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Where I Was Born
Poetry collection by Naoko Fujimoto. Editor's Choice, Willow Books. Born and raised in Nagoya, Japan, Fujimoto is currently a Chicago-area graphic poetry artist. A RHINO associate editor, Fujimoto's Poetry & Art site introduces readers to graphic poetry and showcases book projects.
Home, No Home
Chapbook of poetry, and first in the Oro Fino Chapbook Competition.
Her Read
Her Read: A Graphic Poem is a hybrid text at once poetry and visual art. In the tradition of reusing canvases, Steinorth takes a seminal text, The Meaning of Art by Herbert Read and with the liberal use of correction fluid, scalpel and embroidery floss, transforms the book from art criticism into feminist verse. Though the maternal body appears with frequency in Read’s illustrated text which spans from prehistory to the modern age, he includes zero female artists. Her Read: A Graphic Poem is an excavation of buried voices, a reclamation of bodies framed in gilt and an homage to those whose arts remain unsung.
Graphic Poetry
None
Mother Said, I Want Your Pain
Poetry Chapbook
Silver Seasons of Heartache
In Silver Seasons of Heartache, Naoko Fujimoto walks a tightrope of language, making her way word by word across the chasm where hope can fall prey to heartbreak, the maybes and might-bes of life transformed into what simply (and complicatedly) is. She is a poet of heart and humor, of insight and image. In carefully crafted yet conversational lines, Fujimoto describes the complications of our modern lives where "enough is never enough," but where you also might still be lucky enough to stop and savor the moment when your "breath is quiet-- / waiting to catch the last lightning bug." --Matthew Thorburn, author of Dear Almost
Hotel Almighty
Visually arresting and utterly one-of-a-kind, Sarah J. Sloat's Hotel Almighty is a book-length erasure of Misery by Stephen King, a reimagining of the novel's themes of constraint and possibility in elliptical, enigmatic poems. Here, "joy would crawl over broken glass, if that was the way." Here, sleep is “a circle whose diameter might be small," a circle "pitifully small," a "wrecked and empty hypothetical circle." Paired with Sloat's stunning mixed-media collage, each poem is a miniature canvas, a brief associative profile of the psyche—its foibles, obsessions, and delights.
Fearn
Fearn by Linda Dove is collection where Fear is transforming, and doesn't just become, but is a spectrum of objects, actions, and sensations. Fear is not something that's crushing a person, or destroying the world like a weapon. It is a part of nature, dynamics, and an essential creating element of the world. These are poems of moments when fear is something that's vulnerable and even evocative of a sympathy. Fearn is a force, but one that's just like anything else, and is only a part of all the other motions in this universe.
Forlorn Light
To write these poems, I select a paragraph from a Woolf novel-The Waves or Mrs. Dalloway-and only use the words from that paragraph to create a poem. I essentially write poems while doing a word search using Virginia Woolf as source material. I don't allow myself to repeat words, add words, or edit the language for tense or any other consideration. These poems are simultaneously defined by both Woolf's choices with language as well as my own. They feel like an homage to this writer I so admire as well as a way of authentically expressing my lived experience.
Geographic Tongue
In Geographic Tongue, an important addition to the Pleiades Press Visual Poetry Series, Rodney Gomez weaves together themes of loss, identity, ethnicity, heritage, and the mechanics of contemporary life to create a collection as lyrically arresting as it is aesthetically stunning. These visual poems, crafted with both restraint and vitality, are visceral in their depiction of cruelty and grief at the United States–Mexico border. And yet, this charged landscape also gives rise to moments of tenderness, stillness, and wry humor. Gomez’s visual design is at once vivid and haunting, drawing together collage, diagrams, and abstract imagery into a bright, geometrically precise collection. His text casts such a powerful spell that in its absence, silence is heard as clearly as any phrase. Gomez writes, “You don't have to speak to speak truth,” and this lucid assertion is borne out in the collection as a whole. In its art, and in its silence, the poems of Geographic Tongue are undeniably and indelibly authentic.
