Haiku and a Cup of Tea

  • What Groundhog Day Can Teach Us About the Seasons

    What Groundhog Day Can Teach Us About the Seasons

    Now that I’m using a slightly more spacious template for my personal phenology project, I find myself occasionally noticing things beyond my immediate surroundings. For example, last week I was making some notes before work. My brain wasn’t at its sharpest, but I had a thought about Groundhog Day that had never quite occurred to me before: that the prediction is whether or not spring will arrive at the old-fashioned start of the season (yes, February) or if it will arrive at the Gregorian start of the season (the spring equinox). I jotted down some coherent notes and went about my day, but have been mulling the idea over ever since. This initial thought required that I learn more about Groundhog Day as well as further my research about how different cultures have marked and tracked the seasons. Ultimately, this passing thought has yielded me some useful insights into my Culinary Saijiki manuscript, and I think learning more about the historic practice of Groundhog Day can provide a fruitful framework for naturalist and/or creative practices.

    Groundhog Day emerges from a German custom in which a badger was the actual predictor of spring’s arrival. While badgers exist in North America, they’re primarily found in the Great Planes, and rarely in the regions where the Pennsylvania Dutch settled. As a result, Germans in the eastern United States decided to bestow responsibility on hedgehogs. Groundhog Day served an agricultural function back when our ability to track weather wasn’t as real-time and technological as it is now. The habits of the badger, and then the groundhog, provided a signal about the best time to start planting crops. A cloudy day on Groundhog Day (in which the groundhog would not see its shadow) suggested that planting weather was going to arrive soon. On the other hand, a sunny day actually indicated that a longer wintry period was in store, with a later planting season. The behavior of animals on the ground combined with the presence or absence of clouds in the sky provided humans with suggestions about when to begin the agricultural year. 

    The origins of Groundhog Day come out of ancient agricultural traditions in which the equinoxes and solstices were the height or midpoint of each season, unlike the Gregorian calendar, which uses these points as the beginning of each season. That means the starting points are days of the year that are less astronomically significant. Haiku practitioners know that in the classical Japanese calendar, spring begins around February 5th. In the Celtic tradition, Imbolc was the start of spring and generally occurred around February 2nd, the same as Groundhog Day. Even the old Christian observance of Candlemas, also occurring on February 2nd in Catholic and Protestant traditions, was considered the beginning of spring before the Gregorian calendar took over. 

    Today, Groundhog Day is observed almost exclusively in the United States and Canada, with the belief that if the Groundhog sees its shadow, there will be six more weeks of winter. However, if the Groundhog does not see its shadow, spring will arrive early . . . though according to the historical model, it wouldn’t be arriving early at all! Using the Gregorian calendar, Groundhog day tells us if spring will be early or on time. In older agricultural models, Groundhog Day tells us if spring will be on time or late. And while both models are valid, ultimately, the old agricultural models are more in line with lived human experience. I may be writing this on what we in the Midwest refer to as Fool’s Spring, but even that is a sign that the year is turning and a change is on the way. The material reality of spring will be here well before the equinox.

    Although there isn’t empirical evidence that the actions of Punxsutawney Phil accurately predict the arrival of spring weather, I feel that’s ultimately beside the point. First, given the geographic diversity of the United States and Canada, spring does not arrive at the same time for every reigion–and nor does spring look the same. Cherry blossoms appear in Washington, D.C. and Seattle, but the lack of cherry blossoms in St. Louis doesn’t mean spring hasn’t arrived; we look for redbud blossoms instead. Further, it seems like too much a responsibility to ask a groundhog in Pennsylvania to predict the arrival of spring all the way out in Vancouver. 

    Perhaps Punxsutawney Phil’s predictions should only be applicable to Pennsylvania and parts of Northeast Ohio. Given the width of Pennsylvania, I’m not even sure Phil’s predictions can or should extend all the way to Philadelphia. But that doesn’t mean we can’t observe it if we live beyond that area. We can find our own groundhogs, or badgers, or other relevant animals. In fact, there are prognosticating animals all over the United States, such as an opossum in Alabama and an alligator in Texas. (You can view the map here: https://groundhog-day.com/map). 

    I think the purpose of Groundhog Day in the modern era is to encourage us to look for signs of spring wherever we are. It also serves as a reminder that we don’t have to wait for the equinox for spring to come. Historically, there have been many ways of documenting and tracking seasons, and ultimately, spring is going to come on its own time no matter what calendars or division systems that humans use. It’s less important to adhere strictly to a single calendar and more important to pay attention to the world around us.

  • The Best of It: Start of the Year Edition

    1. Closing 2025 with the Stew Year’s Eve dinner and a party hosted by two of my favorite people.

    2. 12th Night in Soulard (always)

    3. The engagement party my neighbors hosted for us.

    4. Seeing Nate Bargatze perform downtown.

    5. Getting to serve as the Poetry Pea YouTube editor for January.

  • Personal Phenology

    At the start of 2025, I had a slightly-used date book from the Field Notes Index quarterly edition (now sold out). I prefer a much larger notebook for keeping track of my schedule, so while I’d made a few halfhearted attempts at using it, I couldn’t get traction. Then I got inspired to use that notebook to help me observe and track the seasons as I experienced them.

    The goal was to write down three simple observations about the day, and at the end of the month, type them into a single file. Over time, that computer file would be filled with enough daily entries that I could track my perception of the seasons–especially in relation to climate change–over the long term. I typically recorded the high and low temperatures as a baseline, and whether there was sun, rain, or snow. I also noted whether I observed wildlife or indicated the time of sunrise and sunset. Over time, I tried to pay more attention to the night sky, and occasionally added cultural events and holidays, as those human aspects are a way of tracking the seasons as well. 

    While I missed my goal of recording every single day, I still made observations more days than most. In addition, I’ve continued the practice into 2026, and I’m happy to report that I have not yet missed a day in January. The old Index book ran out, so now I’m using one of the notebooks from the Is a River Alive? quarterly edition. I’ve set up a single page for every day, which has usually resulted in me recording more than three observations. More page room means that my mind naturally stays open to finding more to record.

    My biggest takeaway from the first year of this project is that a daily walk is vital not just to my phenology practice, but to my writing practice as well. Between last winter’s prolonged cold and last summer’s persistent, record-breaking heat, I walked less in 2025 than I had since . . .  probably 2014. (It doesn’t help that walking is not Maybelle’s favorite activity.) But the days I didn’t walk were the days I was most likely to skip recording anything, and these were days I was most likely to skip writing. I wasn’t expecting that this would be the lesson of the year, but as a result, I’ve tried to get back in the habit of daily walks. (Though this week’s snow storm has really put a damper on that.)

    I imagine that in the second year of this project, as I begin to gather build up my observations, I’ll start to have some insights about the seasons in St. Louis. Or maybe I’ll have a different insight altogether. Only time will tell, and I look forward to reporting and reflecting in January 2027.


    PS – Today, Juliet Wilson of Crafty Green Poet published a short essay entitled “First Signs of Spring,” which is how I learned that the study of seasons is called phenology. She writes about observing signs of spring appearing worryingly early, and also draws attention to The Woodland Trust in the UK. While their Nature Map doesn’t apply to my area, I enjoyed reviewing it and thinking about how to apply the design to my own work. I encourage you to read Juliet’s piece.

  • The Best of It: Summer in St. Louis Edition

    The Best of It: Summer in St. Louis Edition

    1. Bastille Day!
    2. Ice cream at Ices Plain & Fancy and Clementine’s
    3. Calhoun County peaches (Technically Illinois, but close enough)
    4. The chicken panko burger on the Stew’s summer menu
    5. That almost every neighborhood has a Concerts in the Park series
  • Review: Psalms from the Badlands by Honsho McCreesh

    Review: Psalms from the Badlands by Honsho McCreesh

    Back in March, Hosho McCreesh sent me a copy of his book Psalms from the Badlands for potential review in Frogpond. Because these short-form poems are inspired by haiku rather than haiku in and of themselves, the editorial team decided not to review the book. We have a set policy of only reviewing work within the spectrum of haiku  (including senryu, haibun, and linked forms), but do not review poetry that falls outside of that. However, I appreciated Hosho’s book so much and admittedly felt bad about not including it, so as a compromise, I decided to post a review here. 

    Psalms from the Badlands by Honsho McCreesh. Albuquerque, NM: DrunkSkull Books, 2025. Available starting August 3rd, 2025, at https://www.hoshomccreesh.com/psalms

    On his website, Hosho McCreesh describes Psalms from the Badlands as “An expansive collection of 150 “psalms” or haiku-like, Japanese-style breath poems about the brutal and beautiful American southwest, with nature as the catalyst for deeper meditations on life, love, grief, loss, and, of course, death.” From poem 1 to 150, you can clearly see his awe of the Southwest, as well as his deep appreciation for haiku and related forms. For example, Poem 21 reads:

    The woman’s hands,
    watching them peel chile,
    the way it still burned days later
    in the sunlight—

    still burns
    years later
    in your mind

    In my notes, I indicated how close this poem came to a haibun (a prose poem that ends in a haiku). Other poems invoke the long linked form of renku, even in their brevity, such as Poem 80:

    Fingers of late spring fog,,
    burnt off by morning.

    Early July monsoons,
    the sunflowers drink deep.

    Brittle October stalks,
    every drop baked out.

    And still it returns
    as January snow.

    Beyond their connection to the haiku world, this collection does an exceptional job of capturing the landscape and atmosphere of the Southwest in a visceral way. I particularly appreciate that the human element is not removed from these poems, as we are as much a part of the environment as the animals, plants, and weather. Poem 25 is one of my particular favorites in this regard:

    Red chile ristra
    cleaned of harvestmen
    & their cobwebs.

    Water boils
    red as a
    Jemez flood —

    Hungry, we wait for
    carne adovada.

    Ultimately, when reviewing my notes, I don’t find a single disliked poem, or piece that seemed out of step with the broader collection. Psalms from the Badlands is not just an example of exceptional writing, but also a masterful demonstration of how to organize a poetry collection.

    As I write this review, I think of recent discussions over at the Poetry Pea podcast about what makes haiku different from short-form poetry that resembles haiku. For those who are interested in that broader discussion, I recommend this book as a way to further one’s understanding of what makes a haiku poem versus a short-form poem inspired by haiku. I do see many elements of haiku in these poems, including shasei (sketch from life) and the sense of a haiku moment. On balance, though, these poems contain more non-haiku elements. That is not a criticism; Hosho McCreesh himself acknowledges that these are not haiku. Yet I think there are short poems that can teach us what haiku is even if they are a different type of poem, and Psalms from the Badlands is full of worthwhile examples. 

    Beyond haiku enthusiasts, I recommend this collection to anyone who has a deep and abiding love for Southwest landscapes and literature. I had the pleasure of reading this book while on a recent trip to Albuquerque, and I loved the way these tiny poems helped me further appreciate the vastness of my surroundings. This is also an excellent collection for anyone who loves the ways in which short-form poems in general can be a catalyst for poetic, environmental, or spiritual insight.

  • The Best of It: Late May Edition

    The Best of It: Late May Edition

    1. Being honored with a 2025 Soulard Star award at this year’s membership party.
    2. The success of this year’s rummage sale.
    3. It’s iced tea season.
    4. The Roaring exhibition currently running at the St. Louis Art Museum.
    5. Getting to show Texas friends around the neighborhood.
  • Haiku Girl Summer is taking submissions!

    Haiku Girl Summer is taking submissions!

    Haiku Girl Summer is officially open for submissions! The window is a little shorter this year; submissions are now only open until August 15th. However, that’s still 3 solid months to get work in, and you can submit up to 3 times during the cycle.

    Please submit 3-5 haiku or senryu using the form here: https://forms.gle/foXpvuaS19jHcyaR8

    I’m also excited to have the following guest editors lined up:

    • Jessica Allyson
    • Kathryn Haydon
    • Jennifer Gurney
    • Lakshmi Iyer
    • Kimberly Kuchar
    • Lorraine A Padden
    • Kelly Sargent
    • Vidya Shankar
    • C.X. Turner
    • Caroline Wermuth
    • Katherine E. Winnick

    2025 guidelines are available here: https://haikugirlsummer.substack.com/p/submission-information. I’ve just made a few changes, mostly on the housekeeping side. Please note the definition of “previously published” for this journal, and also note the AI statement.

    The biggest reminder: poems should not contain the word “summer.” The goal is to convey the season using descriptive language rather than naming it directly.

    I look forward to seeing your 2025 poems!

  • The Best of It: Mid-April Edition

    The Best of It: Mid-April Edition

    1. The Spare Parts podcast
    2. Getting a better china cabinet for my teacup collection (for a good price at an estate sale, no less)
    3. Seeing how much fun Maybelle has at Grateful Pets
    4. The banh mi at Truc Lam
    5. Getting a new furnace in the off-season
  • Haiku Girl Summer Returns Soon!

    Haiku Girl Summer Returns Soon!

    While Frogpond is keeping me busy, I couldn’t let 2025 go by without a third year of Haiku Girl Summer. I adore running this journal!

    As with the past two years, the journal starts on June 1st and ends on September 1st. (I used September 1st as a surprise bonus post for the past two years, but that caused confusion last year, so now I’m just making it an official part of the run.

    In order to have poems ready for June 1st, submissions open on May 15th. I can’t wait to see your summer haiku and senryu!

    I enjoyed the different perspectives that the guest editors brought to the journal last year. Although I haven’t set up a formal sign-up system yet, I would love to work with guest editors again. If you’re interested in taking part, you can reach me at allyson@allysonwhipple.com.

    Please note that I have updated the guidelines for 2025, including a change to the submission period. Please review the updated guidelines here: https://haikugirlsummer.substack.com/p/submission-information

  • The Best of It: This is 41 Edition

    The Best of It: This is 41 Edition

    1. Going to brunch at Nadine’s Hash House with some of my favorite neighbors.
    2. That I share a birthday with one of my neighbors.
    3. My birthday buddy having a fabulous party that encouraged us to get fabulous.
    4. Ending the night at Stew’s with my brunch friends.
    5. The chance to attend a baseball game.