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Contributions by Meghan Keane:

“Niizhosagoons gemaa Nisosagoons Daso-biboonagad” / “Two or Three Thousand Years”

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Collaborators’ Q&A: Do you see an overlap between the act of translation and the act of responding visually to a piece of literature? Poet Margaret Noodin: …The idea moves as words from one language to another and then as color into a pattern. Both respond to the reality of a river and what water and its circulation means to the earth. Artist Meghan Keane: …Responding visually is always a question of legibility to me, how will my drawing be read, what are the multiple readings of it that coexist together? How can I translate the poem into a non-verbal experience yet maintain the poetic integrity and not veer into illustration? 

Poet Margaret Noodin is author of Bawaajimo: A Dialect of Dreams in Anishinaabe Language and Literature and Weweni, a collection of bilingual poems in Ojibwe and English. To see and hear current projects visit www.ojibwe.net Artist Meghan Keane is a painter and printmaker. She is the founding director of meghan.keane.studio and a visiting alumni artist at the Brooklyn College art department printshop.

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“ts’ǫǫsí” / “mouse”

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If this broadside were a piece of music, what would it be?
Poet Rex Lee Jim: A protection song to be sung in a sweat lodge ceremony.
Artist Meghan Keane: To be completely honest, this is the first broadside I have done where I have no idea. The musicality of the poem is the music it is meant to be, I find. To add anything else would feel non-essential on my part.

Collaborators: Poet Rex Lee Jim is a Navajo medicine man, poet, playwright, essayist, and scholar. Artist Meghan Keane is a painter and printmaker. She is the founding director of meghan.keane.studio

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“187” & “84”

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Why this poem/these poems?
Artist Meghan Keane: I visited Greece for the first time last summer and the experience has yet to leave me.

How does translation fit into your creative life?
Translator Paul Merchant: … [it] is a powerful message about valuing the outsider: an important project in these more insular times.

Collaborators: Poet Yannis Ritsos (1909 – 1990) was Greece’s best loved poet. Translator Paul Merchant, a native of Wales, has had poetry and translations widely published. Artist Meghan Keane is a painter and printmaker. She is the founding director of meghan.keane.studio

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“Almost Spring”

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Collaborators’ Q&A: Poet John A. Nieves: Meghan’s remarkable piece gave a new and powerful sense of texture the emotional complexity of the poem, the gesture toward soot/pitch/the darkness in an ultrasound moved me toward that dense blackness in a visceral way. Artist Meghan Keane: …art is about the leap beyond the illustrative to the visually poetic (how real art work manages to transcend itself and become the first time you’re experiencing that expression)…

Poet John A. Nieves‘s first book, Curio, was published in 2014 by Elixir Press. Artist Meghan Keane is a painter and printmaker. She is a visiting alumni artist at the Brooklyn College art department printshop.

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“The Glass Images”

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Collaborators’ Q&A: Poet Ladan Osman: I hoped for something that was as messy and achy as I felt when arranging these odd news bits and memories. Artist Meghan Keane: This piece began with the color: I knew I wanted it to be black and white. Secondarily, I was thinking about the title and the idea of the TV: these musings informed the shape of the print and also the ghostly, ethereal quality.

Poet Ladan Osman has received fellowships from the Union League Civic & Arts Foundation, Fine Arts Work Center, Cave Canem Foundation, and the Michener Center for Writers. Artist Meghan Keane is a painter, printmaker, and the founding director of meghan.keane.studio.

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“Lexicongraphy 1”

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Collaborators’ Q&A: Artist Meghan Keane: My work often deals with layers, movement and gesture. It was very organic for this visual response to loop, drape, and flow in ways similar to the unfolding and self-translating quality of the poem. Translator Margaret Noori: It was very much like swimming through wind instead of water with the same body you have always used, but surrounded by something new. Poet Heid Erdrich: There’s movement, too, in the image, which I really appreciated since Ojibwe is a verb-based language.

Poet Heid E. Erdrich has authored four books of poetry. Artist Meghan Keane exhibits nationally and internationally. Translator Margaret Noori directs the Comprehensive Studies Program and teaches the Anishinaabe Language and American Indian Literature at the University of Michigan.

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“Matches”

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Collaborators’ Q&A: Artist Meghan Keane: I am inspired by the tremendous variety of match-related imagery and what I, no literary critic but fan, consider great ingenuity with respect to the word choices creating these images.  Poet George David Clark: I think the thing that surprised me most is just how successful the image is in its manipulation of those contrasts: color, shape, texture.

Poet George David Clark’s honors include the Henry Hoyns Fellowship from the University of Virginia and the Provost’s Doctoral Fellowship from Texas Tech University. Artist Meghan Keane is currently a teaching artist at Kentler International Drawing Space and a visiting alumni artist at the Brooklyn College art department printshop.

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“The Ringmaster Answers the Phone”

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Poet Amorak Huey: I honestly wasn’t sure what to expect. This isn’t my most visual poem. Ringmasters and circuses offer some iconic possibilities, perhaps, and the cinderblock sky of the opening couplet was an image that pleased me. From looking at Meghan’s earlier Broadsided pieces, I figured she wouldn’t be too literal—too “matchy-matchy” as they say on Project Runway. I was excited …


“Dear Johnny”

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Poet Angela Veronica Wong: Maps and all of their possibilities. What inspires you in this poem? Artist Meghan Keane: The spaces. The references to colors (blood, etc). The mapping references. I was inspired by the way these elements create breathing room for developing a personal relationship with the poem. The painting came out of those spaces. Did the visual artist refract any element …

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“Wild nights”

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Why this poem? An answer by artist Meghan Keane What grabbed me about this poem was its obvious double entendre. It’s not just about sailing a ship…. What Dickenson achieves in the poem is akin to what my artistic practice strives to do: transform details from everyday life (ED: ships, MK:hair, whiteout) into subtle yet exquisite, borderline seductive experiences. Visceral, even. This drawing of curly hair (pubes? possibly. possibly not.) interspersed with whiteout fragments is …

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“As Any Approaching Might Smile and Stop” (Savich & Keane)

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Collaborators’ Q&A What did you think an artist would pick up on from your poem? Writer Zach Savich: When I read that poem, I see a dark road. It looks wet because of headlights, not rain. What inspires you in this poem? Artist Meghan Keane: I was inspired by the imagery: the sound of the press; the simple blackness; the yellow line; the repetition, numerical or not; and the sense that it’s all familiar but also elusive, …

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