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WORKING ON GALLERY

#RHINOArt2Art

3/1/2021

 
#RHINOArt2Art's submission is open and we had the first editorial meeting.

One thing I realize is poets are seemingly more open to visual explorations of their medium - - i.e. poetry formats: erasure, Golden Shovel, centos (see the previous craft essay) - - than before. Graphic / visual adaptations are not only fun for creators, but they also push their way of thinking about the poems they read and what potential lies in various creative approaches.

We do not have a clear rule for visual adaptations like Golden Shovel and centos do. Visual adaptations have more varieties of final products like erasure techniques. But I believe that sharing my process notes may be useful to our community as a springboard to thinking visually, and making more exciting graphic adaptations.
The rules for the Golden Shovel: (From Writer's Digest)
  • Take a line (or lines) from a poem you admire.
  • Use each word in the line (or lines) as an end word in your poem.
  • Keep the end words in order.
  • Give credit to the poet who originally wrote the line (or lines).
  • The new poem does not have to be about the same subject as the poem that offers the end words.
As you may or may not know, #RHINO Art2Art is an initiative to pair poems in RHINO Poetry's archive with graphic art, with a view to highlighting poets of color, and to draw more attention to our beautiful archive, thanks to our tireless interns.

Between July and August 2020, I had a test-run for this project. I created three adaptations and recruited a handful of poets who were interested in creating various examples before the open submission. The following is my adaptation of Nate Marshall's "buying new shoes".
Picture
"buying new shoes" by Nate Marshall - Graphic by Naoko Fujimoto
buying new shoes
by Nate Marshall


he sees the Nikes
boxed, beautiful
hundred plus. he
hopes. he holds
the box under his
arm like a briefcase
for the unfortunate
business of being
told no
When I read this poem for the first time, I saw many possibilities for images from Marshall's words, such as Nikes boxed, hundred plus, under his arm like a briefcase... This is a short poem, but it is full of striking imagery about a young male who wants expensive shoes.

I also thought that the way the poems are arranged on the pages are of significant beauty. I could separate words and images to create a new visual adaptation; however, I did not want to disturb the line-breaks. The poem has a certain cadence. If you read it aloud, it is obvious.

Therefore, I decided to keep all the words and play with the shape of its body, the iconic Nike box and shoe cut-out. The white dots represent the shoes that the speaker could not own. Meditating with Marshall's poem was a pleasant time for me. Though this poem is short, Marshall's work left a strong impression on me. It was his super poetic power.

I always feel anxiety when sharing visual adaptations of a poet's work to them. But later, I heard from José Olivarez that he and Marshall had a long discussion about the line-breaks. You have no idea how much I was thrilled when I learned of that.
Picture
Click & Find Out!
#RHINOArt2Art
An Ongoing Celebration of RHINO’s Online Archives 


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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
    • 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