遊びに来てくれてありがとう！
Coming Soon!
January 19 - April 6, 2019
Graphic Poetry Exhibition 2101 Arlington Heights Rd.
Sponsored by the Northwest Cultural Council
Graphic Poetry Exhibition 2101 Arlington Heights Rd.
Sponsored by the Northwest Cultural Council
THE CHAPBOOK INTERVIEW
NAOKO FUJIMOTO ON HOW CHAPBOOKS HELP US UNDERSTAND THE EXPERIENCES OF OTHERS AND THE CREATIVE PROCESS OF COVER DESIGN AND GRAPHIC POETRY
WHERE I WAS BORN
Spring 2019
Willow Books
Dara Elerath, MFA from the Institute of American Indian Arts
What does it mean when death is so present in the landscape of life that one’s mind moves swiftly from the passing of a great-grandparent to the smell of the neighbor’s grilled food and thoughts of hunger? What does it mean when loss is so integral to life that one pauses to think of a lover or licks tangerine juice from one’s fingertips while comforting an ailing family member? Fujimoto’s book engages these questions as she takes us through a landscape of continual loss. The loss of one culture for another, the loss of sanity and health brought on by illness and war, and the loss of illusions and passions that come when the outer facts of life do not join up with inner longings. In her delicate and unassuming style, Fujimoto records the small, daily moments of family life, wherein so much pain is born out of so much love. Her playful, emotionally keen and contemplative book “Where I Was Born” is one to be read and held close to the heart.
Linda Dove, Author of This Too, O Dear Deer, and In Defense of Objects
Naoko Fujimoto’s sensuous poems in Where I Was Born speak to the “Death of little things,” the griefs that accumulate inside families, across ordinary days, in the course of living regular lives. Thus the title points not only to a place, but to a condition, one in which the speaker must learn to accommodate loss—of birth country, of parents and grandparents, of unborn children, of time and opportunities, of dreams, of body parts, of voices, of names, of maps, and of the trail of breadcrumbs that might lead us out of the woods. In these brillliant and often-clipped lines, the world is unreal and unreliable: “There is / an extra season of endless fields. / The postcard fell from the refrigerator.” The poet invites questions, searching for some sort of definite knowledge: “Did someone jump? . . . . Will I go to war? . . . . Can you sleep with Grandfather’s bones? . . . . Wanna die? . . . . ‘Keep digging for what?’ . . . . What did you expect?” Yet this speaker does not give up on the world, even when the answers are distant and hard to see: “I squinted my eyes / as a satellite would look for new life.” This is a beautiful and necessary book.
Angela Narciso Torres, author of Blood Orange
“I squinted my eyes as a satellite would look for new life,” says the speaker in Where I Was Born, Naoko Fujimoto’s disarmingly honest first full-length poetry collection. Indeed, the poet leaves no stone unturned. In this sumptuous sensory feast, Fujimoto trains one observant eye on family—examining losses and loves that resonate with each of us, even as they remain uniquely her own—while keeping another watchful eye on history’s long shadow across generations. Hiroshima, the marble from a Ramune soda bottle, and a grandmother’s Japanese calligraphy collide with Lake Michigan, Dove soap, and a couple’s first apartment in Lawrenceville, Illinois—alchemizing a global poetry that is as riveting, musical, and iridescent as “the silver sheen of snails after June rain.”
Cover Art by Minami Kobayashi
What does it mean when death is so present in the landscape of life that one’s mind moves swiftly from the passing of a great-grandparent to the smell of the neighbor’s grilled food and thoughts of hunger? What does it mean when loss is so integral to life that one pauses to think of a lover or licks tangerine juice from one’s fingertips while comforting an ailing family member? Fujimoto’s book engages these questions as she takes us through a landscape of continual loss. The loss of one culture for another, the loss of sanity and health brought on by illness and war, and the loss of illusions and passions that come when the outer facts of life do not join up with inner longings. In her delicate and unassuming style, Fujimoto records the small, daily moments of family life, wherein so much pain is born out of so much love. Her playful, emotionally keen and contemplative book “Where I Was Born” is one to be read and held close to the heart.
Linda Dove, Author of This Too, O Dear Deer, and In Defense of Objects
Naoko Fujimoto’s sensuous poems in Where I Was Born speak to the “Death of little things,” the griefs that accumulate inside families, across ordinary days, in the course of living regular lives. Thus the title points not only to a place, but to a condition, one in which the speaker must learn to accommodate loss—of birth country, of parents and grandparents, of unborn children, of time and opportunities, of dreams, of body parts, of voices, of names, of maps, and of the trail of breadcrumbs that might lead us out of the woods. In these brillliant and often-clipped lines, the world is unreal and unreliable: “There is / an extra season of endless fields. / The postcard fell from the refrigerator.” The poet invites questions, searching for some sort of definite knowledge: “Did someone jump? . . . . Will I go to war? . . . . Can you sleep with Grandfather’s bones? . . . . Wanna die? . . . . ‘Keep digging for what?’ . . . . What did you expect?” Yet this speaker does not give up on the world, even when the answers are distant and hard to see: “I squinted my eyes / as a satellite would look for new life.” This is a beautiful and necessary book.
Angela Narciso Torres, author of Blood Orange
“I squinted my eyes as a satellite would look for new life,” says the speaker in Where I Was Born, Naoko Fujimoto’s disarmingly honest first full-length poetry collection. Indeed, the poet leaves no stone unturned. In this sumptuous sensory feast, Fujimoto trains one observant eye on family—examining losses and loves that resonate with each of us, even as they remain uniquely her own—while keeping another watchful eye on history’s long shadow across generations. Hiroshima, the marble from a Ramune soda bottle, and a grandmother’s Japanese calligraphy collide with Lake Michigan, Dove soap, and a couple’s first apartment in Lawrenceville, Illinois—alchemizing a global poetry that is as riveting, musical, and iridescent as “the silver sheen of snails after June rain.”
Cover Art by Minami Kobayashi
Graphic Poetry = Trans. Sensory
Winter 2019
Tupelo Press
The Rose Metal Press Field Guide to Graphic Literature:
Summer 2021
Artists and Writers on Creating Graphic Narratives, Poetry Comics, and Literary Collage
Edited by Kelcey Parker Ervick and Tom Hart
Featuring Essays and Graphic Literature Work From: Justine Andersen, Oliver Baez Bendorf, Leonie Brialey, Thi Bui, David Dodd Lee, Arwen Donahue, Trinidad Escobar, Naoko Fujimoto, Marnie Galloway, Lauren Haldeman, Tom Hart, Harmony Holiday, Mira Jacob, Keith Knight, Aidan Koch, Matt Madden, Mita Mahato, Deborah Miranda, Josh Neufeld, Zeke Peña, Nick Francis Potter, Kristen Radtke, Scott Roberts, Alexander Rothman, Eleni Sikelianos, Bianca Stone, and Lawrence Sutin.
MOTHER SAID, I WANT YOUR PAIN
"Mother Said, I Want Your Pain" - Poetry Chapbook
Published by Backbone Press
The winner of the Shared Dream Immigrant Contest
Janine Joseph , Judge of the 2018 contest
Of the collection, Janine Joseph writes:“I do not know/ if I am even right to be a mother at a right time,” discloses the speaker in the opening poem of Mother Said, “I Want Your Pain.” Evocative and startling in their unflinching clarity of image, these poems are inheritors of the aftermath of nuclear fallout and chemical warfare. They are tuned to the movement of transgenerational traumas. Grandmothers who “hid in a ditch with three horses” while B-29s shot bullets overhead, leave relatives who later ask of our bequeathed earth, “Is the land poisoned or not poisoned?” Here is a striking collection with a deft voice, poised even as it turns on or transcends an observation or emotion: “Grandfather watches TV on the highest volume,/ the howling-wind.”
Silvia Bonila, author of An Animal Startled by the Mechanisms of Life
"In Naoko Fujimoto’s “Mother Said, I Want Your Pain”, there are rooms without doors nor windows. Time becomes ecstatic and intimate. The reader walks into these rooms allured by the un-adorned but skillful language, the spectral beauty of the imagery and the haunting narrative of emptiness. Voluntary exile and loss are found in passages like the kitchen was dyed empty green like a milk glass. Fujimoto’s heightened sensitivity and connection to nature enhances the physical times in the speaker’s personal history, as in / because there is no answer/ beetles roll/ ants dismantle/ unwrapped pacifiers/ ghost teeth bite my nipples."
Faisal Mohyuddin, author of The Displaced Children of Displaced Children
"What remains, in the aftermath of the horrors humans wreak upon other humans? According to Naoko Fujimoto’s brave, ambitious poems: so many kinds of heartache and grief and so many questions that elude answers, and also the ghosts of dead grandparents and unborn children haunting quiet afternoons spent among fields of wildflowers or along lonely lake beaches. Yet these poems remind the reader—especially the one who reads with heart wide, wide open—that pain, when shared with others, can root us deeper in our collective humanity, can guide us all toward compassion, empathy, perhaps even healing. “It chokes us without a sign, or smell—,” the poet writes, “as if a radioactive current swallowed, / hurting slowly inside / to ripen our bodies.” I so deeply admire the mother who says, “I want your pain,” so deeply admire, too, this poet who has found the words to both capture this pain and to transcend it with such hopefulness and beauty."
Published by Backbone Press
The winner of the Shared Dream Immigrant Contest
Janine Joseph , Judge of the 2018 contest
Of the collection, Janine Joseph writes:“I do not know/ if I am even right to be a mother at a right time,” discloses the speaker in the opening poem of Mother Said, “I Want Your Pain.” Evocative and startling in their unflinching clarity of image, these poems are inheritors of the aftermath of nuclear fallout and chemical warfare. They are tuned to the movement of transgenerational traumas. Grandmothers who “hid in a ditch with three horses” while B-29s shot bullets overhead, leave relatives who later ask of our bequeathed earth, “Is the land poisoned or not poisoned?” Here is a striking collection with a deft voice, poised even as it turns on or transcends an observation or emotion: “Grandfather watches TV on the highest volume,/ the howling-wind.”
Silvia Bonila, author of An Animal Startled by the Mechanisms of Life
"In Naoko Fujimoto’s “Mother Said, I Want Your Pain”, there are rooms without doors nor windows. Time becomes ecstatic and intimate. The reader walks into these rooms allured by the un-adorned but skillful language, the spectral beauty of the imagery and the haunting narrative of emptiness. Voluntary exile and loss are found in passages like the kitchen was dyed empty green like a milk glass. Fujimoto’s heightened sensitivity and connection to nature enhances the physical times in the speaker’s personal history, as in / because there is no answer/ beetles roll/ ants dismantle/ unwrapped pacifiers/ ghost teeth bite my nipples."
Faisal Mohyuddin, author of The Displaced Children of Displaced Children
"What remains, in the aftermath of the horrors humans wreak upon other humans? According to Naoko Fujimoto’s brave, ambitious poems: so many kinds of heartache and grief and so many questions that elude answers, and also the ghosts of dead grandparents and unborn children haunting quiet afternoons spent among fields of wildflowers or along lonely lake beaches. Yet these poems remind the reader—especially the one who reads with heart wide, wide open—that pain, when shared with others, can root us deeper in our collective humanity, can guide us all toward compassion, empathy, perhaps even healing. “It chokes us without a sign, or smell—,” the poet writes, “as if a radioactive current swallowed, / hurting slowly inside / to ripen our bodies.” I so deeply admire the mother who says, “I want your pain,” so deeply admire, too, this poet who has found the words to both capture this pain and to transcend it with such hopefulness and beauty."
Silver Seasons of Heartache
Silver Seasons of Heartache - Poetry Chapbook - Published by Glass Lyre Press
This original manuscript was the finalist of the 2016 Sunken Garden Chapbook Poetry Award by Tupelo Press.
Matthew Thorburn, author of Dear Almost
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.”
Nancy Botkin, author of Parts That Were Once Whole
Silver Seasons of Heartache is full of compelling poems that engage the senses as they navigate physical and emotional spaces: the kitchen, the family, the homeland, and the edges of this mysterious and precarious life. In “A Big Bowl of Beef Stew” she writes, “Past midnight, from the deepest forest, / a deer walked on weathered leaves.” These are lovely poems, and Fujimoto’s talent is the deep image.
This original manuscript was the finalist of the 2016 Sunken Garden Chapbook Poetry Award by Tupelo Press.
Matthew Thorburn, author of Dear Almost
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.”
Nancy Botkin, author of Parts That Were Once Whole
Silver Seasons of Heartache is full of compelling poems that engage the senses as they navigate physical and emotional spaces: the kitchen, the family, the homeland, and the edges of this mysterious and precarious life. In “A Big Bowl of Beef Stew” she writes, “Past midnight, from the deepest forest, / a deer walked on weathered leaves.” These are lovely poems, and Fujimoto’s talent is the deep image.
HOME, NO HOME
Home, No Home - Poetry Chapbook - Published by Educe Press
The winner of the first annual Oro Fino Chapbook Competition
People happily live.... That is ideal; however, unwanted events happen-earthquakes, tsunamis, cancer, brain surgery, unfilled love, or not making monthly rent. Naoko Fujimoto, a Japanese poet, adapted these scenes into first-person narratives, in which ordinary people face these broken moments.
Diane Raptosh, Judge of the 2015 contest
"It is gritty and raw, earthy and spare, crafted superbly."
Serena Agusto-Cox, writer at Savvy Verse & Wit
"Naoko Fujimoto has deep silences that activate the reader’s mind, which turns each moment over and over to make sense of the devastation. From the deadly tsunami in Fukushima to more subtle moments of broken lives, Fujimoto takes on a first-person narrative in these literary poems to draw readers into that sadness, that loss, that emptiness, the silence to render grief alive."
Ryan Sanford Smith, MFA from the University of Notre Dame
"This is an immaculately crafted, emotionally devastating collection. There's so much elegant silence in these poems,but the carry a great deal of genuine heartbreak. The language is deft, the images are forceful and haunting. I cannot recommend this chapbook strongly enough."
Amazon Book Reviews
"A beautiful, small collection of poetry that cuts to the heart and head. Crisp style. Sharp language. Some of these poems sat with me for days" and "This is a stunning collection of poetry. Read the first poem "Seventeen Blue".
The winner of the first annual Oro Fino Chapbook Competition
People happily live.... That is ideal; however, unwanted events happen-earthquakes, tsunamis, cancer, brain surgery, unfilled love, or not making monthly rent. Naoko Fujimoto, a Japanese poet, adapted these scenes into first-person narratives, in which ordinary people face these broken moments.
Diane Raptosh, Judge of the 2015 contest
"It is gritty and raw, earthy and spare, crafted superbly."
Serena Agusto-Cox, writer at Savvy Verse & Wit
"Naoko Fujimoto has deep silences that activate the reader’s mind, which turns each moment over and over to make sense of the devastation. From the deadly tsunami in Fukushima to more subtle moments of broken lives, Fujimoto takes on a first-person narrative in these literary poems to draw readers into that sadness, that loss, that emptiness, the silence to render grief alive."
Ryan Sanford Smith, MFA from the University of Notre Dame
"This is an immaculately crafted, emotionally devastating collection. There's so much elegant silence in these poems,but the carry a great deal of genuine heartbreak. The language is deft, the images are forceful and haunting. I cannot recommend this chapbook strongly enough."
Amazon Book Reviews
"A beautiful, small collection of poetry that cuts to the heart and head. Crisp style. Sharp language. Some of these poems sat with me for days" and "This is a stunning collection of poetry. Read the first poem "Seventeen Blue".