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[FOR IMMEDIATE RELEASE]
June 14th, 2026
(Bangalore, Karnataka, Netherlands)
(Photo: Vaishnavi Pusapati)
What are some interesting or important aspects of this work, how it came to be, or what it means, that you want people to know?
Both of my haiku began as longer poems. I used a blackout method by gradually removing words that felt unnecessary until the skeletal framework remained. What stayed were the images that felt essential yet all compassing. I read my haiku aloud to see if anything feels out of place and this winnowing goes on till all the husk is gone and you can see the world in the grain.
Both poems also come from real moments I experienced, small scenes that stayed with me long enough to become poems. One involves a train passing through the dusk and the brief interaction of shadows across glass. The other captures the quiet fall of an autumn leaf. Haikus are remarkably efficient forms, focused, intricate, and memorable. Haikus happen, sometimes you look for them and at other times, they find you.
From my work, I hope readers notice that the small moments that bring us joy or curiosity can also fuel creativity and become something tangible and shareable.
Haiku as a poetic form often captures movement. One example is the leap of a frog into a pond in the famous haiku by Matsuo BashÅ. Both of my poems capture movement, the passing of a train and the slow descent of a leaf.
How does your city / region and your natural surroundings influence this creative work, and your artistic practice as a whole?
Haiku poetry is inherently imagistic and rooted in nature, noticing the web of a spider, the shower of fallen leaves crunching under feet etc. When I wrote: "daffodils-this sunlit yellowness." It comes from lived experience and that always shows. Poetry has only one foot in the real world, and imagination supplicates the rest.
Over the years my work appeared in many international literary journals. My surroundings frequently appear in my work either intentionally or naturally, and set its atmosphere. In my short stories and longer poems, the building blocks of my world building often come directly from the real world. I draw from memory, those sparkling moments of life, the simple and the profound. Writing haiku is like making constellations from galaxies of stars, you join the dots later, from far away, in patterns you choose. There is an unhurried study of a moment that passes in urgency: A sapling growing out of a pavement crack, the camouflage of green butterflies, the monotone templates of winter, the inevitability of time.
Creative work happens quietly, much later when I ponder over the remains of an image. There is the quiet overbearing presence of my surroundings, the many places we moved to and from, when I was a child, the way seasons and time alter a place. I do crave a change of place, as I know it can do wonders for me, a new view from a different window would be nice.
Read these haiku by Vaishnavi Pusapati:
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"last train through the dusk" (first line)
Published in Haiku Magazine.
"autumn leaf's trust fall" (first line)
Published in Haiku Asia and Oceania.
Keywords: haiku, contemporary poetry, nature imagery, observation, seasonal poetry
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