like water in desert
the beauty of you quenches
my lips part – breath gasps
for the feel of your strong arms
that have yet to hold me close
><——><
a bloom of scarlet
stark against a white canvas
then sheets – now snow drifts
both give note to the battles
of my birth and of my death
><——><
where there is no sound
one hears how your voice trembles
its timbre thrills – pains
gripped in memory’s cruel grasp
yesterday haunts tomorrow
<>==========<>==========<>
Today at dVerse Toni has us exploring the Tanka in its more traditional use. Having written non-traditional and super tanka before, I challenged my self to string a few together for something of a little narrative. The first tanka above are lovers at first sight, the middle – a soldier’s poem on his birth at his death and the last tanka – the lover left behind who remembers.
Tanka have a 5-7-5-7-7 syllable count, per line. The first two lines of the tanka are known as the kami-no-ku – upper poem, the last two lines are the shimo-no-ku – lower poem. The third line. middle line, is the kireji or, cutting line or pivot denoting the difference between the two parts. This is important to remember when writing tanka. There are also no uppercase letters, no punctuation (except for the short dash, like an aspirated breath) or title. Tanka are subjective and can be emotional, opinionated, sensual, and lyrical. They move back and forth through time and use elegant phrases or euphamisms, simile and metaphor.
Raivenne-lations 