rain roof patter
drums rhythms in my dreams
as tides of moonless darkness fill
Deborah P Kolodji
SP Quill, Fall/Autumn 2005
I also have four haiku in what will probably be the last "Asian Verse" section of the magazine. ShadowPoetry has started a new print haiku journal, "White Lotus", instead.
In my opinion, the "Asian Verse" section is the strongest part of the magazine, with haiku by Ron Moss, Stanford Forrester, and others so I'm a bit sad to see it go.
The editor is talking about perhaps having a periodic cinquain section to replace the biannual "Asian Verse" section, which would be nice for the cinquain form. Originally, the "Asian Verse" section of SP Quill had included cinquains, but at some point they realized the cinquain is an American poetic form not an Asian one.
It is ironic that haiku and tanka writers seem to be the ones who appreciate the cinquain form the most, yet cinquains are usually not included in haiku journals, with the exception of Hummingbird, which considers itself more of a "short verse" journal than a haiku journal.
But not all short verse journals welcome the cinquain. I have yet to get Harold Bowes to take a cinquain for Alba, for example, since his focus is free verse short verse.
In general, I focus on regular mainstream and genre journals as potential markets for my cinquains. My goal is to make the cinquain flow so naturally, and make each line break so logical that the editor might not notice that it's a syllable counting form poem. Or, at the very least, the editor is not distracted by words thrown in to pad syllables or lines that seem to be missing a word to take away a syllable.
In "October Storm", "rain roof patter" may seem to have that extra word thrown in, but my hope was that the rhythm of "rain roof patter" would mimic the sound of heavy rain pattering on the roof.