About the Author:
Sayumi Kamakura was born in Kochi Prefecture, Japan, 1953. She began composing haiku while a student at Saitama University and studied haiku under the guidance of Toshiro Nomura and Sho Hayashi. In 1988, she won the Oki Sango Prize. The lyrical style of her haiku attracted attention, and in 1998 she established the haiku magazine Ginyu with Ban’ya Natsuishi, and has been its Editor since that time.
She has attended international haiku or poetry festivals held in Japan, Slovenia, Portugal and Bulgaria. In 2001, she won the Modern Haiku Association Prize. Her published haiku collections include: Jun (Moisture, 1984), Mizu no Jujika (Water Cross, 1987), Tenmado kara (From the Skylight, 1992), Kamakura Sayumi Kushu (Haiku of Sayumi Kamakura, 1998). Hashireba haru(Run to Spring, 2001), She co-authored Gendai Haiku Panorama (1994), Gendai Haiku Handbook (1995), Gendai Haiku Shusei Zen 1 Kan (Contemporary Haiku Anthology in One Volume, 1996), etc.
She also published, in both Japanese and English, A Singing Blue: 50 Selected Haiku (2000). Her haiku has been translated into English, Greek, Russian, Bulgarian, Portuguese and Korean. She is a member and Treasurer of the World Haiku Association.
About the Book:
The Haiku of Sayumi Kamakura: A Critical Study is not restricted to the critical elucidation of her masterpiece A Crown of Roses; it also relates the use of the cutting word ‘kiriji’ in her numberless haiku published in her different other collections and several international literary journals. This volume rests in part on Sayumi Kamakura’s manuscript sources, and on facts collected through interviews or correspondence. But most characteristically it is an attempt at critically interpreting the vast body of Kamakura’s published haiku in her several collections, and also international literary journals and magazines In this substantial, powerfully argued convincing collection of critical views, the authors across the globe demonstrate how Sayumi Kamakura succeeds in presenting ‘distillation of a moment’ in her haiku. It is fitting that the included essays draw extensively on illustrations from her haiku. This is a distictive presentation of her haiku transcending race, creed and ideology. I hope this critical book with deft cmmentary and up-to-date information on Sayumi Kamakura’s haiku will meet the needs of all haiku lovers.
The contributing authors are Cristina Azcona, Salvatore Buttaci, Marc Carver, Magdalena Dale, Floriana Hall, Jim Kacian, Santosh Kumar, Jean LeBlanc, Maria , Vasile Moldovan, Suzie Palmer, Adam Donaldson Powell, Patricia Prime, Fran Shaw, Joseph S. Spence, Sr, Petar Tchouhov, and and Azsacra Zarathustra.
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