Disappointed Sparrow [Kyōka]

Photograph of a large, bowl-like, mushroom stuck to a tree in a forest. Taken along the Big Creek Greenway in Alpharetta, GA.
birdbath grows from
fungus on a dead log;
flitting sparrow
is disappointed to find
no water remains within.

False Heralds [Tanka]

Photograph of Tbilisi, Georgia in the Spring with wildflowers in the fore and city as backdrop.
city landscapers
find year-round blooms for planters,
but I'll await
the wildflowers that grow
way up on the hillside.

Stump Gator [Kyōka]

Photograph of a young alligator resting on a stump in the Louisiana bayou, near Slidell.
Gator rests on stump.
but my mind cannot rest.
it's not "gator"
and "stump" in the same place,
but in the same sentence.

Pristine Garden [Kyōka]

A photograph of gardens in the Daereungwon Tomb Complex in Gyeongju, South Korea.
Even in the 
pristine palace garden,
gardeners refuse
to chase one stray, wind-blown leaf
that tumblers over pavers.

Chill Induced Memory [Tanka]

Taken in Fountains Square in Baku, Azerbaijian.
the memory
of an outdoor cafe
at city center
comes to me out of the blue,
on a frigid Winter day.

Autumn Grasshopper [Tanka]

A grasshopper hanging on a branch of desiccated leaves at the end of Autumn.
climbing grasshopper
clings to gently bouncing branch;
sure to fall
before the next crunchy leaf
succumbs to Autumn breezes.

BOOK: “This and That” by Ryōkan [trans. by Stan Ziobro and John Slater]

This and That: Selected Short Poems of Zen Master RyokanThis and That: Selected Short Poems of Zen Master Ryokan by Ryōkan
My rating: 5 of 5 stars

Publisher Site — Monkfish Books

Release Date: March 24, 2026

This is a new selection of Ryōkan’s short poetry (haiku, tanka, and Chinese-Style poems) as translated by Stan Ziobro and John Slater. Ryōkan was a Buddhist monk who lived across the late 18th / early 19th century. These translations are evocative and present the sometimes whimsical and sometimes haunting work of Ryōkan well. While the forms are just three, i.e. haiku, tanka, and kanshi [Japanese Poetry in the Chinese Style,] the style varies, some being imagist and some being more philosophical. Being a monk, Ryōkan’s work is heavily influenced by a Buddhist worldview, as well as by philosophies that interacted with Buddhism — e.g. Taoism.

While I usually have no basis to judge a translation as translation and am left to reflect on it purely as stand-alone verse, in this case, I have enough experience reading translations of Ryōkan to have a feel for his work. I immediately recognized some of Ryōkan’s more famous poems: e.g. the one’s translated in this book as, “Poems? no way // when you see that my // poems aren’t poems // then we can talk poetry” or “Left behind by thief // bright moon // in my window” Yet, at the same time, I felt the translators left some of their own imprint on the poems, and their influence / voice resonated with me.

The book does have front matter to set the stage for readers, and there is a “Notes” section that includes useful background on the poems. I found this ancillary matter useful, but not excessively verbose or intrusive.

If you enjoy Japanese poetry or Buddhist influenced poetry, I’d highly recommend this selection.

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Calabash Time [Kyōka]

bowl in the right
calabash in the left:
drunkard empties
& then fills his cup --
amid missing time.

That Time of Day [Tanka]

once a day
light from the setting sun gleams
off the gold Buddha,
and shines through a window
across the boulevard.

Dragonhead [Tanka]

dragonhead
rises up out of a cloud,
over the city.
how many see the cloud,
but not the dragon?