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Image#3: Carol Rusinek

the fairy folk
have forgotten their clothes
on the line

Gabriel Rosenstock, Ireland
(The Abbot of Dublin)

an'ya: A very unconventional haiku, however, for me personally, this haiku enhances the photo so much that I had to chose it. This is no ordinary clothesline in someone's back yard, rather this looks like a clothesline in the woods! And when I think of woods and forests, I think of fairy folk, wood nymphs, spiderwebs in the woods even being called "fairy bridges". What more can be said?

teasing-
her bedclothes billow
in the breeze

Doris Kasson, USA

soji: I selected this one because it was fun. There is a site, and a group, that promotes the idea that fun/humor, has been removed from haiku, and to some degree that is probably true. After the second reading or so I realized that the poet is so smitten with the "her" in the poem that he believes she is teasing him by hanging her bedding on the line. As George said in "Yellow Submarine," It's all in your mind."

an'ya: This one has nice alliteration with all the "b's," yet it's still natural sounding. It also gives this photo an erotic feeling to it that normally we might not have even noticed, as well as a touch of humor. It definitely has a "spring fever" feel to it.

clothes dried on the line-
the spring morning
still in the folds

Adelaide B. Shaw, USA

an'ya: In this haiku, I can see spring, smell it and feel it, but would only suggest a shorter first line of "line-dried clothes, and "a" spring morning in line 2. Overall, this one is quite a nice addition to it's photo-counterpart.

second wife
the freshness of spring
fills sun-dried sheets

John Bird, Australia

soji: So many times, personal biases are the basis for the reason anyone, judge, editor or reader, likes a particular haiku, and this is certainly the case here. But, aside from my own experience, this one and my other selection have a freshness I found lacking in many of the other submissions. Too many folks are trying to get everything in the picture into the haiku, which doesn't leave room for a whole lot else, or leave any room for the reader to feel a part of the creative process, or feel their own emotion, because the poet has already told them what to feel.