Agnieszka Herman

Professionally, she designs book covers (for the publishers Zysk i S-ka and Norbertinum).

She has published six volumes of poetry: Wybuchło słońce (“The Sun Burst Out,” WKMS, 1990), Zapisane światłem (“Written in Light,” Literary Magazine Press, 1995), Jesienią najtrudniej iść środkiem dnia (“In Autumn It Is Hardest to Walk Through the Middle of the Day,” Nowy Świat, 2015), Punkt przecięcia (“Point of Intersection”) – collected poems translated into Bulgarian by Łyczezar Seliaszki (Nightingel, 2018), Tło (“Background,” Issa Books, 2019), and Furtka do ogrodu (“The Garden Gate,” Issa Books, 2024).

Her poems have also appeared in numerous Polish and international anthologies – Bulgarian, American, Indian (Telugu), Ukrainian, English, and Turkish – among them Ławka rezerwowych (“The Substitutes’ Bench,” WKMS, 1999), Snuć miłość. Polska poezja miłosna XV–XX w. (“Spinning Love: Polish Love Poetry from the 15th to the 20th Century,” edited by Włodzimierz Bolecki, Bertelsmann, 2000), and A jeśli miłość – co to jest takiego (“And If Love – What Is It, Really,” an anthology of love poetry, Książnica, 1999).

She received the Laurel of the Copper Amor (first prize, 1995). Nominated for the Orpheus K. I. Gałczyński Poetry Prize in 2020, she won the Audience Award.

She has taken part in many literary festivals, including the Istanbul Poetry Festival, the “Spirituality Without Borders” festival in Plovdiv (Bulgaria), and the “Forest Song” festival in Lutsk (Ukraine).

She is an editor of the international art magazine Post Scriptum.

Since 2016 she has been associated with the School of Classical Haiku led by Dr Agnieszka Żuławska-Umeda and collaborates with the centuries-old Japanese Kuzu school. Her haiku have been published in Przekrój and the Japanese journal Kuzu, as well as in the anthology Ptaki Wędrowne (“Migratory Birds”). She belongs to the Polish Haiku Association (PSH), where she serves as a board member and spokesperson.