1. “Experimental” Poetry —

This can mean nearly anything in today’s literary landscape; Ichigyoshi seeks work by those poets who are dedicated to the act of thoughtfully challenging language and exploring all of its possibilities. Anything goes…as long as the technique has purpose.

2. Short Forms of all Types, Including Eastern Forms —

This is not the poetry assigned to you by your third grade teacher; in other words, no need to get too hung up on the 5-7-5 syllable count, which turns out to be an erroneous convention anyway. Haiku and other Eastern forms are every bit as important as, say, the European sonnet, and the literary world (indeed, perhaps, the entire world) might well be a better place if more authors chose to perfect their short form rather than cater to seemingly endless pablum for the sake of padding.

3. Translation, Especially of an Experimental Nature —

For too long translators have taken a backseat to the authors with whom they work, whether dead or alive. This must be changed. Ichigyoshi seeks to promote the art of literary translation as a wholly creative and original act. The experiment fosters a pure and original creative state; therefore, the use of radical and/or experimental translation techniques and forms is, perhaps, the most significant way to assert the ego of the translator, thus drawing them into their rightful position as an equal among “original” writers. (This is to say, if originality cannot be claimed by the translator in terms of content, then s/he must find alternatives—the translator can be an artist possessing originality through technique and form.)