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MacQueen’s Quinterly: Knock-your-socks-off Art and Literature
Updated: 4 May 2025

Ongoing Call for
Cheribun, Haibun, and Tanka Tales


MacQ is especially interested in these three poetic hybrids. In particular, those which include elements of fiction as well as “faction,” pieces that use story-telling techniques such as dialogue and plot, and incorporate more embellishment than journalistic reportage, while also using techniques of cheribun, haibun, and/or tanka prose.

“Amen” to these words from Bob Lucky, former content editor at Contemporary Haibun Online (CHO):

“...as an editor, I read a lot of haibun that is just one damn fact after another. Memoir and autobiography are the trickiest bits of nonfiction around because in order to tell the Truth you have to lie. There is artifice in art.”

—Quoted with permission from “Random Praise: Tim Gardiner’s ‘Skeleton Wood’” (CHO, July 2017)

To give you an idea of what MacQ publisher Clare MacQueen is looking for, three dozen examples follow. They are listed first by the less-common forms such as cheribun and tanka tales, and then, within the forms, in alpha order by author’s last name. These works include various degrees of artfulness, and often a good bit of humor, to tell their Truths:

General Guidelines for Submissions of Cheribun, Haibun, and Tanka Prose:

Electronic submissions only, via MacQ’s Submittable page.
When you visit MacQ’s Submittable page, if you see the message “There are presently no open calls for submissions,” then please scroll down a sentence or two to find the opening date of the next reading period. If that date is more than 30 days in the future, feel free to query Clare MacQueen: macquinterly [at] gmail [dot] com

Maximum word count per piece is a thousand, including the title, prose, and micro-poem verses, as well as any epigraphs and any author footnotes. Multiple cherita, haiku, senryu, and/or tanka within a single piece are acceptable, even encouraged.

MacQueen’s Quinterly also encourages the stretching of conventional boundaries; after all, haibun and tanka prose, fluid hybrids by nature, are “terra incognita—vast and only marginally explored” by writers working in the English language (Jeffrey Woodward, editor of Haibun Today).

However, even unconventional works benefit from refining and polishing. And highly polished pieces stand the best chance of publication in MacQ and of winning prizes.

In other words, we look forward to reading your best work. Thanks so much!

Exceptional works may be nominated for annual awards such as Best Small Fictions, Best of the Net, the Pushcart Prize, the Contemporary Haibun anthology, and The Touchstone Awards for Individual Haibun. We’re thrilled to report these highlights:


Tips and Resources:

If you’re new to haibun, then you may be surprised to learn that:

  1. The plural of haibun is haibun, and “...the plural of haiku is haiku (think sheep and fish)...”

    (In addition, the plural of cheribun is cheribun, and the plural of tanka is tanka.)

  2. “...syllable counting is not at all an essential element to writing haiku well,” as poet and editor Lynne Rees writes (see link to her conference paper a few paragraphs below).

Here at MacQ, we happily agree there’s no need to adhere to 5-7-5 in the haiku sequences and/or haibun you submit for our consideration—especially if doing so results in stilted or unnatural-sounding lines—and/or unnecessary words.

Here are just a couple of examples of 5-7-5 structure that Clare admires:

  1. two haiku by Gary S. Rosin, (a shiver of moon) and (whispers in the air); and

  2. a haiku sequence by William Cullen, Jr., Driving Cross Country. Clare also appreciates this sequence as a blend of the traditional and the contemporary, a timely commentary, and a concise travelogue (with a nod to Bashō).

Recommended reading for those who are new to writing haiku: this paper by poet, editor, novelist, and author of five books, Lynne Rees:

Haiku: a poetry of absence or an absence of poetry? (subtitled “Minimalism in Contemporary English Language Haiku”), presented at the PALA (Poetics and Linguistics Association) 2015 Conference at Canterbury University, Kent, United Kingdom (16 July 2015).

The author’s goals, in part: to “illustrate that haiku can be, or should be muscular enough to withstand scrutiny, close reading” and to “expunge their reputation as mainstream poetry’s country bumpkin cousin: naïve and embarrassing to have around in sophisticated company.”


Additional articles and essays by expert practitioners, including philosophies and how-to tips:

  1. Haibun: A Writer’s Guide by Roberta Beary, Lew Watts, and Rich Youmans; reviewed by Ce Rosenow in Issue 24 of MacQueen’s Quinterly (August 2024)

  2. Plaiting Poem & Prose: The Art of Braided Haibun by Rich Youmans in contemporary haibun online (Issue 18.2, August 2022)

  3. Why I Write Haibun, or The Holy Trinity of Haibun, essay and haibun by Roberta Beary in the debut issue of MacQueen’s Quinterly (1 January 2020); Beary is the long-time haibun editor at Modern Haiku and the co-author, with Lew Watts and Rich Youmans, of Haibun: A Writer’s Guide (Ad Hoc Fiction, 2023).

  4. Some Personal Ideas About Writing Haibun by the late and very much missed David Cobb (in Haibun Today [Vol. 5, No. 4, December 2011]), still pertinent a decade later

  5. A Game of Tag: Gary LeBel on Tanka Prose (in Haibun Today [Vol. 6, No. 3, September 2012]): In this interview with Patricia Prime, LeBel says that his works are “a mix of personal experience, thumbnail sketch, pure fiction, fantasy, boldface lie, story and/or myth (and often more than a pinch of hyperbole)...”

  6. Modern English-Language Haibun by Ray Rasmussen (in KYSO Flash [Issue 5, Spring 2016])

  7. Form in Haibun: An Outline by Jeffrey Woodward (in Haibun Today [Vol. 4, No. 4, December 2010]), for those who prefer a comprehensive, more technical discussion of the various forms of haibun, including numerous examples of formats

  8. And finally, by J. Zimmerman, a summarized history of prose-with-poetry works in Classical, Modern, and Contemporary Japanese literary traditions; article includes references and a list of suggested readings: What English-Language Haibun Poets Can Learn From Japanese Practices: the Mysteries of an Almost-Heard Birdsong First Autumn Abroad (Contemporary Haibun Online [Vol. 9, No. 4, January 2014])

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