b'upper right quadrant indicate dire outcomes for some incarcerees. A tag like those used to identify Japanese American families (Okubos read 13660) hangs from a gate. A key dangles nearby, inviting the viewer to consider who has the ability to liberate or imprison. Hence, Makuuchis defiant visions of camp compel us to confront Americas inhumanity towards Americans.Another print in the Camp Image section, Listening for Pillow Talk of Escape, precedes several poems that feature memories recalled by Makuuchis sister, who was incarcerated with him (fig. 37). The image of a small rabbit crouching in the corner of a barrack evokes empathy for the very young who endured incarceration. The poem Imprintment recounts how being fingerprinted as a child made his sistereven then and in retrospectfeel like a criminal. Aftermath . . . Bathroom refers to his sisters memory of their mother warning them away from encountering hanging bodies in the camp latrine. In fact, ac-cording to Gwenn Jensen, Suicide [in the camps] was double that of the national population, with evidence suggesting this may have been as much as a four-fold increase over pre-incarceration rates. 14The verticality of hanging bodies in this poem is a formal feature influenced by the tradition of concrete poetry, in which poets arranged print and white space to create and reinforce meaning. Its no surprise that a visual artist like Makuuchi would participate in this tradition. While George Herbert was famous for writing such concrete poems as Easter Wings in the seventeenth century, a renewed interest in this aesthetic surged in the 1960s. 15In any case, the striking text-image on the page emphasizes the impression that the event made on Makuuchis sister (and subsequently himself): These images still hang in our memories. / P.S. I wiped them out of my memory bank until my sister reminded me 45 years later. Hence, the aftermath of the carceral experience refers to a traumatic loop of emotion, repression, and memory.Makuuchi often represents aspects of trauma in his poems and prints with diamond imagery. For instance, peering into the Minidoka War Relocation Center as if from the outside, Makuuchis speaker in Diamonds in the Sun observes:Through a diamond grid fence:Tarpaper sheltersFar as the eye could see . . .This poem has its visual analog in Shelter as far as the eyes could See, which fea-tures a mesmerizing symmetrical pattern of barracks under a perfectly centered sun that belies the cruel fracturing of individual lives within them (fig. 47).FIGURE \x07 Shelter as far as the eyes could See CHECKLIST #37118'