The Subtle Realms of Dietmar Tauchner

DT Rose

— haiku by Dietmar Tauchner

How can we experience some of the vast portion of reality that exists beyond mind and even beyond form? The haiku of Austrian poet Dietmar Tauchner seem to me like an excellent place to start.  Tauchner’s  poems feel like vibrational conversations with multidimensional reality and speak a language of the soul “which commonsense hesitates to confront ” (Gooding, Intro to Surrealist Games). And they exhibit some of the magic of the best haiku … they engage the heart, and they use language — the medium of the mind — to help redefine mind.

 

 

bullet train   the world    unformed

 

 

at the abyss
lilac scent
at the abyss

 

 

 

—  Dietmar Tauchner

 

What might we discover if we learn to open to more of the invisible and subtle energetic realms, as it is said that 94% of reality is currently unknown to us? Tauchner, who writes such deeply subtle and sensitive haiku in English even though his first language is German, may well be a step ahead of us in the journey.

 

What is the aroma of a poem?
          Something that is breathing me in

Question Dietmar Tauchner,  Answer Michelle Tennison (2017)

 

The Integrity of the Heart

Version 2

Opening Sunflower, photograph by Michelle Tennison

 

What if we can feel our way through illusion with the integrity of the heart? Novel universes might be waiting there.

What does the heart see that the mind cannot?
          The aisle to eternity

Question Michelle Tennison,   Answer Dietmar Tauchner  (2017)

hold hands

to hold hands with the sound of the ocean, ink on paper, Michelle Tennison

 

 

Writing haiku is its own kind of question -– a request, a desire for union and a merging, —  entered into through the mind and the heart. What is it to be you, sky? goldfinch?

Can we hold hands with the unseen realms?
                    On a clothesline between stars worn out jeans

Question Michelle Tennison,   Answer Dietmar Tauchner  (2017)

 

 

Dream Haiku for Kaneko Tohta

 

The following haiku is from a dream, copied down verbatim.  At the time I knew it was written in response to, and in honor of the work of Kaneko Tohta:

 

 

                    at what point 
                    during the A-bomb
                    did the cherry blossoms bloom

                                         now gone

 

How did the impact of Tohta’s poetry weave a way into my dreams?  His work was largely unknown in the west until the publication of a series of works translated from the Japanese by The Kon Nichi Translation Group,  (of which Richard Gilbert is a member).  The strikingly original imagery and often surreality of Tohta’s haiku cause them to linger in the consciousness long after reading.

I was struck by his unflinching, matter-of factness when addressing topics like the war and the unspeakably horrific Atomic bomb:

one dog two cats
we three finally
not A-bombed

 

This alongside his gift for transcendently sensitive imagery reflecting on man’s relationship to Nature makes Tohta’s work remarkable, moving, and deeply affecting:

we all flow, float away

                       the sea tide stays

 

The two haiku above are from Kaneko Tohta: Selected Haiku With Notes and Commentary, Part 2:  1961-2012, published by Red Moon Press in 2012.

 

Of note:

Scott Metz has written an exploration of Tohta’s blue sharks haiku, including numerous possible translations from a variety of sources, as well as a look at the unexpected role of surrealism in haiku. This R’r blog entry is well worth a second or even third read and can be found in the Roadrunner Haiku Journal  archives here:

https://roadrunnerhaikublog.wordpress.com/2012/01/22/kaneko-tohtas-blue-sharks/

 

 

Lose your mind and come to your senses — Fritz Perls

I live for those wild — and strangely peaceful — moments when I am given a rare objective glimpse into the universe of thought.

Am I here?
          the fragrant molecule
                       on a path
                 to wilderness

Question Michelle Tennison,  Answer Richard Gilbert (2017)

The concept of  Ma is one of the ideas central to the Japanese haiku aesthetic. Richard Gilbert’s Poems of Consciousness and the interviews with contemporary Japanese poets found therein helped bring this difficult-to-pin down concept to the West.  The translators of one of these interviews with Hasegawa Kai define Ma in terms such as

space — ‘betweenness,’ alternate dimension or time, a psycho-poetic interval of betweenness — non-literal reality arising as resonance, between and through words, and beyond them.”

This gap or space between images, elements, and/or ideas created by “cutting,” whether as juxtaposition or disjunction (and here I refer you, dear reader, to Richard Gilbert’s remarkable The Disjunctive Dragonfly for those wanting to really explore this exciting poetic territory) is pretty much the soul of haiku,  and it is why we as fans of of the genre can keep coming back to a haiku again and again and continue to encounter something new there, depending upon where we find ourselves at that moment in our lives.

Clearly there is something similar going on here with the gap between questions and answers in the Surrealist Q&A Game, with its communally creative space that gives the sense of being infinitely possible.  Could it be that this gap that arises in Mind, this empty space, is where all the fun really is?


Rejecting a sentimental utopia, what is your vision?

          The white door between things

Question Richard Gilbert,  Answer Michelle Tennison (2017)