Anne Gorrick

The Swimming Lesson

Water’s sentences fall off the arms: the opposite of description
A pictographic gravity, ink reversed
It is by the water around you that I note you
between the margins of the pool
the spouted iris of her blue hips
We develop a half-finished porcelain thought
The page aqueous blue to the bottom
where blue begins to turn to the ash of him
which turns to the black of him
I synchronize a discreet text
the blown tile majesties
I swim in a bed filled with China
Pictographic the force of gravity
Do you believe in the indifference of air to water?
Water rejects the arm
We are sprayed from a screen of blue hips
a manufactured porcelain thought
I try to follow the tide in the bed’s ocean
I turn toward his calligraphic elbow
and slide into his lower surfaces in aqueous blue
where blue turns the vein to ash in him
We synchronize separate texts
Water’s autumn is arm wrapped
Our arms oppose the sky, an impact on the blue
I rotate toward and slide against the calligrapher
That tileblue color blows grandness onto our bed
the skins of other hemispheres
Arms of water’s refusal
Depending upon the light/write like the skin is porcelain
As for me, we maintain the ocean against emergency
A black him in the vein mix
My simultaneity the text
namely that the tile is blue
the grand shock of the tile is divided
I the bed, am full of the skin you swim, China…
Oppose this description
Influence is blue in the sky
Half visible thought
is blue against the grey decrease
My concurrence the text to know that the roofing tile is blue
The shocked grandness that you are nothing
I the bed am completely in China or skin
Eight scandalous pleasures oppose depiction
begin outside humanity
Justice empties tincans
The scandal in refusal
We manufacture volition in Chinaware, in half thought
Which affections toward color depend?
That in me, the thing he defends together inside that ocean
China will come as the assistant calligrapher
in eight dreams, the recursive amended vein
The I in a bed of imperialist perfection
China will be extensive
The pleasure in scandal
The I contains the force of pictographic gravity
“The title’s interval in ink is significant,”
he writes as if on his own skin
The indifference is significant
Tinplated empties, the refusal of scandal he slips in
My roof tiles in agreement
The shocked majesties of division
The I is perfect, the bed lengthens
Supervision of joy in the hand
Eight returns, you like being I, gravity in the sky
The skin below the water
The indifference of importance written for him
The blood sectioned in the I as Chinaware
The magnificence of our agreement, the roof tiles divide
Somewhere there is blood in the point
Monitor joy in eight scandals
Respect the air underneath the skin
the eye underwater
The remote pleasure of an immeasureable quantity
We know in China that the production of will is a commodity
Dependence on love or color are the first to go
This optimal person, to which the I presents a problem
We protect our porcelain seas
The morning adjusts to scandal
In the roof tiles, she looks up at the magnificence found in their agreement
We know that the porcelain from China contains the will
The I, this problem, protects the washings of authority
Dependence on the colors of love prolongs this bed
Arms kick up and knock the blue off the sky
Ink spilled. You notice
Incoming gods become the iris of her blue hips
Incoming gods develop porcelain
breathing their breathless tile majesties
You surround my attention with ink
Emergencies hang in the water
Under a discreet text lies a profound hydrologic pressure
lies the tiles which sweat grandly
Arms stored in thoughtboxes of water logic
She kicks an opposite sky
He’s surrounded by black calligraphic arcs
by more emergencies than he can hold safely with both hands
The magnificence that lies in a tiled text
He pours out a scroll of time
the earth flung out in skin
Ink wraps up one week at a time for him
Ink dreams for him: She as an iris river

Anne Gorrick's poetry has previously appeared in many journals including: American Letters and Commentary, Bird Dog, Coconut, the Cortland Review, Dislocate, eratio, Fence, Fish Drum, For Immediate Release, Glitterpony, Good Foot, Gutcult, Heaven Bone, Hunger Magazine, MiPOesias, No Tell Motel, Petroglyph (Utah State University), RealPoetik, the Seneca Review, Situation, Shearsman, the South Carolina Review (University of South Carolina), Sulfur, word for/word, and Yellow Silk. Her first full-length book of poetry, Kyotologic, was published in Fall 2008 by Shearsman Books (Exeter, UK).

She writes: "My work inhabits a space embodying both place and machine, and is informed by living near New York's Hudson River my whole life. I also am captivated by all kinds of mechanical gardens - trains and their tracks, cars, tools, senseless metals. I am currently working on a series of poems that are experiments with translation engines, creating sense into nonsense back into sense again. I am hostage to the accident, the fragment, the unexpected. The experience of putting language through a mechanical process makes words more into things and then somehow more malleable, more surprising."

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