Joseph Wagner’s imagistic Slivers of Colored Glass continues an American tradition of adapting haiku, and its Zen Buddhist context, to a different culture and environment, while preserving haiku’s original intent of surprising the mind and discovering reverie and depth in the unexpected. At times sequential, and at others strategically discontinuous, Joseph’s diary-like Slivers engage with the particulars of everyday experience–from tea at dawn, to yogic breath holds, to interior dialogues with crows–in their commitment to transforming personal observation into illuminating perceptions that urge attentive readers toward wakefulness, gratitude, and contingent delight.