The Manhattan-born daughter of a New Yorker who was the daughter of a New Yorker who was the daughter of a New Yorker who was . . . Seánan Forbes has lived in London since 1996. A habitual traveller, she is usually homesick for one place or another (not always New York or London), and sometimes suffers from hiraeth (It’s a Welsh word. As Gillian Thomas put it, "It's not homesickness. Homesickness is too weak. You feel hiraeth. A longing of the soul to come home.”). That — hiraeth — is almost always for one of her main cities, its rhythms, her friends, and the loss of connection and time.
That sense of location and dislocation plays into her poetry and her PhD, which sets English-language Japanese poetic forms in multisensory art. Unlike her storytelling tales, her poetry and fiction have an often-dark urban edge. Despite her time in the UK, her work retains a big-country muscularity. She is hopelessly addicted to parentheses, hyphens, and m-dashes, and has an almost magnetic attraction to monostiches.
She has been fortunate enough to be guided by Jim Kacian, Ferris Gilli, M. Kei, and Charlie Trumbull. Her work has appeared in chapbooks and anthologies including String to Bow (Leaf Press, 2005), A New Resonance: Emerging Voices in English-Language Haiku, Volume 8 (Red Moon Press, 2013), and fear of dancing: The Red Moon Anthology of English-Language Haiku 2013 (Red Moon Press, 2014). It has run in numerous journals, including The Heron's Nest, Frogpond, Acorn, Atlas Poetica, Contemporary Haibun Online, A Hundred Gourds, Haibun Today, Mid-American Poetry Review, Modern Haiku, Notes from the Gean, Shamrock, Sketchbook, Skylark Magazine, The New Review, The Prose-Poem Project, and Theodate.