As publisher of AHA Books, Jane Reichhold invited me to judge two tanka contests. The results were two booklets, T
a aSp ndr 1992and Tnk nk le o an intro as well as a tanka by me.
Two poetry contests with me as one of the judges involved Japan Air Lines: a 1987 haiku contest involving British Columbia school children and a 1990 haiku contest for children around the world for which I and thirteen other judges were flown to Japan for ten days. The majority of the time was taken up with sightseeing tours during the day and socializing far into the night. The final judging occurred in Osaka during its World‘s Fair. One of the finalists was the Princess of Thailand and when her parents decided to attend the contest-ending banquet, I vividly recall watching the kobe beef cooling on our plates while the late-arriving Royal parents were seated.
For the Haiku Society of America Henderson Awards, I was a judge twice, 1989 and 2007. Other judgeships occurred for a Toronto public library contest for teens in 1992; for the British Haiku Society Museum of Haiku Literature Award in 1996; for the International People‘s Haiku Contest in 1998. The year 2002 was particularly busy: for the World Haiku Club‘s R.H. Blyth Award, for the Federation of Ontario Naturalists poetry contest, and for Haiku Canada‘s Betty Drevniok Award. Oh yes, I also judged the haiku for the 2004 San Francisco Haiku, Senryu and Tanka Contest.
Since taking over as editor of Fropn: Te Ju l o h a god h orna f te Hiku Soiey o mrica in January, c t f A e
2008, I have turned down several requests to be a judge for two reasons: to avoid conflict of interest and to avoid adding to my heavy workload with the journal.
What Makes A Good Editor? When the Managing Editor of N
le o
a a Sp ndr 1997that included the 30-plus winners plus
oe ro h en, Colin Stewart Jones asked me to write this ts f m te Ga
article, it forced me to consider what makes a good editor. After all my experiences in various roles plus four years, so far, at the helm of Fro
go pnd, I do have some clear ideas.
1. You cannot work alone and be successful. You need at least one other sensibility to help make decisions. This means that you must select co-editors with whom you can talk openly in a relaxed atmosphere.
I accepted the editorship of Fropndonly after my wife, Anita Krumins, agreed to be my assistant go
editor. After the significant help she had given me with all my previous editing tasks, she finally decided to make it official.
2. Be open-minded to suggestions for improvement. Readers have made suggestions for changes to our Fro
go 3. Don‘t be afraid to rock the boat with your decisions.
In almost each issue, we publish a radical departure from typical haiku, senryu, renga, rengay, haibun. This keeps Fro
go
related forms with each generation of new writers. 4. Don‘t publish your own work in the magazine you edit.
22 pndat the leading edge of the inevitable changes that occur in haiku and
pndformat and we have made many of them.
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