The World Haiku Review is the Magazine of the World Haiku Club and has been published since 2001.
On this page –
Links, Editors, Open Submissions, Submission Guidelines, Indications for Haiku Selection, the Classification of Haiku and a Short History of WHR.
This is the new website after the old one was corrupted during the transfer from one google site to another. Those pages will be relocated in time.
As of 2021 this is the new website.
The old World Haiku Review website from 2008 to 2020, which was corrupted in transit and still needs work.
The World Haiku Review Archives where whatever was salvagaeble from the earliest issues, from 2001 to 2007, via the Wayback Machine, has been collected. Some has been lost but but many exciting work remains ranging from haiku and other forms to scholarly articles.
Amazon.com link to Fuga No Makoto, available as an ebook. Ten years of best haiku collected from the pages of the magazine for your reading pleasure. Whichever country you come from, you can use this – B07N5L8ND1 – copy this ASIN number into the Amazon of your country for the book page.
Managing Editor & Acting-Editor-In-Chief: Susumu Takiguchi
Editor: Rohini Gupta
For queries or information, email :
Rohini Gupta at email@example.com
The Spring 2023 Issue with the R H Blyth Award
Deadline – 31 January 2023
Clarification – the Spring issue is only the R H Blyth Award. Please send only 3 haiku.
The tide of time advances whatever our current predicament is, be it a pandemic, runaway inflation or war. So we look forward to the time beyond winter. To celebrate the forthcoming spring, the next issue will feature the R. H. Blyth Award
The R. H. Blyth Award
HAIKU POEMS IN ENGLISH OR IN ENGLISH TRANSLATION: THREE haiku poems which are inspiring, refreshing and exciting, and which have not been published or are not considered for publication elsewhere.
Please make sure to send them to BOTH of the following addresses: firstname.lastname@example.org AND email@example.com . If you send them only to one address, they could get lost in the procedure. Also, please do not send them in attachments, which will not be opened for security reasons, but within the email text.
AWARD: 300GBP (British pound sterling) minus money transfer charges.
DEADLINE: Tuesday 31 January 2023.
SUGGESTED THEMES: “War” and/or any Seasonal Subjects at your northern or southern hemisphere location during spring (autumn) months (These themes are not obligatory but shown here only as a suggestion. It could be the war in Ukraine or wars in general). The only criterion for selection is quality.
FONT SIZE ETC.: The font “Ariel”, size 14 and presentation of your haiku should be in the simplest and most straightforward format, all lines starting from the left margin, avoiding fanciful layout and special formation, which will be changed anyway. Along with the poems, please do not forget to write your full name (indicate the surname), the country you live in and your email address (Past submissions without these have caused problems and/or rendered the works as ‘not to be considered’).
COPYRIGHT: By submitting your works, you will be assumed to have consented to giving us permission for any, or all, of them to be used in the future as the WHC think fit for the good promotion and advancement of haiku literature (e.g., an anthology, collection of essays, or individual papers). Copyright belongs to the author and credits will be mentioned.
HAIKU CLASSIFICATION: WHR will decide to place each selected haiku poem in either the Neo-classical (very traditional), Shintai (or new style) or Vanguard (most radical) sections according to its characteristics and merits. You, as the author, therefore, need not worry about this classification at all. Just send what happens to come out best and we will do the rest.
OTHER WORKS RELATING TO HAIKU: Haibun, articles, essays, haiga or book reviews on haiku etc. Just send in whatever you think would deserve publication in WHR. Once again, quality is the only criterion for judgement.
We wish to endeavour to present a unique haiku magazine which, while deeply rooted in tradition, is full of new ideas, innovative features or critical views. It will continue to aim at the highest standards and top quality.
Kengin to all,
Managing Editor and Editor-in-Chief, World Haiku Review
Chairman, The World Haiku Club
Full guidelines are below.
We look forward to seeing your work but please read the guidelines below.
These are general guidelines. For the Spring 2023 issue please send only 3 haiku.
What to Submit :
Haiku poems in English or in English translation, traditional or non-traditional on any topic, free or formal style, kigo or muki.
Up to ten poems which have not been published or are not considered for publication elsewhere.
The themes are only suggestions and you do not have to follow them.
As for other works relating to haiku (haibun, articles, essays, haiga or bookreviews on haiku etc.), just send in whatever you think would deserve publication in WHR. Once again, quality is the key.
If you have books which you wish to be reviewed, please send a review copy to firstname.lastname@example.org or send a review copy by post to WHC HQ, Leys Farm, Rousham, Bicester, Oxfordshire OX25 4RA, UK.
How to Submit :
We accept submissions by email only. No snail mail please.
Submit in the body of the email and not as an attachment. We do not open attachments.
Keep it simple, no fanciful or decorative fonts please. Arial, 12 pt and left justification.
Please include your full name and the country in which you live.
In the subject line of the email put ‘Submission’ ,followed by what you are submitting and your surname.
For example : Submission – Haiku – surname.
Submit to both these addresses please :
You will get an auto response from the worldhaikureview email. If you send them only to one address, they could get lost in the procedure. [Please do NOT send your submissions to Kala Ramesh as she resigned in March 2019]
Due to the volume of haiku we receive we do not send acceptance letters but all submissions will be auto acknowledged when they come in. When the issue goes up you will know if your haiku has been accepted.
Issues may have a theme which we will put up here. Do check just before the next issue. WHR publishes usually two or three times a year.
We ask for first publication rights, after which all rights revert to the author.
The copyright remains with the author but please mention the first publication in WHR on any subsequent publications.
We also reserve the right to publish in an anthology or collection.
The only criterion for selection is quality so please send us your finest work.
We will put selected haiku poems in either the Neo-classical, Shintai (new style) or Vanguard sections according to their characteristics. You need not worry about this classification. Just write whatever haiku your muse dictates, choose the best and send them to us.
We wish to continue to endeavor to present a unique haiku magazine which, while deeply rooted in tradition, is full of new ideas, innovative features or critical views. It will continue to aim at the highest standards and top quality as before.
Kengin to all,
Managing Editor and Acting Editor-in-Chief, World Haiku Review
Chairman, The World Haiku Club
Indications for Haiku Selection
Those likely to be REJECTED
1.Hackneyed, clichés, imitative or derivative;
2 ‘So what?’ haiku;
3 Too short to be good;
4 Made artificially vague or unintelligible (false ‘yugen’);
5 Gimmicky as opposed to real skills;
6 Bad English;
7 Template-like, or ticking-box-kind factory haiku;
Those likely to be ACCEPTED
1 New and/or original;
2 Have something to say;
3 Reflecting poetic truths, sincerity and honesty;
4 Coming from your heart and soul;
5 Based on your real and deep experiences;
6 If products of your imagination, true, fine and deep at that;
7 Transcending rules & regulations and yet good;
8 Good choice and order of words;
9 Have good rhythm;
10 Pictorial and/or musical and other sensory feel;
11 Have some sense of humour;
12 Reflecting the grasp of the essence of haiku (a sense of brevity, humour, somewhat detached view or karumi)
Indications for Selection of Other Works
Basically, many things about haiku would apply to them as well. Additionally:
Those likely to be REJECTED
1 Repeating what others have said many times;
2 Trapped by and subservient to rules and regulations;
3 Uncritical parroting of received views or conventional wisdom;
Those likely to be ACCEPTED
1 Critical (the more so, the better);
3 New contributions to the understanding of haiku;
The Classifications of Haiku
Neo-Classical, Vanguard and Shintai
Some people are asking what on earth is Shintai haiku, or Vanguard haiku. The classification is just like the titles of a filing cabinet in order to avoid unnecessary polemics about what is and what is not haiku.
There are now so many different varieties of haiku that defining haiku seems to me to be almost like fighting a losing and pointless battle.
So much so that we had better say that “Haiku is haiku if the author says so.” All the rest is only one real and essential question: Is it then a good poem?
All haiku poems can conveniently be divided into three categories according to how traditional or radical they are.
The most traditional end is grouped together under the Neo-classical with stringent kigo or 5-7-5 rules.
The most radical (freest) end is classified as the Vanguard.
Anything between these two falls into the Shintai (or new-style).
The borderline cases can go either category depending on the perception of a haiku poet who creates or reads them. And whichever category they may go, it does not matter.
A Potted History of World Haiku Review
by Susumu Takiguchi
World Haiku Review (WHR) is a major online haiku magazine which began its life in 2001 as an ambitious project to disseminate, study, develop, and above all, enjoy haiku literature worldwide, the likes of which had never been seen before. This followed the foundation three years previously of The World Haiku Club and was intended to be one of its two engines to drive forward the mission for which the Club was created. The other engine is the body of actual haiku activities in the physical sense, i.e. in the ‘real’ world, as distinct from the ‘virtual’ world in which the online magazine operates. These real world activities include organising international conferences of the World Haiku Festival (WHF) in different countries, delivering speeches and lectures on haiku for cultural and educational institutions and conventions, running haiku seminars and workshops at schools and community centres, to name but a few. These events have been reported in the subsequent issues of WHR.
WHR was the brainchild of Susumu Takiguchi, Chairman of the World Haiku Club, and Debi Bender, its founder Editor-in-Chief, who, in addition to the magazine’s policy formation with him, was the main architect of distinct editing, WHR’s most original presentation format, smart and playful illustrations and innovative and enticing website construction. Each new issue became a showcase for new inventions and explorations. Being a unique online haiku magazine of its kind, WHR enjoyed ever-increasing growth and sustainable popularity for many years. It was rich reading and a rare place to learn. It also provided a model for many other similar magazines in different parts of the world to follow to this day.
And then tragedy struck. The website of WHR disappeared without warning. Even now, the real cause for this disaster is unknown. It could be cyber theft. It could be caused by some serious breakdown of the Yahoo system. It could be… Whatever may have been the cause, it was a completely unexpected catastrophe and the magazine vanished. One heart-warming thing that happened after that was the fact that people kindly volunteered to collect some contents of various issues of WHR which were saved in their sites or private database and archives. It was like the work of those who tried to rescue whatever could be saved from the flooded homes or earthquake rubble.
Among those selfless people was someone who took the matter to a totally different level. That was Rohini Gupta. She offered to do two amazing things for WHC. One was to compile all those countless fragments of haiku poems and articles from the lost issues by going through the digital rubble in the cyber space and editing them painstakingly into a proper archive, the work which she still continues doing to this day. She has done this to preserve the contents which have been so much enjoyed by so many haiku lovers across the world, have inspired them, encouraged them and taught them, as well as for the benefit of future readers.
The other stupendously good deed she did was to resurrect WHR like a phoenix from the ashes and help launch a reborn WHR on a new website she created single-handed. This was in 2008, a memorable year when the successful 9th World Haiku Festival of WHC was held in Bangalore, India. She was an enthusiastic participant there and was deeply moved by what WHC was trying to achieve in the world haiku movement. The organiser of this important event, Kala Ramesh, also joined the editorial team. She had before been the leader of a very popular WHC’s mailing list, WHCindia.
With the fresh start and new complement, WHR went on producing steady and high-quality issues, acquiring new readers while keeping old friends. The World Haiku Club has created a method of encompassing all haiku while at the same time honouring different styles and contents. This is the now well-known division of haiku into three categories: Neo-classical, Shintai (new style) and Vanguard, according to the degree of traditionalist or progressive approaches to haiku. The beauty of this method was instantly recognised in that any and every haiku will of necessity fall into one of these categories (some across the borderline and wouldn’t matter which) and the totality of the three will capture the entire haiku even if written differently. This has effectively served to free people from what is essentially a futile and even harmful attempt at defining haiku (i.e. pushing your school or style of haiku and rejecting all others), leading to conflicts and controversies, which is nothing but a complete waste of time.
In addition to selecting high-quality haiku and related genres, WHR’s features have been well-received. For example, a long series of articles on Mukai Kyorai (1651-1704) was an in-depth analysis of this leading disciple of Basho. Similarly, One Hundred Haijin After Shiki is a long-running feature taking up one hundred Japanese haiku poets who have proved Shiki wrong in predicting that haiku would soon perish out of existence.
When the tenth anniversary was approaching of the rebirth of WHR, in 2019, it was decided to organise something special to commemorate its achievements. The commemoration took three worthy shapes:
(1) Publication of a haiku anthology: Fuga No Makoto
(2) Organising a haiku festival in India
(3) The R. H. Blyth Award.
All three proved very successful.
Most recently, Rohini Gupta created a brand new website for WHR on WordPress, following the Google’s most unhelpful decision to discontinue their provision of website platform. The new website could be said to be the launch of the third generation WHR, which keeps on going strongly in spite of the occasional but serious cyber-attacks. It also marks the 20th anniversary of this resilient magazine.
So, there is so much to celebrate.