Marjorie A. Buettner has taught at the Loft, a literary center in Minneapolis. She has recently won Honorable Mention in the 2007 Harold G. Henderson Haiku Society of America Award, Honorable Mention in the 2006 Suruga Baika Haiku Contest, and Third Place in Japan's International Kusamakura Haiku Competition, 2006. She writes book reviews for moonset, Gusts, Simply Haiku and Modern Haiku. She has published widely in the U.K. and the U.S.

Gary LeBel has been published in the haiku, haibun, haiga and tanka genres as well as the short story and longer poetry forms in various publications in the USA, England and Japan. He lives in the greater Atlanta, Georgia area and works as an industrial consultant with a firm he co-founded. He credits the works of Ki no Tsurayuki, Izumi Shikibu and Takuboku for drawing him to tanka.

Bob Lucky lives with his family in Hangzhou, China, where he teaches history, plays the ukulele and dabbles in theater. His work has appeared in various journals.

Terra Martin is a practicing therapist in Toronto. Her poetry has been published in American Tanka, Asahi Shimbun, bottle rockets, Eucalypt, Modern English Tanka, Ribbons, Simply Haiku and many other journals as well as in the anthology, Landfall: Poetry of Place.

Linda Papanicolaou is an art teacher and art historian living in California. She is the editor of Haigaonline, an editor of Modern Haiga, assistant director of WHChaiku multimedia, and a resident artist at Moonset.

Patricia Prime is the co-editor of the New Zealand haiku journal Kokako and reviews editor of the online journal Stylus. She has just completed a critical essay on tanka prose -- “Irresistible Constructions.”

Jeffrey Woodward resides in Detroit. His poems and articles appear widely in periodicals in North America, Europe and Asia. He currently edits Haibun Today and acts in the capacity of Associate Editor for The Hypertexts. His selected poems were published in 2007 under the title, In Passing, and he recently edited The Tanka Prose Anthology (M.E.T. Press). He edited this issue of the Broadside, Tanka Prose Special Issue, and contributed the editor’s “Brief Note Concerning Tanka Prose”.