Fukunaga Koji's second haiku collection. It captures cityscapes, the daily life of a teacher, feelings for home, and sharp seasonal changes in tense, youthful language. Including the well-known haiku that sees Shinjuku's high-rises as distant gravestones, it brings postwar urban space and nature into contact.

Urban towers like gravestones resonate with the seasonal passage of migrating birds.

Michiaki Ito's first haiku collection. It foregrounds a sensibility rooted in Fukuoka, fresh lyricism conveyed through fruit and bodily perception, and a trust in fixed-form haiku. True to the title Hakuto, later used for the name of his haiku circle journal, it is an early representative work that combines brightness with a sense of fragility.

In the fine fuzz of a white peach resting in the palm, youthful lyricism and devotion to form seem to pulse.

Opeki is a haiku collection by Katsumi Tsujita. It turns bodily sensation, urban scenery, and small disturbances in everyday life into haiku marked by both lightness and sharpness.

A haiku collection that catches the texture of daily life and the atmosphere of the city in a compact poetic form.