Kazuhiro Honda's tanka collection looks at Fukushima's soil and language, memory of the dead, and a life rooted in place. Carrying the climate of his home region, it layers singing the soil with the act of living.

Words born from Fukushima's soil cultivate the space between the living and the dead.

Izumi Kasuga's fourth tanka collection takes its title from Gandhi's Salt March. Hearing the sound of things breaking down, it crystallizes solidarity, nonviolence, cinema, and everyday memory into tanka.

A tanka collection that searches for a salt-like glimmer of hope amid the sounds of an era coming apart.