With “Dawn,” all the elements are contained in scroll-like shapes, which are enhanced by the geometric patterns at the top and bottom of the art. The printed kana are balanced beautifully, and presenting both their romaji and the English translation enables the reader to share in this cross-cultural rendering. The background painting gives an abstract, almost ancient feel.

The evocative imagery in “As I depart” looks as if it might be collage, centered by the sketch of a face, and the autumn colours swirling around it link nicely with the haiku. The colors of the printed kana enhance the autumn feel, and Gary’s own seal on the bottom left is well balanced with the other visual elements. There is much to see and ponder here—the leaves that also resemble feathers, the mysterious figure in the black-and-white portrait … perhaps Sitting Bull?

“How I envy” is yet another example of an artist at the top of his game, merging and linking art and poem. The blast of pink and red immediately draws in the reader, and the strong brushstrokes framing the abstract image (perhaps that of a tearful child?) balances with the kana of Issa’s classical senryu.

“Give to the willow” is a powerful haiku that Gary has complemented with an equally powerful painting. The yellow colouring and the collaged eye make this haiga sing. I find myself going back and forth between words and image, finding connections on many levels and gaining a deeper appreciation for the art, the haiku, and the collaboration of the elements.

The painting in “Endlessly” immediately reminded me of Hokusai’s “The Great Wave of Kanagawa,” yet Gary has used a delightful, vibrant reds to offset that wonderful blue. The movement in the painting reflects Buson’ double use of “wave.” Once again, the borders and shapes please the eye, a trademark of Gary’s style.

“How does she live” is filled with empathy; the artist has created a homestead that almost bows in recognition of the poet’s compassionate words. The three panels highlight the artwork and printed kana, giving emphasis to each while maintaining the cohesion of the entire haiga. A fitting finale in a series that both inspires and intrigues us on many levels, and shows what can be done to combine modern techniques with the traditional Eastern elements that many of us find so appealing.