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WORKING ON GALLERY

Geographic Tongue (Pleiades Press Visual Poetry Series) by Rodney Gomez

9/13/2020

 
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Gomez's visual poetry book will be out soon this October from Pleiades Press. This press accepts visual poetry collections. Their submission guidelines are on their website. It is really fantastic to see that they publish all interpretations of visual poetry.

When I read Gomez's book, I immediately thought that he beautifully dissects his poems—each phrase deforms into image & word—like a cell dividing into multiples and creating new life. These fragments become a solid block, like a new identity throughout his book.​ It was really amazing to observe his works.

Then, I become curious about how he creates his visual poems. His work is digitally processed (unlike my graphic poems), but there are still earthly vibes in his poems. When I obsess over something or someone, I cannot resist learning from them. Gomez kindly replied to my question, "How do you process your visual poetry collection?"
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Rodney Gomez:​

Geographic Tongue
 began as a series of black & white word-only poems. Most of my visual poems start out that way. But sometimes you work a poem and put it aside wanting to return to it with fresh eyes. 

What happened is that a lot of these pieces mutated in hibernation. They demanded images, colors, lines, and shapes. It became quickly apparent that I was wasting my time attempting to pigeonhole them into monochrome. 

The more I gave up traditional text the easier it became to discover the true body of each piece. Some poems no longer needed a transition—they emerged fully formed as their true, colorful, dynamic selves. Now almost every poem I write has a visual twin. It has become easy to identify what form the poem needs and deserves.


At the same time I was writing Geographic Tongue I was also writing the poems in another collection, Arsenal with Praise Song, which arrives in January 2021 from Orison Books. That book confronts very violent imagery, mutilation, death, and similar themes, but there are no visuals in it.

Perhaps Geographic Tongue is respite to that work. Not that it lacks involvement with some tough themes. But there is something gentle and conciliatory in color and shape. 
Everything the reader sees in Geographic Tongue is a result of discovery. Visual poetry is a new thing for me and so the collection shows efforts of newness.

​There are few collages here, few poetry comics. Nothing was painted or drawn with my hands. Everything was constructed in virtual space, and with a mouse, although I dislike using ‘virtual’ because the digital space is just as real as the space we take breath in.

​My guiding principle was aleatory: to give the poem whatever body it needed. The result is a mix of different textures and tones.
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Map of the Wound digital image, 7.5″ x 10.5″, The Indianapolis Review
Rodney Gomez is the author of Citizens of the Mausoleum (Sundress, 2018), Ceremony of Sand (YesYes, 2019) and Arsenal with Praise Song (Orison, 2020). His work appears in Poetry, Poetry Northwest, The Gettysburg Review, Blackbird, North American Review, Pleaides, Denver Quarterly, Verse Daily, and other journals. He is a member of the Macondo Writers’ Workshop. In 2020 he will serve as the Poet Laureate of the city of McAllen, Texas. ​
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Picture credits from The Indianapolis Review

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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