Haiku About Faith and Spirit

The faith poems here arrive through the senses. In Ray Spitzenberger’s Haiku for Epiphany, THE SILENT DEAF BOY gently touches the pipes of an organ and hears GOD’S VOICE. The paradox is stated and left alone. Lynda DeWitt names a GLORIOUS GARDEN where life rises from the dead, and the poem rests on the plain verdict GOD ENOUGH FOR ME. An epiphany is a moment of sudden understanding, and the poem keeps it physical: a hand, a pipe, a sound the body can feel even when the ear cannot.

Pamela Mitchell takes Easter to a pew, where the EASTER VIGIL CANDLELIGHT falls on a GRANDDAUGHTER who LOOKS UP, SMILING. The title is Heaven, and the poem places it in a girl’s face rather than in the sky.

Dance and light

Alethea Kehas turns to movement. A child dancing becomes THE SACRED RHYTHM OF SOUL, and the last line asks truth to ECHO THE LIGHT. The language is the most abstract on this page, and the dance gives it a body.

A prayer for a poem

Daniel Blackston’s speaker PRAYS UNDER STARS for THE ROSES TO SHOW HIM AN IMMORTAL POEM, which asks a rose for a poem. Few poems in the archive are so frank about asking for inspiration, and the stars and roses give the request a setting.

Questions readers ask

Does a spiritual haiku have to name God?

No. DeWitt names God directly, and Blackston’s poem never says to whom the speaker prays. The spirit in these poems is a presence: a pipe, a candle, a garden.

Where does spiritual feeling overlap with other themes?

With death and grief most of all, since poems about the end of a life often turn toward the spirit. The death page has a poem in which a spirit learns to fly, and the grief page stays closer to the person who is gone.

More themes to read

DeathHopePeace and StillnessArt and MusicInsectsAll themes

Last reviewed November 2026. Poems are the work of the poets credited and link to their pages in the original issues.