Global harvest traditions and the quiet, rhythmic pulse of the changing seasons have taken center stage in the latest installment of the Asahi Haikuist Network. In a globalized reflection of late-summer transition into autumn, poets from Bulgaria to Brazil and from Tokyo to Toronto have united through the delicate art of the haiku, capturing a world caught between the lingering warmth of the sun and the encroaching bite of frost.
This week’s column, curated by longtime editor David McMurray, highlights the universality of nature’s cycles. Contributors turned their lenses to the intimate, often overlooked details of daily life: a split fig leaking seeds in Poland, the smell of forest berries in the heart of Warsaw, and the humble, yet essential, act of gathering produce. The collection serves as a poetic diary for a planet in flux, documenting everything from the economic pressures of rising food prices in Japan and Turkey to the simple, evocative joy of a child “calling dibs” on a chrysalis in a Minnesota garden.
Educational and cultural themes also permeated the submissions. In a classroom at Ankara University, students were encouraged to engage with nature to improve cognitive performance, leading to a series of verses centered on the autumnal harvest. Meanwhile, in Seattle, the interplay between culture and tradition was on full display as passersby requested on-the-spot poetry at cultural festivals, resulting in verses that transformed the mundane—like a baby stroller in the summer wind—into moments of profound stillness.
The intersection of technology and ancient tradition provided a unique focal point for the community. Ukrainian artist Denys Rzhavskyi and composer Christopher Bo debuted an audiovisual project, “I BASHO,” which translates the traditional Japanese haiku into a modern experience of rhythm, electronic sound, and moving imagery. Their work seeks to answer a provocative question: what remains of the haiku when it is stripped of its written structure and reborn as sound and light?
As the harvest season winds down, the network’s contributors are already looking ahead to the darker, more mysterious months. The transition from the abundance of summer—characterized by cherries, melons, and sweet potatoes—to the reflective nature of autumn is marked by a communal shift in perspective. Whether it is a mother in Iowa brewing preserves in a “witch’s pot” or a traveler in Iran reflecting on the tradition of leaving fruit on trees for those in need, the global haiku community continues to find connection through shared seasonal observations.
The column concluded with a look toward the next issue, scheduled for October 30, which will invite readers to explore the “fear of the unknown.” As the northern hemisphere cools and daylight saving time comes to an end, the network remains a vital, rhythmic bridge connecting poets who, regardless of geography, find the same wonder in a falling leaf or a shimmering water strider.
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