The 10th and final issue of the much-loved journal, Windfall: Australian Haiku, was released in January 2022.
Windfall is an annual journal edited by Beverley George and published by Peter Macrow at Blue Giraffe Press. The cover artwork is by Ron C. Moss, with design and layout by Matthew C. George.
Originating in Japan, the popularity of this short poetic genre has spread widely around the globe. Australian interest in haiku dates as far back as 1899 when an Australian haiku competition was conducted(1). Subsequently, in the 1970s, Janice Bostok produced Australia’s first haiku magazine, Tweed(2).
More recently, the Australian journal, paper wasp, ran for 20 years until ceasing publication in 2016 and, with the internet leading to growing interest in the genre, other print and online journals have encouraged and supported the writing of haiku.
For the past ten years, Windfall has focused solely on haiku about Australian urban and rural life, written by Australian residents. These poems have incorporated many elements of our landscapes, seasons, flora and fauna into the haiku form.
spring equinox over the moonlit creek a pobblebonk chorus
Mark Miller
leading into sundown dingo tracks
Tom Staudt
virgin rainforest ninety-four rings on a fresh cut stump
Andrew Hede
Nature haiku such as these enable Australians and others to appreciate images and sounds associated with the birds, animals and plants of this country.
waning moon in the mangroves fireflies stir
Maureen Sexton
rising heat a jabiru crosses the sun
Cynthia Rowe
winter afternoon — golden wattle glows on black sky canvas
Sheryl Hemphill
Windfall has chronicled some of the best Australian haiku for a decade. Issue 10 presents haiku by 63 poets. By my count, 20 of these poets also appeared in Issue 1, which suggests around 40 of the current Windfall poets have emerged in the intervening period. The growing Australian haiku community certainly includes a healthy influx of fresh voices and fresh ideas.
Some poems in Windfall relate to the interaction between nature and the human environment.
opera house steps a long-nosed fur seal soaks up the sunshine
Vanessa Proctor
rainforest glade an empty packet of Smith’s catches the sun
Nathan Sidney
While others use local flora and fauna to portray aspects of Australian behaviour and culture.
black cockatoos in tree shadows he stops treatment
Earl Livings
beachside walk the roughness of banksia pods
Nathalie Buckland
dunny without a door . . . the Milky Way
Leanne Mumford
Credit for Windfall’s success must go to editor, Beverley George, and to publisher, Peter Macrow. Beverley’s deep knowledge of the haiku form has enabled her to assemble a marvellous selection of Australian haiku for each edition of Windfall, while Peter has supported the journal throughout its life.
Beverley George selected the following haiku to conclude the 10th issue of Windfall. It was a wonderful choice, with the poem capturing a quintessentially Australian scene. But, more than that, the poem does not despair about ending. Rather, the poem celebrates the vitality of birth and renewal.
sheltered paddock the udder punch of a newborn
Glenys Ferguson
For ten years, Windfall has made an important contribution in recording the work of Australian haiku poets. Now, we all look to the future.
Review by Gregory Piko
A limited number of back issues of Windfall (No. 4 to No. 9) and of the final issue (No. 10) are available for $10 per copy, postage included. Cash or stamps are welcome, as are cheques payable to Peter Macrow. Please address to:
Peter Macrow 6/16 Osborne Street Sandy Bay TAS 7005
A great review of Windfall Issue 9 and I feel very excited to get a mention in the review and feel proud to be mentioed with such good haikuists.
Windfall: Australian Haiku Issue 9, 2021 – Review
Review by Simon Hanson
How fortunate we are to have a journal like Windfall: Australian Haiku, showcasing as it does, the best of Australian haiku— bringing together familiar and new voices (and the new voices are exciting). This issue, like those before it celebrates many and varied aspects of Australian life in its country, coastal, urban and domestic settings accompanied by a host of perceptive observations around season, landform, flora and fauna and the lives of people.
we slow our stroll
to another time
outback town
Glenys Ferguson
perching magpie
the blackened stump
seamed with ash
Gavin Austin
In reviewing any journal or anthology one is invariably faced with the task of singling out particular poems for mention. There is some discomfort in doing this, made all the more acute in this instance given the quality of the entire collection. Let it be said that one could happily include any of the haiku presented in this issue as worthy of mention here. The inclusions I make here are a means of indicating something of the range of subject and style to be found in the whole issue— and a wonderful issue it is. The real task of selection has of course been done by its editor, Beverley George, choosing and sequencing 63 haiku from some 560 submitted poems, the size of the journal inevitably limiting the number of acceptances to the most outstanding haiku from the many received. We may be assured that the entire process of editing is heartfelt and undertaken with much thought and feeling over many, many weeks— as has been the case with each issue over the past nine years— what a contribution to our haiku community.
colour splashed
on a grey day canvas . . .
rainbow lorikeets
Gwen Bitti
warm breeze from south west
the main and jib on hard
beating to the mark
Brian English
An editor does far more than select and organise work for any given issue. The challenge and value of quality editing is not only to give the published poets a recognised voice but to produce a publication which offers reader enjoyment and a large measure of inspiration for further creativity. Come June and July each year many of us turn our minds to Windfall: Australian Haiku, becoming perhaps a little more attuned than usual to the “…experience of urban and rural life in Australia…”. In revisiting past issues, we might gather amongst other things a sense of what might appeal, refreshed again by the creativities of others. Of course there is the occasion of ‘that moment’behind what we do in writing haiku, but I know also— there are many haiku that are written because of Windfall. Poets only partly own their creations, much of what we do is done with others in mind and always in the larger context of the broader culture of art and poetry, local and further afield, current and historical— and for this I am grateful.
autumn stroll,
on the cement footpath
a gum leaf’s imprint
Samantha Sirimanne Hyde
outdoor pot plants
a sunshower
from the watering can
Judith E. P. Johnson
There are haiku here that speak deeply to the heart, move us in their poignancy.
op shop –
all the teddy bears
sold out
Lyn Reeves
I watched that day
her last walk by the beach
. . . ebbing tide
Colleen Keating
Others of a lighter note add a touch of humour, yet we recognise them as authentic, set in familiar circumstances.
beach picnic
a dog races past with
a ball in its grin
Norma Watts
country show
the pink stickiness
of a child’s smile
Glenys Ferguson
There are those that speak of deep time and turn our minds to the spirituality of this land and the ancient cycle of seasons
red river gums –
guardians of stone stories
in dry hollows
Susan Grant
frog chorus
the rhythm of raindrops
on the pond
Maureen Sexton
And some that may leave one agasp for their sheer beauty
snowy eve
amid cloud tatter
cold stars gleam
Kent Robinson
wood duck
cracking ice puddles
pink dawn
J L Penn
Then there is this gem that in so few words, brings home once again the fleeting nature of things, the passing of time, as the years flash by, evermore quickly so it seems.
in a puddle
for this moment
fast train
John Low
Windfall: Australian Haiku is literally pocket or handbag sized. It couldn’t be easier to take on the bus or train, to the park or garden bench, or when visiting friends. In fact, to take anywhere. With a handsome cover created by Ron C. Moss, the whole booklet beautifully designed and laid out by Matthew C. George and the whole enterprise so ably managed and published by Peter Macrow for his Blue Giraffe Press. And as a nice touch the inside back cover lists an annually updated list of recent Australian Haiku Titles. Pocket sized yes, but huge on stature.
The next issue of Windfall will be the last— it will mark ten years as one of our premier haiku journals; an Australian treasure; something to celebrate…
