISSN 1043·9978

BIG ALLIS is published twice yearly

Immense gratitude to Judith Zvonkin and Julie Mellby, without
whom this magazine would not have been possible; thanks also to Jean
Foos, Dirk Rowntree, Jeff Preiss, Claire Gabriel, and Michael Amnasan
for their invaluable help.

Cover design by Jean Foos
Cover photo by Hope Sandrow

Address all correspondence to:
BIG ALLIS
139 Thompson St. #2
New York, NY 10012
Please enclose SASE with all submissions

Edited by Melanie Neilson and Jessica Grim
Distributed by: Segue, 303 East 8th St., New York, NY 10009
Small Press Distribution, 1814 San Pablo Ave.,
Berkeley, CA 94 702

�CONTENTS

Jean Day

six poems

1

from Kuklos

7

from YOU - the city

12

Selected movement descriptions

14

Fiona Templeton
Sally Silvers
Tina Darragh

"increase 'long' simultaneously with 'fine"'

Jessica Grim

Aquatic Fetish Trunkation

Pat Reed

two poen1s

Dorothy Trujillo Lusk

16
21
25

Historical Necessity and First

.27

Leslie Scalapino

from The Pearl (a com.ic book, the fornz of the novel)

35

Hannah Weiner

from Pictures and Early Works, 1972

43

Eileen Corder

Brache

Melanie Neilson

Whee lie (or Suture Self)

Laura Moriarty

Luz and Rosie

Diane Ward

from Crossing

46
50

53
58

�GAIL SHER

front KUKLOS

Tamarind Esau.
&amp; taps.
Kadish.

Clam St. Clare
too faces.

Jasper roach
cans Mishna
red wing.

7

�Betel has like
dipso trough.
Padma so bath.

Criss par
trinity.
Hath Da.
Peanut Hosanna.

Wassail pied
cum
brindle ergo.

8

�Horse o' sphinx.
America. Non
dalmatian.

*
Turbo fra.
Islet rebec
daybed.

I manna
cossack.
Bodhgaya. Soeur
roe Padua.

9

�Milagro. Cunt

un.

Baptist ash.
Meaty noh
poi.

Kurmos. New
gorse.
Pony sweetyard.

10

�Contessa bushes.
Too feces. Gazetier.

Angst 'cause
paison.
Tilsit. Lacre
tarpaulin.

Saguaro letterer.
Pistol catalpa.
Their shells.

II

�</text>
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HAM BONE
'

i

1:

I!

\

�Editor: Nathaniel Mackey
is published in the Fall and in the Spring.
Hambone (ISSN
Subscriptions are $8.00 a year (two issues) for individuals, $12.00 a year for
institutions. Single copy price is $5.00. Unsolicited manuscripts will not be
returned unless accompanied by a stamped, self-addressed envelope. Subscriptions, submissions and other correspondence should be addressed to
Hambone, 132 Clinton Street, Santa Cruz, California 95062. Make check or
money order payable to Hambone.
The publication of this issue was made possible in part by a grant from the
Coordinating Council of Literary Magazines.
Wilson Harris'
is reprinted with the author's permission from The
. Sleepers ofRoraima (London: Faber, 1970).
Edward Kamau Brathwaite's "Manchilen .is reprinted with the author's permission from Black &amp; Blues (Havana: Casa de Las Americas, 1976).
Copyright© 1982 by Hambone/Nathaniel Mackey.
All rights revert to authors upon publication. No work in Hambone may be
copied for purposes other than reviews without the author's permission.

�No. 2, Falll982

Ham bone
Contents
bell hooks:
poem from the first life
the guard ofcaptive hearts
the woman:.s mourning song
re-interpreting the source
in the manner ofthe egyptians
John Taggart:
Very Slow
Clarence Major:
Microcosm
Gail Sher:
Suppose deeply offers up
Susan Howe:
"'mute memory vagrant memory,
""Distance and eyes get lost (apse to read) Twig""
""Genius:.,
UNot the true story that comes to"'
''right or ruth";,
Hsabbath and sweet spices""
/
'"Twenty lines of"
Wilson Harris:
Couvade
Edward Kamau Brathwaite:
Manchile
Clips
Jodi Braxton:
Progression
AI Young:
What Is The Blues?
W.H. Auden &amp; Mantan Moreland
Judy Platz:
Stones
Wedding
Workhouse
Habidu
Olde Buridl Hill
/

1
2
3

4
5

6
12

18
·23
24
25
26
27
29
30

32
47
50

56
57
58
60
61
62
63
64

�Paul Metcalf:
from Golden Delicious
Nathaniel Mackey:
from FramA Broken Bottle Traces of Perfume Still Emanate
Jay Wright:
Twenty-two Tremblings ofthe Postulant (Improvisations
Surrounding the Body)
Beverly Dahlen:
from A Reading
SunRa:
Your Only Hope Now Is A Lie
Robert Duncan:
Quand LeGrand Foyer Descend Dans Les Eaux
Enthralld
After Passage
Ishmael Reed:
Ishmael Reed Replies to Amiri Baraka
Vera Kutzinski:
Something Strange and Miraculous and Transforming
(Review of Jay Wright's The Double Invention ofKomo)
Susan Howe:
Light in Darkness (Review of John Taggart's Peace on Earth)
Notes on Contributors

\

\

66
74

85
91
98
115

117
119

123
129
135
139

�GailSher

Suppose deeply offers up
Crop us. Touches peak
hope.
So stares back (slowly)
as her vowel.
Chants some. Some. Not
all these wisp surface.
VVheresonisconcerned.
New on this machine .

•
Cars pass. Realms of trees
beat hugs song (you pick).
Solicits (other) impression
dependencies.
Profusely whispers (means)
whispers any amount.
Up on each knee. Nine ten
the mind thinks .

•
18

�Sher
What the friend thought
at once the image. Traveling
as a family.
No here. Verbal (remodeled)
nights (wants) the human.
Despise her circle circles.
Give back her.
(Animates. This might.) Oh
give. As there. Just
discouraged and gives .

•
Sings around (and so forth).
Compare her around. Vety
telling.
Arrives in thin tangible
thigh. (Waits) from the inner
group. Inherits (shield) for
·this.
//
This oh want or cost of
what penetration. (Neither)
her kin. Why wait saying this .

•
Does it. This intelligence.
Some with hair toward the
chair.
(Slaughter some off as it
actually was.) I would
care.

19

�!·

Hambone

When clings the head to
the bed seam. The brother
wears this description also.
Also over the telephone.
Cherishes knee (very
impressed) .

•
Pins it on. (Insemination)
of t;he proud her. Now the
me (so) street and I flesh.
In which newspaper figures
here. Some joined thing.
(Oh) she understands all
right.
This much hand life
acknowledged through the
hand. (Dies) aftetwards for
just her .

•
Makes death. (Shrieks) fat
(I) am one.
Gags or with. (Here) are
words.
Can't screams would or not.
Not as no (love) .

•

20

�Sher
Not dry. Not this couch
hatch (hopes) like food.
To shell it (us) no less.
Neglects all other species
contempt.
Spans the girl where she
straight (shouts) this
can love .

•
Supposing deeps (explore).
Barely pleads &amp; retreat.
Caught. Flushes &amp; bends.
Entitles it "Oh sweet

Resembles him too. Retells
year her.
The sleep position. (OfY
absolute person.) How art
waits (fails) eyeing depth
and
loss .

•
Man her ins. Stresses
chair and bush (lust).
Simply her life redness
depressed on in.
(Was) going to say (cry)
touch.

21

�Hambone

(Picks) eyes talks about
addresses. She was
spellbound.
Solves our knowledge.
Formulates this suction
or what must practice
from space .

•
Suppose deeply offers up.
Licks and picks. (Come on.)
Pick one. Moved per force
(exquisitely) pertains cries
or wants.
Dark (exiguous) tree. Junks
dream (said I'd come).
Youngs girl. Creates sight
independently.

\

\

22

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                    <text>frog pond

how important
the crunch of fairs leaves

Ronan

Vol. XVIII, No.3

Autumn 1995

HAIKU· SOCIETY OF AMERICA

�HAIKU
OF AMERICA .
333 East 47th. Street
New York, NY 10017
Established 1968 .
Co-founders: }iarold G. Henderson and Leroy
President: Bruce Ross, 222 Culver Rd., Rochester, NY 14067
First Vice-Presi4ent: Lee Gurga, .514 Pekin St.,
·lL 62656
_
Second· V_ice-President: Barbara Ressler, 1717 Kane St., Apt. 27, Dubuque, IA 52001
Secretary: Doris Heitmeyer, 315 E.· 88th St., Apt. 1F, New York, NY 10128=4917
Treasurer: Raffael de Giuttola, 4
Rd., Nattick,
01760
··
·
Editor: Kenneth C Leibman, P.O. Box 767, Archer, FL 32618-076?;
e-mail: kenneth@freenet.ufl.edu ·
·
Regional Coordinators:·
·
Northeast: Lawrence Rungren;16 Balmoral St. #114, Andover, MA .01810
Metropolitan Area: _John SteYenson, P.O. Box 12.2, Nassau, NY 12123
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.
MicbaeJ McNiemey, 3850 Paseo del
#37, Boulder, CO 80301
Northwest: Robert E. Major1 P.O. Box
WA
Califorina: Michael Dylan Welch, 248 Beach Park Blvd., Foster City, CA 94404
Hawaii: Darold D. Braida, 1617 "Keeaumoku St. #1206, Honolulu, HI
Subscnption/Membership US$20 USA and Canada; $28 overseas b.y airmail
US
dollars by check on a US bank or International
Money Order. All subscriptions/
memberships are annual, expire on December 31, and include 4 issues of frogpond.
Single copies (except 1992-3) US$5 USA and Canada, .$6 overseas; 1992 &amp; 1993 double
issues US$10 each US &amp; Canada, $12 overseas. If xeroxed copies of out-of-print issues
are NOT acceptable, PLEASE SPECIFY when ordering. Make checks payable· .to
Society of Ameri:a, Inc. and send to Editor at his box number. ·
-

must

All funds for
renewals, or donations'
be sent to
Secretary at her home a dUress, with checks or money orders made out-to Haiku Society
of America, Inc. In addition, all changes of address are to go to the Secretary. Send.all
editorial material (with SASE) to
.Editor at. his box number: Send all ot.ber
correspondence to the pertinent officers at their home addresSes. When a reply is
required,
must be enclosed. .
·
All prior copyrights are retained by ·contributors. Full rights reveri to contributors upon
publication in frogpond. Haiku Society of America, its officexi or the editor, do not
assume responsibility for views of contn'butors (including its own officers) whose work
is
in frogpond, research errors,
of copyrights, or failure to make
proper acknowledgments.
·

Copyright @ 1995 by Haiku S_ociety of An1erica, Inc:
Cover art by Robert

.ISSN 8755-156X ·

t. MaUnowski

�yyellow flag
signals
jellyfish roulette

napkin flower-a gift
carried the entire day
(Mazath1n)

Connie Brannan

C. Michael Brannan

the moon
caught on a
matagourie thorn

snow-capped Aorangi
not too big to overlook
the mountain lily
(New Zealand)

Ernest J. Berry
in the rain
the echo of a buglerRemembrance Day

Remembrance Day
billboard lips
too red
(Canada)

Leroy G01man

Elizabeth StJacques

sudden chillawaiting fresh tea
this empty cup

squall\ I wrap my hands
\ around the teacup

'

\

Nika

\c-:------.. . _... . . Gail Sher

the loud silence
after
the cicada's cry
not hearing
the temple bell
until that cricket

Peter Brady
a week later
Halloween decorations
even more cobwebbed

Anthony J. Pupello
sudden showerrescuing the bathroom spider
with a sponge

Gene Doty
breezeless night ...
spider at the center
of its web

Suzanne Williams
October haiVest
the orb-weaver
feasting on the moon

Cherie Hunter Day

22

Matthew Louviere

�baibun

I am amazed that Tosai, upon reading "the sound of an oar slap-.
ping the waves/chills my bowels through/this night ... tears" has only
to say "The poet, unable to go to sleep, must be pondering over time
that has passed and time that is to come."

i

m1sty ram
veils Mount Fuji
only to the eyes

!
j
\

Gail Sher

from the eyes of the soul
Two Haiku Favorites
An old bottlecap:
now just a little pool
of freshly fallen rain

Tornadofinding in the debris
an acorn with its bat

Tom Tico 1

1-Ielen J. Sheny 1

The seeking-out of haiku that, for me, represent the inner spirit of the
form has become a rewarding pastime. My criteria are: 1) Does the
writer give attention to some seemingly insignificant detail of the
moment, likely to be overlooked by us ordinary mortals? ... and 2)
Is the observation a purely natural one that any of us with healthy
powers of imagination could make? Could make, that is, with an
awakened "heart-mind," which is the first essential to good poetry of
any kind. One of the great Greek nineteenth-century poets, Solomos,
wrote:
Always open,
ever alertthe eyes of my soul3

H.F. Noyes
Yrogpond, Spring/Summer 1993
2
The Red Pagoda, Broadside Series, 1986
3
trans. by H.F. Noyes

37

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                    <text>woodnotes
winter t995 -Number 27
copyright© t995 Haiku Poets of Northern Cali
ISSN 1050·4664

t995-t996 HPNC Executive committee
President • John Leonard
49 Molino Avenue, Mill Valley, California 94941

Vice President • Paul 0. Williams
2718 Monserat, Belmont, California 94002

Secretary • Pat Gallagher
864 Elmira Drive, Sunnyvale, California 94087

Treasurer • Helen K. Davie
455 Payne Avenue, San Jose, California 95128

Woodnotes Editor • Michael Dylan Welch
248 Beach Park Boulevard, Foster City, California 94404

Woodnotes Associate Editor • Kenneth Tanemura
10 Wayne Court, Redwood City, California 94063
Woodnotes is published quarterly by the Haiku Poets of Northern California
(HPNC), a nonprofit organization dedicated to writing, sharing, and studying
haiku, senryu, tanka, haibun, and renku. Though HPNC is based in California, it
welcomes members from anywhere. HPNC membership includes a subscription
to Wood notes. Submissions of poems, haibun, and articles by members (only) are
encouraged. Send submissions to the editor or associate editor (addresses above).
Only work accompanied by a self-addressed, stamped envelope (SASE) will be
considered (or SAE with two IRCs internationally). You may also submit poems,
articles, or news items via electronic mail to WelchM@aol.com. All work submitted must be the original, unpublished effort of the contributor/member unless
otherwise noted. The editors and HPNC assume no responsibility for contributors' views, for failure to give proper acknowledgment, or for copyright
ment. Copyright reverts to authors upon publication.
New subscription
effect with all renewals due after this issue (see
page 42). A one-year,
subscription to Woodnotes is $16.00 postpaid.
International subscriptions are us$19.00 in Canada, us$22.00 elsewhere. Single
copies of Woodnotes are $5.00 in the United States, and us$6.00 elsewhere. Please
make all checks payable to
D. Welch," and send them to the editor.

DeadUna for next Issue (in-hand) - February 23, 1996

�winter morning
the cowbell clangs
new snow
Merrill Ann Gonzales

broken ankle
on a pile of pillows ...
snow falling outside
Carol Conti-Entin

snow buries
the leaf tipswatch
Gail Sher

snow over ice
muffles the torrent:
mouse tracks
Ruth Yarrow

December mist
where he buried bones
burying our dog
R. A. Stefanac

•

17

�last day of workcold wind
down the empty
CeRosenow

ravens

raindrops falling from the dead tree
Pamela A. Babusci

a train whistle blowsperched in a tree
crow closes its eyes
Gail Sher

hawkshadow
a sparrow hops
twice
George RJJlph

• 3

�Sher- Berkeley, ealllornla
/

Tassajara Zen Mountain Center: Summer 1969
Others may wear monpe, jibon, and hippari but Chino Sensei's are impeccable, his tabi spotless, and Danish schoolbag, though Danish, on him seems
the epitome of Japanese elegance. He knows how to walk to the zendo
without hurrying. He knows how to eat and how to manage a lover within
the stringent monastic schedule. His pristine composure inspires absolute
confidence so that when I go to him to mention my desire to write, thatl sort
of, sometimes write haiku, he immediately takes it up, "Write one a day.
Make it a practice."
silent snow
silent house
I stand in the moonlit doorway

-Woodnotes #23, 1994

ce Rosenow- Portland, Dregon
As I'm sure is the case with many Americans, I first learned
elementary school. The few days we spent on the form a
somewhat familiar with it when I re-encountered haiku in 1
producing a poetry program on KSCU radio in California and
shows with vincent tripi and Jerry Kilbride.
vincent and Jerry were so enthusiastic about haiku and the haiku
community that I was immediately intrigued. vincent also gave me a copy
of his book, Haiku Pond: A Trace of the Trail and Tlwreau, as wen as information
about the Haiku Society of America and a number of haiku journals.
Hearing these wonderful poets read their own work and discuss the haiku
form prompted me to learn more about haiku and to begin writing haiku
myself.

ESther Banko//- san Francisco, california
Adrienne Rich's admonition that 11to enter into the orderI disorder of the
world is poetic atitsroot, as surely as itis political a tits root'' found a home
in my heart. As a septuagenarian who began writing poetry two years ago,
I found my way to haiku's juxtaposition of two-image unrhymed poetry on
June23, 1995,atthe 11Haiku City" reading at Border's Books, Union Square,
in San Francisco. I'm looking forward to life with my beginner's mind and
my political heart.

Number 27

Woodnotes •

41

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                    <text>Winter ttM Nllmber 23
copyright

t 994 Haiku Poets of Northam calli
ISSN tOSG-4664

A Note from the Editon
In this issue of WOC¥lnotes-our largest ever-we are again privileged to share
artwork by Cherie Hunter Day. Why goldfish,. for a winter issue, you may ask? Cherie
explains: "In winter our focus goesinsidetoour oomes and families, and there is time
for contemplation. For me, watching fish swimming ina pond or bowl is the essence
ofcalm.Andbesides ... they'rereallyneat.InthecoverdesigtlttheblackfishisaMoor,
and the white one is a Veintail." The other fish illustrations are of a twin-tail, a singletail comet, a pair of koi, and an angelfish. Tiley really are neat, aren't they?
Contest (see page38). A deep bow of thanks to Donna Gallagher forcoordinatingthis
event, to the judges for sifting through the hundreds of entries, and to the 132 poets
who entered their poems with care and enthusiasm. We hope you enjoy the winning
poems, and find the judges' comments enlightening and informative.
In addition to this issue's record-setting 120 haiku and senryu (starting on pages
4 and 12) and 11 tanka (see page 33), we are pleased to share a haibun by Laura Bell
(page 11), and a Ouistmas rengay (page 8). Many thanks to Carolyn Fitz for her
calligraphyandillustrationsontherengay!Wearealsopleasedtoinclude''Th.elnside
of a Haiku" by Christopher Herold (page 36). Chris originally presented his article as
a meditation at the LitEruption Literary Festival in Portland,
on Sunday,
October 23 (see page 47 for more news about this event). We also include news and
announcements(page44), book listings (page48),andafinal meeting summary (page
56) by outgoing HPNC secretary Tom Lynch. To Tom and all other retiring officers,
many thanks. HPNC has thrived because of your service and dedication.
And now, as you begin to savor this issue's poems, we invite you to enjoy their
brisk twists and lovely turns in the aquarium of contemplation.

Next HPNC Meeting, February 5, t995
HPNC's winter meeting on Sunday, February 5, 1995 will be held at a new location.
To get to the meeting at 22 Skylark Drive in Larkspur, California, drive north on 101
from San Francisco, take the San Anselmo exit (just past Lucky Drive), veer to the left
onSir Francis Drake, pass the BonAirShoppingCenter,continue to thethird stop light
then turn left past a church, turn right on Magnolia, then take the next left at Skylark
Drive. Go up a steep hill and park at the top in open lots (not in garages). Then walk
north towards the swimming pool and recreation center immediately on the right.
Driving from the north, take 101 south to the Kentfield/San Anselmo/Sir Francis
Drake exit. Join us at 1:00 p.m. for our winter meeting, with many rounds of haiku
reading, announcements, much socializing, a featured reader, and more!

�white-breathed hooker
looks in the window
at the wedding gown
"Winona Baker

rain on the window
the same unopened present
under this year's tree
Marianne Monaco

silent snow
silent house
I stand in the moonlit doorway
Gail Sher

a swirl of snowshe lifts her hair
out of her sweater
Michael Dylan Welch

the box everything was inanother Chrisbnas
without her
GaryHotham

•

5

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                    <text>I ..

·oNE
·BREATH
··HAIKu ··socrnTY
oF- AMERicA
.
.
· .1995 MEMB:ERs' A.NTHoL.ooY·
.....

, ·.

r

Edited by
Jean Dubojs
:.· Michael
·

·

.

· ··

ElizabetJi L. Nichols

\

.
_&gt;(·

·

.

.
.

. \

.

-Haiku Society

,

.

.

.

.

.

�Halku Society of America, Iric .
. c/o Japan SoCiety, Inc.·
·
333 East 47th Street . ·
New York, New York i0017
Ddsign and typography by

McNierney

ISBN 0-9631467-3-4
Copyiight ©
of America, Inc;

by the Jiaiku. Society .·

re-

All .rights rclserved. No part of
book
be used or.
in any manner whatsoever'
.
. , from the author or authors except in
case of .brief quotations in
Rights revert tothe authors upon, publication ofthis

-

Each poem in this. book. was. chOsen by the editors. from five· ptih.
lished or unpublished haiku or senryu submitted
by
of the
Haiku Society-of America in 1995.
member whq .chose to
submit poems was guaranteeq to
one poem _selected for this .
·
anthology:
Acknowledgements
Some. of the poems in this boqk
previously published in'
the following: Modern Haiku, Cicada, Frogpond, ill, ·Haiku
Happenings, Haiku Headli,nes, woodnotes, Maiilichi
News,
·Brussels Sprout, Iga-Ueno Basho Festival Dedicatory .Anthology, .
. . Fire, HSA Newsletter, Haiku Southwest, ID 1992 Anthology,. .
Chimera Connections, High on the Wind, Dragonfly, East-West.
1993, The Christian ..:
Haiku, Timepieces· Haiku
Science . Monitor, The Honolulu Advertiser, Japan· Airlin5!s ·
Ari.tl}ology, ·Florida State Poet's Association Newsletter., South By ..
Southeast, High-Coo, Azami, . San Francisco
·Anthology,·· ,:
Virtual Images, Sho)lVcase.
No Such· ·Thing as ·strangers
(Hurleyville, NY: Julie Hagan Bloch, 1993). Penny Harter's poem: )
is Copyright © 1994 Penny Harter in Stages and VieWs
Books, "1994). Reprinted by pe:pniss'iOJ?.·Of the author..The HSAgratefully acknowledges _these

�/silent snow
silent house
I stand in the moonlit

-Gail Sher

pencils sharpened
I stand

·

the· sineil of cedar
. . .Randal Johnson

.the snow.
even deeper
beyond the temple gate
I

-Kohjiii' Sakamoto

shoveled out at hist:
\

peeling ·an. extra potato·
just in'

...
-Liz F.enn

14

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                    <text>�RADDLE

MOON

1 5

1\ADDLE MOON is published by THE KOOTENAY SCHOOL OF
SOCIETY. Donations are tax-deductible (#068870*20*27) in Canada and are

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�Contents
COVER

3

19

photo: Rhoda Rosel!feld
Fiona Templeto!i
Out Of the Mot1.tbs, In Other Mouths
Denise. Riley

of the EarJ
The Castalian Spring
31

Benjatnin Friedlander
Eight Poems

46

Paul Mutton

The Way It Floats
48

Leslie Scalapino
from l..Jew Time
from An Exchange with Norman Fischer

60

Alan Davies
Same Old New Shit

PORTFOLIO

Rhoda Rosenfeld
Iconologos, for Lara Lian Gilbert
from Maps of the World

�85

Norman Fischer
Irregular Coastline

100

DianeWard
Five Poems

106 -

113

119

Fanny I-Iowe
from One Crossed Out

L

ailSher
Resurrection
Seven Sacraments

Erin Moure
7 Cues To The Instability OfArtistic Order ,

128

Naomi Foyle
Rules OfDeportation

135

Edgar Allen Poe
].H. Prynne,

143

Notes

a ntvieu1

�Gail Sher

Resurrection

Supper 1963

scow
[reach-me-down]
baccarat

Lydia
ululate

113

�Girl Praying 1977

bluebird
Sarajevo
para Negro
Valhalla bitch cru

�Landscape with Figures II

1985

tat

slow-boat
tro·ugh (queerly)
Rick
starling
starlet

osler
tamarisk
Oology

115

�Embrace of Peace I 1986

n1ockeniut
mockernut
riverward

116

�The Seven Sacraments

The Seven Sacraments
(A Celebration of Life)
1980

Clare (see fit)
.Godpool

117

�The Fourth Station of
the Cross: Jesus Encounters
His Holy Mother 1984

thru Him marigold
summertime
summertime
bluefish

(pokeweed)
WANTED
kept cups

118

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                    <text>GALLERY WORKS FIVE

�Edited by

Peter Holland, Jeanne Lance and John Yurechko

Address

GALLERY WORKS
1465 Hammersley Avenue
Bronx, New York 10469

Gallery Works appears yearly. Submissions should be accompanied
by a stamped return envelope. Issues One to Four are available for
$2.50 from the above address.

T,his issue was made possible in part by funds provided by the National
Endowment for the Arts and the New York State Council on the Arts.

Copyright © 1981 by Poets' Commune Publications. All rights
retained by authors.
\

\

�GAIL SHEA

RIVER THE OFFICE MY OWN

deep pan swallow
harbinger tries
the note/ of
brown
deepens
otherwise
fingers
curve/ and not to be
this
hardened
fall
common mouth curve
interjects/ sue
the meditation
even
so

\

\

�GAIL SHER
\

LORD AND GIVE THE NECKLACE CHILD

race dozen dozen
sceptered/whereby the
under-morning
sandwiched alone nickels
crease
the tidy /rabbit
tilted and
shy
salvage carrot
whooped a_nd practically nest/the brown
rood
tassel
recurrent inhere inhere
inner crown/ All
will the
estuarial

\

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&amp;

\

�\

Bruce Andrews

True Flip To

Beau Beaus.oleil

Lascaux

Steve Benson

Blue Book

Richard Kostelanetz
John Marron

Epiphanies
Pitch White

Barbara Noda
Larry Price

Poems
Penguins
At the Tops of Cities
Columns
Poems

Gail Sher
Jim Wine

copyright

40

from Longwalks

GNOME

INC

1981

Back issues are available, please write

\

�\

Gail Sher was born in St. Louis. She
works as a poet and lives in San Francisco.

\

�fifty-five or five ow1ng him nickels

tricky-tricky talk
to goblin
Nautilus/
He

hawker-walk
on
lemon
sand
remarkable
(him him)
where-to/.
Somersault
daddy
heaving and
sighing

\
\

�\·

\

fish no mind steak tuna tuna

to
licked/
for
she wasn't
my eyes
(her and her)

belly-needle
up

no
kiss

�diamond shally late

come
o mama/
.1.n mysettle
cup

lovely
this the
squawk
squawk
iron-tried
firmament
tree

extend
bold.
sensation-father
great
knowledgeable
rain

\

�folded bloom to heaven legal

to to/

the
hunter
fringe
noise: the
downer
blooms
vulgar fish
livelier
the man/
hawklike

�eagle door on sainted

whistle

this promise
her red bud
·bible live

(no fool) I·
I

talked

\

�\

0 1 dear no the Proserpine

to find
the/

.
(for one thing)
reformation

.

hat
curly mountains
all
up-to-up
wants/
to feel
how
much
love
how
awakened intense
ducks

�aunts no vibration

her mouth
Oh I
her soda bear

.

1ron
burn
parchment/ pass

light and

\

\

�\

adobe cheese

.

pra1ses
blossoms
hot
stork
white
,something
leaning
on
silk

\

�whiskered mannequin lay

laugh laugh laugh
on

her/
gho.ul
cousin
(likely as not)
cotton

chest

\
\'1.

�\
I

i

1

It
I

I

·!
I
I

II
!
I

I

II

frozen pawn jelly

I

cat-up
her/
mamablood

dipped

.

l.n

true
pink

o lovely

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                    <text>\\

CREDENCES,
A Journal
of

Twentieth Century. Poetry and Poetics

�CREDENCES:
A JOURNAL OF TWENTIETH CENTURY POETRY AND POETICS
New Series, Volume 3, Number 1 - Spring 1984

Editor:
Robert J. Bertholf
Editorial Board:
Melissa Banta
George Butterick
James Coover
Michael Davidson
Dean Keller
Production Manager:
Stephen Roberts
Business Manager:
Sharon Schufhauer
Editorial address: 420 Capen Hall, State University of New York, Buffalo, New York
14260. CREDENCES is a publication of The Poetry/Rare Books Collection of the
University Libraries, State University of New York at Buffalo, and is issued three
times a year under the sponsorship of the Friends of
University Libraries. The
publication of the magazine is, in part, made possible by a grant from the National
Endowment for the Arts. All Manuscripts should be accompanied by return postage;
essays and reviews should conform to the latest MLA style sheet. CREDENCES is
indexed by the Index of American Periodical Verse, and the PMLA Bibliography.
Subscriptjon:

Fifteen dollars a year.
Back issues available.

Single issues: Five dollars.

·CREDENCES is free with full membership in the Friends of the University Libraries.
Subscription orders and remittances may be sent to: Ms. Sharon Schiffbauer, 434
Capen Hall, State University of New York at Buffalo, Buffalo, New York 14260.
ISSN 0740-4182

�CONTENTS

\\

New Writing
Bruce McClelland

9

John Taggart

12

Leslie Scalapino

tf.

r:
:;·

r·
1:
I;

Twenty One Times

16 from Buildings Are at the Far End

Gerrit Lansing

19

The Milk of the Stars from Her Paps

Nathaniel Tarn

24

Nine Poems from u Seeing America First''

Charles Stein

33

from The Forestforthetrees

Robert Kelly

43

Towards the Day of Liberation
The Man Who Loved White Chocolate

'

!.

r

rf

Two Poems

Foresong

Aaron Shurin

77

The Graces

Gail Sher

84

Poems

The Library Record
Jed Rasula

91

Robert Kelly: A Checklist

Jed Rasula

127

Ten Different Fruits on One Different Tree:
Reading Robert Kelly

April Hubinger

176

Robert Kelly's "The Sound":
Notes Toward a Reading

Essays

�Reviews
George Butterick

191 Personism and Populism: Some Useful Tools

Deborah Kelly Kloepfer 194 Excavating the Temple:
·. Two Critical Studies of H.D.

J. M. Edelstein
David Lampe

202 Ezra Pound: A Bibliography
204 No Book is an Ireland:
Five Anthologies of Irish Poetry

Robert Bertholf 210

William Bronk: Poems at the Center

Cover
Pen and ink drawing by Laurence Housman, entitled ucain. ,, Reproduced·
with the permission of the Executors of the Laurence Housman Estate.

J

:.
1
-,

�84

Gail Sher

Que. This would be it
shining internal switch
back.

Sway perhaps. Edits toward
the cripple boy.
Hard places timing eight.
Tap its suggestion. Or across
town maybe daylight on the
synagogue.

Vacuous poise how to.
Stretched with implentitude
nurse makes up.
Others scant attention.
Brink one. Two.
Necks the truth. Three
angry children and how the
car would yield to them.

Reined bones. Dip here.
One after pink.
Look through death does.
We eat again.

�85

Somehow behind tongues.
Would cruise behind.
Blocks allowed swallows
at.

But buzz or which aperture.
In and out. Bubbles climb
under.
Hugging rations. Joints of
growth swell with speed.
Deer over the counter. Doing
my part. Tearing them out. ·

This or that wand arm.
Satisfaction..sifiks as
I sit on. Shoes and multiple
army strata urging and
bumping the sabbath.

The jar worth.
and chewing.

Forcing

Angular scribes knowing
angularity.
These cow shadow. Stout
fiction say. How to shuffle
them reading and waiting
heard softly at the zoo.

�86
Flourishing. .Slowly the
human teethe.
Housing it all in a
little room. Containers
despair here.

Crunches through the deer.
Que. This would be it
shining internal switch
back.
Thursday node attune in .
dogs which again promise
enough

f:.

i.
!·:

Reprieve told mouths.
Her deanery over the
stove.
Gliders form a screen
duality.
Here a door there
apart.

Movement after sleep in
the forenoon crust.
Certain richness as the ·

�87
legs fold up.
an evemng.

Size mounts

Cowboys these. Yes
withheld from lower scars.
My size for once
touched.

Interchangeable numbers
bearing down hard. Which
forehead she always thought
when pain was intense. Bands
or ribbons ·or anything.
Black adjoining walls
whose door swings.
Knives and one parakeet
with a possible baby
engrossed in black.
Or mirrors frozen.
Be exact.

Couches again home
elapse.
Tones of your.

Amusing through so tired.
Listen. Priests emerge.
Lined up as a queen.

�88

Surrogate (kites) from
infancy. This penal
being.

Separates or rub here
before the tree.
Ladders lay flat to rub
before the dog.
Tomorrow is next week say
bearing another Friday.

To lug.

Beauty enough.

Ripe eye. Pick up
the waltz.
Tears are a record.
corn tears.

Utterly

Participates looking
uncluttered. Belong while the
arms move. Once alive
olives gift.
Curls imprints beef.
your arms sweetie.

Raise

Geering unsafety. Or curl again
in the back part.
\

\

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                    <text>GALLERY WORKS EIGHT

�Editors Jeanne Lance and Peter Holland
Typography Michael Ballen
Paste-Up Janice Tetlow

Address

GALLERY WORKS
218 Appleton Drive
Aptos, California 95003

Gallery Works issues One to Eight are available for $5 each from the
above address. Please make checks payable to Jeanne Lance.

Copyright© 1991 by Poets' Commune Publications.
All rights retained by authors.

�CONTRIBUTORS
Poetry and Prose
Michael Amnasan
Dodie Bellamy

Julia Blumenreich
David Bromige
Adam Cornford
Timothy Cunningham
Beverly Dahlen
Norman Fischer
Peter Ganick
Janet Hamill
Katherine Janowitz
Richard Kostelanetz
Wanda Phipps
Nick Piombino

CaroiAnn Russell
Spencer Selby
)
James Sherry

c:-:::Gau Sher

Hannah Weiner
Photographs
Harry Dahlgren

Cover Art
Beverly Richey

�GAIL SHER

From KUKLOS
*

Osiris co rider.

Hanuman cup.
Cam floatation
shiksa.

�GAIL SHEA

Okasa askari.
Ganjha blouse
Goth zydeco
salaam.

�GAIL SHEA

Piper fra
Galilee.

Ashkenazi traps.

Well furze.
Tapes pique
trumpeter.

�GAILSHER

Goby gnu
assize.
Lo cod.
Sabine the reichstag.

�GAILSHER

Tivoli wight.

The atone sri.

Joseph angus
lassitude.

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                    <text>RAW NerVZ
a quarterly of haiku &amp; related material

Volume II : 4 Editor
Publisher
Front Cover
Back Cover
Design

wv:rm ftceff 1995-96

Dorothy Howard
· proof press
Marlene Mountain
LeRoy Gonnan
Dorothy Howard

Subscriptions : $20 in Canada and the USA, $24 elsewhere
Single copies : ppd $6 in Canada and the USA, $7 elsewhere
The Editors do not assume responsibility for views of contributors expressed in
RAW NerVZ, nor for copyright infringement. Unless credited otherwise, material belongs to each author, with the copyright for protection of writers and artists only.
Front cover illustration© 1990 Marlene Mountain, from her Nature Talks Back, book one:
untamed one-line haiku. crone without a cause stuff #4, edited by Brian David Johnston.
©1994 Marlene Mountain

Copyright© 1996 by RAW NerVZ

ISSN 1198-4112
Submission deadlines (March l,Junet.Sept.l,Dec.l) Sorry, no contributor copies

Submissions, inquiries &amp; subscriptions to:

RAW NerVZHAIKU

67 Court St., Aylmer (Qq CANADA J9H 4Ml
Non-subscribers enclose Canadian stamps, cash or IRC (no envelope)
Seaso11 fo taste.

�CONTENTS
HAIKU, SENRYU &amp;

TANKA

Marlene Mountain (ofc); Ruth Yarrow (3); Sue Mill, Robert C. Boyce (4}; M. B. Duggan, Catherine Jenkins, LeRoy Gorman (5); Larry Kimmel, LeRoy Gorman, Yvonne Hardenbrook (6); Sam
yada Cannarozzi (8); Guy R. Beining (15); Jerry A. Judge, Wally Swist, Nick Ressler, Alan Cohal (16); Raffael de Gruttola (20); LeRoy Gorman (21); Michael Dylan Welch, Yvonne Hardenbrook, Jim Kacian, George Ralph (22); Rick Prose, Nika (24); Alexis K. Rotella, Gloria B.
Yates (25); Ed Bennett (26); A. Eddie-Quartey, Geraldine C. Little (27): Laila Wah, Jean Jorgensen, David Eliot, Michael Ketchek (28); Larry Kimmel, Michael Dudley, A.M. Forbes, Francine
Porad, Gail Sher (29}; Arizona Zipper, Lynn Atkins (30); Tom Clausen (31); chris gordon (32);
Darold f:&gt;7'Braida {33);janice m. bost&lt;Jk, M. Kettner (34); LeRoy Gonnan (35); David Elliot, Darold Braida (36); Geraldine C. Little (3 7); Addie Lacoe, Donna Claire Gallagher (38); Yvonne
Hardenbrook, Hans Jongman, Ce Rosenow, Ronan (39); John Stevenson, Alexis K. Itotella,
Tony F. Konrardy (40); Winona Baker, Marje A. Dyck, Valerie Diane Wallace, Warren D. Fulton
(41); Robert Craig, Wally Swist (43);
A. Babusci. Makiko, William M. Ramsey (46);
LeRoy Gorman, George Ralph, Anna Vakar (47); John Sheirer, Cl:'lrles Easter (48}; Robert Major, Timothy Russell, Jane E. Stewart, Anthony J. Pupello, John Stevenson (SO); Tom Clausen
(ibc); LeRoy Gorman (obc)

IRIEIMC®I!, f}{J#lO!eJ(Ij)fMa

..

FRANGLISH INTERWEAVINGS, Richard Kostelanetz (2)

HOME FOR TilE HOLIDAYS. Jerry A. Judge (4)

WE ARE ALL SUSPECT, linked haiku, Marlene Mountain Janice M. Bostok (7)
San Miguel Haiku, Rick Prose (8)
HATE CRIMES, Pmt II, sequence, Jotm J. Dunphy, (17)
CARPOOLING OVER THE MOUNTAIN, sequence, Alexis K. Rotella (18))
WHO DOES HE THINK HE WAS? haibun, William Greenhill ( 18)

Fat Maizie's Ladies' Haikucycle, sequence,
Smith (20)
to the City Of good air. sequence, Jerry Kilbride (20)
MINIA1URE WIN1ER-a ghazal, M. Kettner (30) TREE &amp; 0 UMB TALE Jolm M. Bennett (32)

'!lBIIB LAS'lL'
sequence, Nasira Alma (33)
PRISON, sequence,JobnJ. Dunphy(33)
Marseille, sequence,JeffWitkin(3S)
ARCHIPELAGO BLUES, a Haibun in memory of Alfred, Barry Atkinson (36)
TAUGHANNOCK FALLS, haibun, John Stevenson (36)
--un t i t 1 ed--

Michel Dudley (37)

place bonaventure, sequence, Joe Blades (38)
The Bad Son, haibun, Charles Easter (42)

In Vain We Trust, rengay,Jane Reichhold

Zane Parks (42)
haibmt, Nasira Alma (42)
OLD WOMAN'S BANJO, Renga, Marlene Mountain Elizabeth Lamb Bill Pauly (49)

---ARTICLE--Remembering the Future: Language Haiku, Raffael de Gruttola(9-14)

M/.11/&amp;.JLJENJE MOUN'lfJJ.IlN POILJ£.

letters by janice m bostok(44), Larry Kimmel (44-45), Jolm Stevenson (45)
haiku by janice m. bostok (44), Carlos Colon (45)

llteflfi!Bm

(35)
from Carlos Col6n, Anthony J. Pupello, John Stevenson, Dee Evetts

A c k no w I edge na en t s, No t e s, etc.
INDEX (52)

(51)

�LanyK.immel
leaning over
the muddy boot printa white flower

Michael Dudley
from a tin
I lift out with fork tines
the spine of a salmon

A.M. Forbes
forgotten letter
folded in my pocket
space bent by time

Francine Porad
first day of school
diesel smoke
in mom's eyes
not an obscene call
the baby's
breathy noises

GailSher
noisy city
the old woman
lost in her peach
okusanjabbering into your cellular phone
this windy day

29

�</text>
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                    <text>CREDENCES
A Journal
of

'IWentieth Century Poetry and Poetics

�/

-

CREDENCES:
A JOURNAL OF TWENTIETH CENTURY POETRY AND POETICS
New Series, Volume I, Number 1.

Editor:
Robert J. Bertholf
Editorial Board:
Melissa Banta
George Butterick
James Coover
Robert Creeley
Michael Davidson
Dean Keller
Production Manager:
Stephen Roberts
Business Manager:
Sharon Schiffbauer
Design:
Joan Manias

Editorial address: 420 Capen Hall, State University of New York, Buffalo, New York
4260. CREDENCES is a publication of The Poetry/Rare Books Collection of the U niversity Libraries, State University of New York at Buffalo, and is issued three times a
year under the sponsorship of the Friends of the University Libraries. The publication of the magazine is, in part, made possible by a grant from the National Endowment for the Arts. All manuscripts should be accompanied by return postage; essays
and reviews should conform to the latest MLA style sheet. CREDENCES is indexed by
the Index of American Periodical Verse, and the PMLA Bibliography.
Subscription: Ten dollars a year. Single issues: Three dollars and fifty cents.
CREDENCES is free with full membership in the Friends of the University Libraries.
Subscription orders and remittances may be sent to: Ms. Sharon Schiffbauer, 434
. Capen Hall, State University of New York at Buffalo, Buffalo, New York 14260.
Designed and produced at Open Studio in Rhinebeck, New York, a facility for writers,
artists, and independent publishers, supported in part by grants from the National
'E\ndowment for the Arts and the New York State Council on the Arts.

g•. -

.•._.•
__

��Reviews
Andrew Stiller 179 John Cage'sHPSCHD
Bill Sylvester 186 John Matthias, Crossing.
A. Kingsley Weatherhead 193 Joyce Piell Wexler,LauraRiding'sPursuitof
Truth.
Brian G. Caraher 196 "Gather. the bits of road that were": Robert
Creeley'sLater.
Dean Keller 203 Jack \Y.C. Hagstrom and George Bixby,
Thom Gunn: A Bibliography 1940-1978.
Contributor's Notes

205

�It gives me great pleasure to present the first issue ofCredences as a publication of
the Poetry/Rare Books C&lt;?llection of the University Libraries at SUNY/Buffalo
under the sponsorship of the Friends of the University Libraries.
It is certainly appropriate that Credences, which has already had considerable
impact as a forum on modem poetry, should henceforth be affiliated with a collection internationally renowned for its focus on the development of poetry in the
twentieth century. I am confident that this new relationship will be welcomed by the .
scholarly community and that it will greatly enhance the quality of ·this already
innovative and artistic journal.
Saktidas Roy
Director of University Libraries
SUNY!Buffalo

�16

GaiiSher
#1

She stood all divine in her lash.

Grand her very presence look voice the mere contemporaneous fact
of whom multiplied by sudden magical amounts the· accuracy with
which he heard what he had said just as she had heard it. Various.
Fifty women. Her young eyes bred like linen for a wedding the effort
of an age awaiting that ceremony. They unwrapped him.

#2

The infelicity and confusion of his arm now bent around her eagerness.

Like a bride and always about her the breath almost of happy wonderful special. All this about-to-be wait-and-see she wore in her blonde
hair and the lilt with which she tip..,chinned shook it back behind her
an asset the measure of her wealth taken thereby by what she took so
displayingly for granted. Her pretty perfect teeth her very small too
small nose deferring with count-onable ease a deference he most
assuredly counted on counted more than he could say on its ready
. assignation. This quantity the crease of his lambswool jacket confident and loose hang of tie collected so completely that her tea-table
vitality pleasant public familiar served and rad,iantly settled over him ·
an altogether different an altogether self affirmation.

�17

#3

He fancied them liked them and passing through them with her more
slowly now.

Her room was high and cool and bare and opened on another room
bare to fullness with sun. Here leaning gently pressing her cheek
against the side of the recess she saw flowers a miracle of
an
exposure kept in durance as an approach her primary furniture to
what she can have thought a full and formal air. Producible. Amazmg.
#4

Saying nothing with his lips all the while pressing you so with his face.

I -

Instantly she was all there. Forgiving and from the way she managed
to invest the little cubes of embossed butter the table-linen. starched
and pressed indeed the very violets in their dish between them reeked
so sudden a violetness that it was all before :him in a flash what forgiveness was for her and how it was tremendously was what she did best.
She forgives and would forgive anything' and as she sat
the
demureness of a child her grey eye·s moving in and out of their talk his
quick large gratitude had so immediate and intense effect on his
perception as to devolve it entirely. Strange and beautiful it was to
him as he saw as he saw that he could see that he would now wondrously see always instantly by her acuteness.

�1

18

#5

There to be laid in the

English sunshine.

It was a mild day and as they rowed the long aftemoon sun cast over
boats and ripply water its own fine spray one through. which he saw
her seated straightly refreshed refurbished. Her pinkness translucent refined flaired even more pinkly pressed against black German
velvet and her long loose triple strand of waist-length pearls. These
she fingered like a rosary keeping pace with a rhythm so feminine so
private that he hearing it darkened. What unheeded prophecies this
Cassandra uttering and he her harlequin held as by a beat of air.
#6

Haunting so in her tigerish the visual.

Sht? was so happy and in her white dress and sofdy plumed white hat
sprang into
day. Something not as yet traceable (words he couldn't
catch?) some such loose handful of bright flowers fell by her as she
along the plush air now loosely now arrogantly tripped. What was it
that bold high look some form of merit some consecration breathlessly fresh. Even he in this resemblance it even did something for his
own quality marked now.as lo and behold nice in this gayness in these
new conditions at large. The day was so soft so soft. And yet as black in
its certain location can seem light and transparent so this softness
against which he daren't push claimed in yes didn't he feel it the very
whiteness of its bones colossal reserves.

�19

#7

He wanted her verve her other star.

She knew. The dark room rode her recognition bearing in its wake a
dim parenthetical vocabulary. For it wasn't directly or with a freedom
that she surrendered shyly extending as it were a timid hand. This
process articulated by its givings out took place in her heart like a
habit with all the handsome formalities of a habit which it then fell to
her to sacrifice. Bum she thought she pleaded for the light and
warmth of it for the cool soft drift of it. Here was a location. Here was
an other spot to which she could ride without flame. Free-hand she
could ride this memory a constellation bright and new and airless.

#8

Her lungs the sperm of air too-tropical.

Luxuriant on the crest of whirling silver sapphire her life like a
carousel poised at high speed. Realization inassed like a wave and
softly rocked the
wooded air the too colorful shadow in which she
too at once too vulnerable. What she had as part of her own process
been avoiding rose as a dread the merest allusion to which exhilarating ineffable stripped her to the account of a new nakedness. So it was
that she admonishing what had become for her a vigilence reproved
even more mildly the sense in which he surrounded everything that
touched him with an elegant permission an indifference she could
just now barely make out as that which rendered him above all merciful or even it began to gleam brilliantly beneficent. Its consecration
dawned on her there flushed for all its intimacy and conferred on her
as a forest of august shade the umbrageous protection of her own
derivation.

�20

#9

Planting trees not out of politeness.
Two in winter.

The day had turned to heat and eventual thunder as he lay along the
river bank old old old. His thoughts blue and in the pebbly water
trembling deepened with the tone of the sky as he lay concentric halos
of waves lapping every ounce of foamy ooze somehow a syllable in this
dream. This dream this blue-grey dreamy rocking the slight rock of a
couple of small boats bumped against the landing undressing in their
long cool tired line the willows with no waist. Too old. Too tired in the
sandy bottom of this special shade of speech the talk was it chatter of
the darkening.

:.t

.,

\

\

�</text>
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