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      • Angela Quinto
      • Dennis Avelar
      • Anne McGrath
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      • Claire Bauman
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      • Tanja Softić
      • Kylie Gellatly
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      • Lea Graham
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      • Steven and Maja Teref
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WORKING ON GALLERY

Where to publish graphic poems

8/29/2020

 
Many, many friends ask me this question, so here are the magazines that mine were in. I also linked each to my published work. You may feel the magazine's vibe (what they are looking for).

POETRY
Tupelo Quarterly
North American Review
Action, Spectacle
Moria
Glass A Journal of Poetry 1
​Glass A Journal of Poetry 2
Jet Fuel Review
Drunk In A Midnight Choir
The Indianapolis Review

Glass Lyre Press - "Cochlea" (Chapbook of Art & Poem)
The Rose Metal Press Field Guide to Graphic Literature - Essay Contributor with my graphic poems.

Exploring Japanese literature translations and applying their teachings to your own poetry writing

8/28/2020

 
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​For the next two months, RHINO Poetry will focus on translation themes. Naoko Fujimoto (August) and Noh Anothai (September) will be navigators of the forums. They are open to the public, no translation skills required.

With Naoko Fujimoto, we are going to learn three genres of Japanese literature (Zuihitsu, Waka/Haiku, & Renga). After reading translation pieces such as those by Donald Keene, we will have a couple of writing exercises adapting Japanese writing methods. 

NOTE: This is a part of RHINO Virtual Poetry Forum Outline.


Style: Zuihitsu (随筆)
Writer/Poet: Sei Shōnagon (清少納言)
Book: The Pillow Book (枕草子)
Section: The first four paragraphs of “Hateful Things” (にくきもの)
Translator: Ivan Morris

One is in a hurry to leave, but one's visitor keeps chattering away. If it is someone of no importance, one can get rid of him by saying, "You must tell me all about it next time"; but, should it be the sort of visitor whose presence commands one's best behaviour, the situation is hateful indeed.

One finds that a hair has got caught in the stone on which one is rubbing one’s inkstick, or again that gravel is lodged in the inkstick, making a nasty, grating sound.
 
Someone has suddenly fallen ill and one summons the exorcist. Since he is not at home, one has to send messengers to look for him. After one has had a long fretful wait, the exorcist finally arrives, and with a sigh of relief one asks him to start his incantations. But perhaps he has been exorcizing too many evil spirits recently; for hardly has he installed himself and begun praying when his voice becomes drowsy. Oh, how hateful!
 
A man who has nothing in particular to recommend him discusses all sorts of subjects at random as though he knew everything.


Writing Exercise 1:
Write a first draft of ten paragraphs of zuihitsu

Theme: COVID-19 Things
I am going to time each paragraph. When I say, “Move to the next paragraph”, you are going to start writing a new paragraph with a new idea within the theme. With the timed writing windows, you will have random lengths of paragraphs.
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You may also enjoy reading my past articles about "How Graphic Poetry Helps Us Progress the Story Telling Technique and the Creative Process of Its Own Editing".

How do I choose materials and color schemes?

One simple way to improve observing habits after graphic poetry exercise

Is it difficult to have divergent thinking?

Can a graphic poem have a line break?

Why didn’t I write down whole poem in a graphic poem?

​My editing technique has developed after a collection of graphic poems
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  • Books
    • Poetry >
      • We Face The Tremendous Meat On The Teppan
      • GLYPH: Graphic Poetry = Trans. Sensory
      • Where I Was Born
      • Mother Said, I Want Your Pain
      • Cochlea
      • Silver Seasons of Heartache
      • Home, No Home
    • Translation >
      • of women
      • 09/09 : Nine Japanese Female Poets / Nine Heian Waka
    • Textbook >
      • Marvels
      • The Rose Metal Press Field Guide to Graphic Literature
  • Graphic Poetry
    • What is Trans. Sensory
    • Gallery of Graphic Poems
    • Teppan Text Collage
    • Listen to graphic poems
    • 31 Facts about GLYPH
    • Warashibe Documentary >
      • First Erasure
      • First Found Poem
    • Study Guide >
      • Create a first graphic poem
      • How to Approach Image
      • line-breaks
      • Visual Erasure Poetry
  • Working On Gallery
    • Vol. 7 >
      • Irene Adler
      • Yuka Tsuchiya
      • Susan Preston
      • Camila Valladares
    • Vol. 6 >
      • Rosanna Young Oh
      • Rowena Federico Finn
      • Jesse Kercheval
      • Natalia Carrero
      • Genevieve Kaplan
      • Maggie Queeney
      • Katrina Bello
      • Heather Beardsley
    • Vol. 5 >
      • Lisa Schantl
      • Danielle Pieratti
      • Karla Van Vliet
      • m. mick powell
      • Lauren Ari
      • Robert Lifson
      • Marcello Sahea
      • Allan Haverholm
    • Vol. 4 >
      • Angela Quinto
      • Dennis Avelar
      • Anne McGrath
      • Francesca Preston
      • Kelsey Zimmerman
      • Lúcia Leão
      • Claire Bauman
      • Ann Hudson
    • Vol. 3 >
      • Tanja Softić
      • Kylie Gellatly
      • Ananda Lima
      • Lea Graham
      • Jennifer Sperry Steinorth
      • Ina Cariño
      • Aaron Caycedo-Kimura
      • Steven and Maja Teref
    • Vol. 2 >
      • Celia Bland and Kyoko Miyabe
      • Gail Goepfert and Patrice Boyer Claeys
      • Scoot Swain
      • Nancy Botkin
      • Amanda Earl
      • Meg Reynolds
      • Gretchen Primack
      • Frances Cannon
    • Vol. 1 >
      • Octavio Quintanilla
      • Luisa A. Igloria
      • Sarah Sloat
      • J. D. Schraffenberger
      • Natalie Solmer
      • Dara Yen Elerath
      • Kristen Renee Miller
      • Rodney Gomez
  • Translation
    • Conveyorize Art of Translation
    • Waka/Haiku Workshops
    • 和歌英訳
  • About