Lyrebird Tanka Circle: Roots that hold

The Lyrebird Tanka Circle was formed in Canberra, Australia, in 2021. The group meets regularly to discuss and review tanka and tanka prose.

The Circle published its first anthology of tanka prose, Roots that hold, in 2026. The anthology, which was edited by Liz Lanigan, Mira Walker and Tony Steven Williams, presents writing by 14 of the group’s members.

Tanka prose is a literary form that combines prose with one or more tanka. This form, which has been written in Japan for hundreds of years, is growing in popularity among contemporary writers.

In tanka prose, each five-line poem should link with the prose while also shifting the reader’s focus to new events or feelings. In particular, the tanka should do more than simply summarise or repeat the content of the prose.

The following tanka prose, reproduced from Roots that hold, is an excellent example of the form. While the tanka clearly links to the prose, it shifts from events inside the house to past events outside, while also sharpening the emotional spell of the writing. The combination of prose and tanka results in a piece with greater impact than would have been the case for either element on its own – which is exactly how tanka prose should work.

The following is the introductory paragraph and tanka from a longer piece of writing (again taken from Roots that hold):

Tanka prose is not limited to a single paragraph and a single tanka. The Road to Riches actually comprises five paragraphs of prose interspersed with three tanka. As can be seen from the extract above, Barbara uses the prose to tell the tale of a child’s exploits, while each tanka hints at the ever-present wartime worries of the boy’s mother. In this way, Barbara skillfully incorporates both the child’s activities and the mother’s feelings without disrupting the flow of the piece.

The rules of tanka prose are not fixed: writers have the freedom to structure things as they wish. The overall length of a tanka prose, the sequencing of paragraphs and tanka, and the nature of the prose are all flexible.

In this final example from Roots that hold, Liz has first included an epigraph from the poet Rumi, and then written the prose without punctuation. The lack of punctuation was clearly a deliberate choice. As a result, the prose reads like a prose poem with its flowing character drawing the reader more deeply into the subject matter.

The Lyrebird Tanka Circle anthology, Roots that hold, is a wonderful collection for anyone interested in reading or writing tanka prose. As can be seen from the examples above, tanka prose is a great way of integrating events and feelings into a single piece of writing.

If you would like to read more about tanka prose, you can do so here and here (scroll down for articles on tanka prose).

Quail Eggs: A Tanka Journal

The UK-based tanka journal, Quail Eggs, is published online every three months. Founding Editor, Alison Williams, says “quail eggs are small but perfectly formed and contain a surprising richness . . . They are simply delicious little things, just like tanka”. The Quail Eggs journal invites submissions of tanka, and related forms such as kyōka,…