From all of us at Fish, thank you for sharing your Haiku with us. The Fish Haiku Prize has been a joy. So many pearls.
Congratulations to all poets who were short-listed and long-listed—and a special well done to the ten winners whose Haiku will appear in the Fish Anthology 2026. A particular shout out to C.P.Nield, who had three of his Haiku selected. In order to ensure that 10 Haiku poets are showcased in the Fish Anthology 2026, judge Mary-Jane Holmes has nudged two Haiku from her short-list to join the winners.
We’re delighted to invite you to the anthology launch at the West Cork Literary Festival in Bantry.
Venue: Marino Church
Date: 14 July
Time: 6.00 pm
This is a free event, and all are very welcome. We hope you can join us for what promises to be an enjoyable evening of readings and celebration.

Judge:
Mary-Jane Holmes
Here are the winning Haiku, as chosen by Mary-Jane Holmes, to be published in the FISH ANTHOLOGY 2026.
Find below, notes on the winning Haiku from Mary-Jane and more about the winning poets.
|
AUTHOR |
TITLE |
|
|
Susan Richardson |
DAWN / ON THE ROAD |
|
|
Alan Bleakley |
Chough |
|
|
Emma Dandy |
Pinprick scars
|
|
|
Caroline Clark
|
Day Case
|
|
|
C.P. Nield
|
Seal Pod, Ostend
The Blue Rigi
Life Cycle
|
|
|
Ayla Gard
|
Haiku for Nana Watanabe Shrimp Earrings
|
|
|
Richard Godden
|
Hares
|
|
|
Michael Henry
|
Dead gull on the road
|
|
|
Seth Rhoades
|
Moonlight Intuition:
|
|
|
Lois Woestman
|
Offering
|
|
Across these twelve poems, what stands out first is the astonishing elasticity of the haiku form. Taken together, they demonstrate that contemporary haiku is no longer confined to inherited ideas of seasonal observation, serenity, or strict syllabic discipline. Instead, these poems move confidently between lyric compression, visual experiment, grotesque comedy, painterly image-making, and emotional fracture. Some honour the traditional shape of haiku while radically modernising its subject matter; others dismantle the architecture altogether while preserving the essential haiku instinct: the sudden illumination of a moment.
What impressed me most was the range of tonal daring. There is tenderness beside absurdity, violence beside buoyancy, and high lyricism beside colloquial speech. “Seal Pod, Ostend” revels in sumptuous sound-play — “blubbery lubbers” and “velvet slabs” — while “The Flying Handbag” explodes with theatrical camp and comic swagger. “The Blue Rigi” condenses an entire theory of painting into a tiny imagist fragment, transforming Turner’s mark-making into “fingernail” scratches across the morning. “Pinprick scars” stretches the visual field of the page itself, using spacing and fracture as part of the poem’s emotional syntax. The selection demonstrates that the contemporary haiku can absorb influences from concrete poetry, surrealism, performance, social realism and prose poetry without losing its essential identity.
The strongest entries also shared an exceptional command of imagery. These poems understand that haiku succeeds not through explanation but through precision. Again and again, a single visual detail opens into something larger: horses “grazing their long shadows”; pigeons pecking at sashimi beside a snapped neck; vermillion shrimp earrings transformed into a lonely underwater troupe. The best of these poems trust the image completely. They do not overstate or interpret; they allow resonance to accumulate naturally in the reader’s mind.
What ultimately distinguished the top three poems for me, however, was the way each expanded the possibilities of what a haiku can contain.
“Day Case”achieves something extraordinary in its emotional economy. In just seventeen syllables it implies an entire narrative: illness, surgery, survival, recovery, identity, and the fragile return of pleasure. “One breast less” is devastatingly direct, but the poem refuses to remain inside grief. Instead, it pivots lightly toward delight in “these new sandals / golden on my feet.” What moved me most was this buoyancy — not forced optimism, but a genuine re-emergence into the sensory world. The poem carries enormous emotional weight while remaining airy and alive. It understands that joy can coexist with loss, and that tension gives the poem its power.
“Life Cycle” fascinated me because of its experimental boldness. Formally, it fractures syntax and lineation almost to breaking point: “brakes / neck / nine pigeons peck / sashimi.” Yet despite this disruption, the poem remains deeply faithful to the haiku ethos of immediacy and observation. The poem unfolds through brutal cinematic cuts, creating a compressed urban ecology of labour, violence, scavenging and consumption. The juxtaposition of the Deliveroo rider, broken body, pigeons and sashimi produces a darkly contemporary nature poem. Its experimentation never feels decorative; the fractured form embodies the collision and disorientation at the heart of the scene.
“Haiku for Nana Watanabe Shrimp Earrings”, appealed to me because of how subtly it subverts expectations of haiku. It does not radically disrupt metre or typography. Instead, its rebellion lies in its luxuriant verbosity. Haiku is often associated with spareness and linguistic austerity, but this poem indulges in opulence: “Dangling vermillion organdie” is almost extravagantly textured. The language risks excess yet remains controlled through the poem’s strange underwater loneliness. The movement from fashion object to isolated sea-creature to “fleshy human lobe” creates a surreal but emotionally coherent transformation. I admired the confidence of a poem willing to push the form toward richness rather than reduction.
These three poems ultimately stood above the others because each, in very different ways, enlarged my understanding of the haiku form. One achieved profound emotional narrative through clarity and lightness; one reinvented the form through fragmentation; one challenged assumptions about minimalism through verbal abundance. Together, they demonstrate that the haiku remains not a fixed tradition but a living, mutable art.
Emma Dandy writes to explore the fragmentation of identity after trauma. Publication of her debut pamphlet ‘I Laid Out Knives, Guns and Razors’ is forthcoming with Hedgehog Press. Her poems have been published in various journals and anthologies, including Strange Daze, Eche Poetry and Poetry Worth Hearing. Emma was longlisted in the New Writers Flash Fiction Competition 2026 and is researching a PhD in Creative Writing at the University of Birmingham. She’s on Instagram @emmadandypoetry
Dr Alan Bleakley is an Emeritus Professor of Medical Humanities, author of 25 academic books and a widely published poet with eight collections, most recently The Cost of Living, a collaboration with Dr Shane Neilson (2025, The Artel Press). His poetry focuses on the ‘bio-illogical’ or unseen nature. He lives with his wife Sue, a visual artist, at the far west of Cornwall amongst granite outcrops and neolithic burials. He is a keen surfer.
C.P. Nield’s poetry has appeared in New Poetries IV (Carcanet), Footprints (Broken Sleep Books) and Christmas Tree (Candlestick Press), as well as journals such as PN Review, The Spectator, Poetry Wales, The Rialto, The North and Magma. Among a range of prizes, he has been shortlisted for The London Magazine poetry prize in 2014 and 2023, and longlisted for the 2022 National Poetry Competition. He works as a marketing copywriter helping charities raise money.
Caroline Clark has published three books: Saying Yes In Russian, Agenda Editions; Sovetica and Own Sweet Time: A Diagnosis and Notes, both with CB editions. She has a recent story and a podcast interview on the Fictionable site. Later in 2026 Black Herald Press will publish What Lies Ahead and Other Essays. She lives in Lewes, England, and works as a community interpreter.
Ayla Gard writes fiction, nonfiction and poetry about the tangles between humans and the natural world. Her work appears in Orion Magazine, Scientific American, Barnstorm Journal and Pile Press. She has an MFA in nature writing and MA in poetry from Western Colorado University. Originally from a rural mountain in Australia, she lives in Los Angeles with her daughter where she works in climate comms and is revising a novel. Find her at aylagard.carbonmade.com
Seth Rhoades is a Visiting Instructor of English at Jacksonville State University in Jacksonville, Alabama, where he teaches composition, speech, literature, and creative writing. He is a longtime member of the university’s creative writing community, serving as President of the Writers’ Club and Editor-in-Chief of the university literary journal, Something Else, as a student. Seth enjoys writing poetry and speculative fiction that incorporate themes of mental health, identity, and environmentalism.
Susan Richardson’s poems, stories and articles have appeared in various magazines, anthologies and books. Susan recently won runner-up in the Robinson Jeffers/Tor House Foundation poetry competition. For many years, she was the editor and publisher of anthologies compiling the literature of current-day poets, fiction writers and memoirists. She now works as a painter and jewelry maker and lives in Boise, Idaho, with her husband George, a chess teacher and tournament director.
Michael Henry was born in Liverpool and grew up in Cheltenham. He emigrated to Western Canada for thirteen years. He had poems published in magazines before returning to live in Cheltenham. He has won prizes and appeared in magazines in England. He has won the Hippocrates Open Prize and been a Hawthornden Fellow. He has published five collections, four with Enitharmon Press and one with Five Seasons Press. He is married and has three daughters.
Lois Woestman writes because for her, words are truffles; when she finds the right one, her mouth waters. As a tango dancer, Lois writes because sometimes she feels she is dancing on the page. Lois writes because, at the heart, she was lucky to have had a mentor who modeled humble sharing of gifts, and who told her she was a writer and should do what she be.
Richard Godden is an Emeritus Professor of English (University of California, Irvine). His last critical work was Punctuating Capital: Fictions of Finance at the End of an American Century (Oxford University Press, 2023). Long since, he published a poetry collection, Breathing Exercises (Peterloo Poets, 1986). “Hares” is one of a sequence of thirty haiku (“A Partial Genealogy for Condensed Milk”), part of a new manuscript (Agitated Air) that will soon seek publication. He writes slowly.
In alphabetical order (1105 entries in total)
|
POET |
HAIKU TITLE |
|
Alan Bleakley |
Chough |
|
Alan Bleakley |
How the fish slipped away |
|
Alan Bleakley |
How the fisherman slipped away |
|
Alan Bleakley |
Child how you grow |
|
Ayla Gard |
Haiku for Nana Watanabe Shrimp Earrings |
|
C.P. Nield |
LIFE CYCLE |
|
C.P. Nield |
Stubbornly Attached |
|
C.P. Nield |
Seven Weeks |
|
C.P. Nield |
Seal Pod, Ostend |
|
C.P. Nield |
The Blue Rigi |
|
C.P. Nield |
The Flying Handbag |
|
Caroline Clark |
Day Case |
|
Cathy Sampson |
Regeneration |
|
Cherry Elliott-Millar |
Heart auscultation |
|
Christian Morgner |
Nature & Naming |
|
Colette Hamilton |
Bulimia |
|
Cynthia Troup |
[Haiku] |
|
Dave Thomas |
argument |
|
David Hanson |
A father’s hindsight |
|
Emma Dandy |
Pinprick scars |
|
iain napier |
Marvel |
|
Joel Woodard |
Atavistic Elegance |
|
Kathleen Holliday |
The Widowed Font |
|
Linda Nemec Foster |
Eliza Doolittle’s Ecodisaster |
|
Lois Woestman |
Offering |
|
Lois Woestman |
deja |
|
Martin Childs |
Fin de cinéma |
|
Matt Minshall |
Selfie |
|
Michael Henry |
Dead gull on the road |
|
Nick Walsh |
bare |
|
Paul sutherland |
windowpane |
|
Richard Godden |
Hares |
|
Richard Godden |
Ash |
|
Sally Ashton |
untitled |
|
Sarah Boyd |
Artificial |
|
Seth Rhoades |
Moonlight Intuition |
|
Susan Richardson |
Dawn / On the Road |
In alphabetical order (1105 entries in total)
|
POET |
HAIKU TITLE |
|
Alan Bleakley |
Chough |
|
Alan Bleakley |
How the fish slipped away |
|
Alan Bleakley |
How the fisherman slipped away |
|
Alan Bleakley |
Child how you grow |
|
Alan Bleakley |
Gull |
|
Alan Bleakley |
How the slipway slipped away |
|
Andy Friedlander |
MYSELF & I |
|
Anne Middleton |
Wordsworth Walks With Basho Grasmere exhibition Summer 2014 [1] |
|
Ayla Gard |
Haiku for Nana Watanabe Shrimp Earring |
|
C.P. Nield |
LIFE CYCLE |
|
C.P. Nield |
Stubbornly Attached |
|
C.P. Nield |
Seven Weeks |
|
C.P. Nield |
Seal Pod, Ostend |
|
C.P. Nield |
The Blue Rigi |
|
C.P. Nield |
The Flying Handbag |
|
C.P. Nield |
Grand Canal |
|
Caroline Clark |
Day Case |
|
Cathy Sampson |
Regeneration |
|
Charlie Gere |
After the Operation |
|
Cherry Elliott-Millar |
Heart auscultation |
|
Christian Morgner |
Nature & Naming |
|
Christian Morgner |
Mortality & Journey |
|
Colette Hamilton |
Bulimia |
|
Cyd Hughes |
Brother |
|
Cynthia Troup |
[Haiku] |
|
Cynthia Troup |
[Haiku] |
|
Cynthia Troup |
[Haiku] |
|
Dave Thomas |
argument |
|
david austin |
no title |
|
David Hanson |
A father’s hindsight |
|
David Jones |
Dorothy Wordsworth’s Winter |
|
David Jones |
Dorothy Wordsworth’s Autumn |
|
Dawn Wisniewski |
Reaper |
|
Derek Dickinson |
Fly Fishing |
|
Eileen Marston |
My Daily Sunshine |
|
Emma Dandy |
Pinprick scars |
|
Emma Dandy |
Mano fica |
|
Gill Gregory |
Trace |
|
Heléne Van der Westhuizen |
No title |
|
iain napier |
Marvel |
|
iain napier |
Punctuation |
|
Jacqueline Thompson |
Honesty |
|
James Spencer |
sad (acrosti-ku) |
|
Jean Roarty |
Vision |
|
Jennifer Harrison |
A thief |
|
Joel Woodard |
Atavistic Elegance |
|
John Anderson |
[awaiting pruning] |
|
Joost van Gijzen |
no title |
|
Kathleen Holliday |
The Widowed Font |
|
Kirsty Seymour-Ure |
Untitled (haiku 1) |
|
Kirsty Seymour-Ure |
Untitled (haiku 3) |
|
Kyla Brown |
I |
|
Laura Halpin |
Canvas |
|
Linda Nemec Foster |
Eliza Doolittle’s Ecodisaster |
|
Lisa Rebert |
husked |
|
Lois Woestman |
Offering |
|
Lois Woestman |
deja |
|
Louis Talbot |
Fine china |
|
Louis Talbot |
Carousel horse |
|
Marc Corrigan |
The world is changing. |
|
Maria Joseph |
Summer fly |
|
Martin Childs |
Fin de cinéma |
|
Matt Minshall |
Selfie |
|
Michael Henry |
Dead gull on the road |
|
Michaela Brady |
JFK, December 29th, 2025 |
|
Mike Greenhough |
Sweeping cuts |
|
Mitch Pruitt |
War Games |
|
Nichi Jackson |
A Small Stain |
|
Nick Walsh |
bare |
|
Oona Frawley |
Untitled 1 |
|
Oona Frawley |
Untitled 3 |
|
Paul sutherland |
windowpane |
|
Paul sutherland |
for Mum |
|
Paul sutherland |
untitled |
|
paula Oreilly |
Country Lane |
|
Raymond Sheehan |
Canticles |
|
Regina O’Melveny |
After January 7 |
|
Richard Godden |
Hares |
|
Richard Godden |
Ash |
|
Richard Godden |
Ring-Roads |
|
Richard Harrow |
ring cycle |
|
Sally Ashton |
untitled |
|
Sarah Boyd |
Artificial |
|
Sarah Boyd |
Drizzle |
|
Seth Rhoades |
Moonlight Intuition |
|
SHARON HIER |
Over Eryri |
|
Susan Dines |
Alfresco Kitchen |
|
Susan Richardson |
Dawn / On the Road |
|
Tony Williams |
an afternoon … |
|
Zachary Mosher |
Lemon Trees Ripen |
A confidence of writing voice and
originality of approach that
makes them shine. – Sean Lusk (Short Story)
Sublime examples of the enormity
of what can be conveyed in a
flash story. – Tania Hershman (Flash Fiction)
Each is distinct, yet together they
reveal the shared depth of
human experience. – Ted Simon (Short Memoir)
Many exquisite poems –
long after reading them, they echo.
– Billy Collins (Poetry)
Vivid, astute, gripping, evocative. These stories utterly transported me. – Sarah Hall (Short Story)
In the landscape of emotion and folly, Flash writers are a fearless lot – these stories prove it. – Michelle Elvy (Flash Fiction)
… combining the personal and particular with the universal, each touching in surprising ways … experiences that burn deep, that need to be told. – Sean Lusk (Memoir)
Strong poems. First place is a poem I wish I’d written! – Billy Collins (Poetry)
More… a showcase of disquiet, tension, subversion and surprise …
so many skilled pieces … gem-like, compressed and glinting, little worlds in entirety that refracted life and ideas … What a joy!
– Sarah Hall
… memoirs pinpointing precise
feelings of loss and longing and desire.
– Sean Lusk
What a pleasure to watch these poets’ minds at work, guiding us this way and that.
– Billy Collins
‘… delightful, lively send-up … A vivid imagination is at play here, and a fine frenzy is the result.’ – Billy Collins
‘… laying frames of scenic detail to compose a lyric collage … enticing … resonates compellingly. … explosive off-screen drama arises through subtly-selected detail. Sharp, clever, economical, tongue-in-cheek.’ – Tracey Slaughter
Brave stories of danger and heart and sincerity.
Some risk everything outright, some are desperately quiet, but their intensity lies in what is unsaid and off the page.
These are brilliant pieces from bright, new voices.
A thrill to read.
~ Emily Ruskovich
I could see great stretches of imagination. I saw experimentation. I saw novelty with voice and style. I saw sentences that embraced both meaning and music. ~ Colum McCann
MoreThese glorious pieces have spun across the globe – pit-stopping in Japan, the Aussie outback, Vancouver, Paris, Amsterdam and our own Hibernian shores – traversing times past, present and imagined future as deftly as they mine the secret tunnels of the human heart. Enjoy the cavalcade. – Mia Gallagher
MoreThe standard is high, in terms of the emotional impact these writers managed to wring from just a few pages. – Billy O’Callaghan
Loop-de-loopy, fizz, and dazzle … unique and compelling—compressed, expansive, and surprising. – Sherrie Flick
Every page oozes with a sense of place and time. – Marti Leimbach
Energetic, dense with detail … engages us in the act of seeing, reminds us that attention is itself a form of praise. – Ellen Bass
MoreDead Souls has the magic surplus of meaning that characterises fine examples of the form – Neel Mukherjee
I was looking for terrific writing of course – something Fish attracts in spades, and I was richly rewarded right across the spectrum – Vanessa Gebbie
Really excellent – skilfully woven – Chris Stewart
Remarkable – Jo Shapcott
The practitioners of the art of brevity and super-brevity whose work is in this book have mastered the skills and distilled and double-distilled their work like the finest whiskey.
More€12 (incl. p&p) Sunrise Sunset by Tina Pisco Read Irish Times review by Claire Looby Surreal, sad, zany, funny, Tina Pisco’s stories are drawn from gritty experience as much as the swirling clouds of the imagination. An astute, empathetic, sometimes savage observer, she brings her characters to life. They dance themselves onto the pages, […]
MoreHow do we transform personal experience of pain into literature? How do we create and then chisel away at those images of others, of loss, of suffering, of unspeakable helplessness so that they become works of art that aim for a shared humanity? The pieces selected here seem to prompt all these questions and the best of them offer some great answers.
– Carmen Bugan.
What a high standard all round – of craft, imagination and originality: and what a wide range of feeling and vision.
Ruth Padel
I was struck by how funny many of the stories are, several of them joyously so – they are madcap and eccentric and great fun. Others – despite restrained and elegant prose – managed to be devastating. All of them are the work of writers with talent.
Claire Kilroy
The writing comes first, the bottom line comes last. And sandwiched between is an eye for the innovative, the inventive and the extraordinary.
MoreA new collection from around the globe: innovative, exciting, invigorating work from the writers and poets who will be making waves for some time to come. David Mitchell, Michael Collins, David Shields and Billy Collins selected the stories, flash fiction, memoirs and poems in this anthology.
MoreReading the one page stories I was a little dazzled, and disappointed that I couldn’t give the prize to everybody. It’s such a tight format, every word must count, every punctuation mark. ‘The Long Wet Grass’ is a masterly bit of story telling … I still can’t get it out of my mind.
– Chris Stewart
The perfectly achieved story transcends the limitations of space with profundity and insight. What I look for in fiction, of whatever length, is authenticity and intensity of feeling. I demand to be moved, to be transported, to be introduced into other lives. The stories I have selected for this anthology have managed this. – Ronan Bennett, Short Story Judge.
MoreI sing those who are published here – they have done a very fine job. It is difficult to create from dust, which is what writers do. It is an honour to have read your work. – Colum McCann
MoreThe entries into this year’s Fish Short Story Prize were universally strong. From these the judges have selected winners, we believe, of exceptional virtue. – Carlo Gebler
MoreI was amazed and delighted at the range and quality of these stories. Every one of them was interesting, well-written, beautifully crafted and, as a short-story must, every one of them focused my attention on that very curtailed tableau which a short-story necessarily sets before us. – Michael Collins
MoreThese stories voice all that is vibrant about the form. – Gerard Donovan. Very short stories pack a poetic punch. Each of these holds its own surprise, or two. Dive into these seemingly small worlds. You’ll come up anew. – Angela Jane Fountas
MoreEach of the pieces here has been chosen for its excellence. They are a delightfully varied assortment. More than usual for an anthology, this is a compendium of all the different ways that fiction can succeed. I invite you to turn to ‘All the King’s Horses’. The past is here. Begin.
– Michel Faber
Literary anthologies, especially of new work, act as a kind of indicator to a society’s concerns. This Short Story collection, such a sharp and useful enterprise, goes beyond that. Its internationality demonstrates how our concerns are held in common across the globe. – Frank Delaney
MoreFrom the daily routine of a career in ‘Spoonface’, to the powerful, recurring image of a freezer in ‘Shadow Lives’. It was the remarkable focus on the ordinary that made these Fish short stories such a pleasure to read. – Hugo Hamilton
MoreIn a world where twenty screens of bullshit seem to be revolving without respite … there is nothing that can surpass the ‘explosion of art’ and its obstinate insistence on making sense of things. These dedicated scribes, as though some secret society, heroically, humbly, are espousing a noble cause.
– Pat McCabe
It’s supposed to be a short form, the good story, but it has about it a largeness I love. There is something to admire in all these tales, these strange, insistent invention. They take place in a rich and satisfying mixture of places, countries of the mind and heart. – Christopher Hope
MoreThere are fine stories in this new anthology, some small and intimate, some reaching out through the personal for a wider, more universal perspective, wishing to tell a story – grand, simple, complex or everyday, wishing to engage you the reader. – Kate O’Riodan
MoreI feel like issuing a health warning with this Fish Anthology these stories may seriously damage your outlook – Here the writers view the world in their unique way, and have the imagination, talent, and the courage to refine it into that most surprising of all art forms the short story. – Clem Cairns.
MoreEvery story in this book makes its own original way in the world. knowing which are the telling moments, and showing them to us. And as the narrator of the winning story casually remarks, ‘Sometimes its the small things that amaze me’ – Molly McCloskey
MoreThe stories here possess the difference, the quirkiness and the spark. They follow their own road and their own ideas their own way. It is a valuable quality which makes this collection a varied one. Read it, I hope you say to yourself like I did on many occasions, ‘That’s deadly. How did they think of that?’ – Eamonn Sweeney
MoreReally good short stories like these, don’t read like they were written. They read like they simply grew on the page. – Joseph O’Connor
MoreThe writers in this collection can write short stories . . . their quality is the only thing they have in common. – Roddy Doyle
MoreThis is the first volume of short stories from Ireland’s newest publishing house. We are proud that fish has enabled 15 budding new writers be published in this anthology, and I look forward to seeing many of them in print again.
More12 Miles Out was selected by David Mitchell as the winner of the Fish Unpublished Novel Award.
A love story, thriller and historical novel; funny and sad, uplifting and enlightening.
You only know who you can’t trust. You can’t trust the law, because there’s none in New Ireland. You can’t trust the Church, because they think they’re the law. And you can’t trust the State, because they think they’re the Church And most of all, you can’t trust your friends, because you can’t remember who they were anymore.
MoreA memoir of urban life, chronicled through its central character, Mackey. From momentary reflections to stories about his break with childhood and adolescence, the early introduction to the Big World, the discovery of romance and then love, the powerlessness of ordinary people, the weaknesses that end in disappointment and the strengths that help them seek redemption and belonging.
MoreIan Wild’s stories mix Monty Python with Hammer Horror, and the Beatles with Shakespeare, but his anarchic style and sense of humour remain very much his own in this collection of tall tales from another planet. Where else would you find vengeful organs, the inside story of Eleanor Rigby, mobile moustaches, and Vikings looting a Cork City branch of Abracababra?
More