In his most recent period Bertók has been writing haikus, and he calls these three-line, rhymed stanzas “little threes”. The poems are divided into three great cycles containing nine times nine haikus each. “Little threes” are self-contained but they can be read as the mosaic peaces of a longer poem. “Besides the powers of three,” writes another poet, Győző Ferencz, “the volume is held together by the writing situation; the poet is sitting at a garden table, watching the cycle of the seasons, the trees, the birds, the stones, brooding on life and scribbling his ‘nail-size poems’” (an expression invented by Kosztolányi). Ferencz calls attention to the possible danger of the short poems: “Seventeen syllables can be arranged into one, two or three sentences at most, and the number of grammatical or conceptual structures is finite. But this only makes an obstinate poet the more excited. At times Bertók makes the three lines dynamic by a crafty syntax structure, at times he fills it out with one calm remark; sometimes he concludes the poem, at other times he leaves it open. He asks questions, makes assertions, opposes an abstract statement with the image, or the other way round.”