b'needles, wrapping them in copper wire to increase their weight and allow him to draw freely using his whole arm, and to use a variety of steel dental tools for gouging and scraping lines (fig. 20). The deep lines stand in contrast to the extreme delicacy of the thin, almost imperceptible scratches that make up the childs face. In addition to these stylistic changes, there was also a shift in the psychological tenor of Makuuchis work. His portraits, such as the images of his former wife and father, always included the visible markers of character and mood. As he moved away from depicting specific people to more generalized and universal figures, the works become ethereal, less grounded, and more dream-like. Untitled (Bone and Skull) is a perfect example; the woman appears to be sleeping, and the grinning skull and shadowy child seem to be figments of her imagination.During this period Makuuchi became more preoccupied with mysticism and philosophy. Fickled Rainbowed Sexual Waters (fig. 21), which was inspired by Pablo Nerudas poem The Fickle One, indicates that Makuuchi was actively reading poetry during his years in Madison. The poem is a meditation on both the physical and spiritual sides of male sexual desire. The modification of the adjective fickle and the noun rainbow in Makuuchis title indicates the equal presence of multiple states in a constant state of flux. This sense is further underscored by use of the word waters, which evokes a sense of movement. The image reflects this mutability in the central reclining nude female figure, who is embraced from behind and crosses her arms in front of her chest. As in other compositions, most notably My Son, My Son (fig. 17), the embracing armsFIGURE \x05 Untitled (Bone and Skull) CHECKLIST #14and hands are distorted so that it is difficult to discern which appendages be-long to the woman and which to the hybrid, multi-faced figure behind her. The front-facing figure bears the artists mature features; however, these are blurred with the face of a child and an older face, both of which slip off the womans left shoulder in a cascade of fish. The woman reads as solid and real, while the figures behind her appear to be either figments of her imagination or in tran-sition. This work represents an early attempt to capture the textural sense of a poem in visual imagery, and it seems to relate to the final five lines of Nerudas poem: Made of all the water / Of sea waves, / Made for my arms / Made for my kisses, / Made for my soul.Fickled Rainbowed Sexual Waters was featured on the cover of the first issue (Summer 1974) of Rice Paper, an infrequent publication established by a group of Asian American students at Madison that was designed to connect the activities of Asian American groups, primarily at colleges and universities in the Midwest. The journal grew out of the first Midwest Asian American Conference,FIGURE \x0c\x04 Munio Makuuchis printmaking tools CHECKLIST #5438 39'