Anne Gorrick’s I-Formation (Book One)

Anne Gorrick © Lynn Behrendt

  
 
Anne Gorrick is the author of I-Formation (Book One) (Shearman Books, 2010), the forthcoming I-Formation (Book Two), and Kyotologic (also from Shearsman Books, 2008). She collaborated with artist Cynthia Winika to produce a limited edition artists’ book, “Swans, the ice,” she said, funded by the Women’s Studio Workshop in Rosendale, NY and the New York Foundation for the Arts. Images of her visual art can be found at The Rope Dancer Accompanies Herself with Her Shadows.
 
She curates the reading series Cadmium Text, which focuses on innovative writing from in and around New York’s Hudson Valley. She also co-curates the electronic poetry journal Peep/Show with poet Lynn Behrendt, which is a “taxonomic exercise in textual and visual seriality”. Anne lives in West Park, New York. 
 
 
 

 
 
“In this book, Anne Gorrick writes poems of heft and delicacy. Each is constructed as a musical thinking through of an idea, as she builds a poem through deft and fluid repetition and musical ways of speaking. Even though these poems exist here only on the page, her voice, unique and personal, is present in each, and it guides us through her surreal landscapes of concrete abstraction with gentle tenacity and a rich and vivid vocabulary. Everything exists, in her poems, as a thought, as a vision, as a sound through space, and all at once. What a poem must do to justify its existence is to surprise us with its necessary inevitability, which is what these poems do piece by piece, one by one, and together.”
 
– Geof Huth
 
 
“What is this ‘piece of sea kohl on the tongue?’ Indescribable, uncapturable, the two primary texts of I-Formation ‘abundant inside the unknown weeks’ convolute, permutate and gestate into various complex gardens ‘informed by duplicate vibrations’. An ‘arrangement released from families, beds, factories, from books’. If you, like author Anne Gorrick, ‘consider stars, their vapor whistles/ how they spread out their thoughts across the night’ and attend that ‘rose whose belief is secure’ and ‘time dissembled from indigo/ the sky broken from its facts’ then you just might be ready to enter into the text’s dreamy fabulist’s ‘declaration in color’. But, don’t expect to keep your I’s intact!”
 
– Kimberly Lyons
 
  
“Finished with expulsion? Garden again. Here. In an Eden made of metal or terrible gristle or the exact equivalent. Like Adam. Like Eve. You know them? Think again. Indent. Reconfigure. Indent. Reverse. Invent I more as vowel than self—an auto’s horn(y) chrome. Anne Gorrick’s I-Formation (I) plants readers in a genesis. We watch how she tends to ‘the excess of humanity’—its clay, its cancer, its color, its counting—with a wry reverence. The visual is intellectual: ‘To be red in corn, in the need to divide …’ Sonic recursions become mechanical matter(s): oil drums, rope, yellow narcissus. Making marriage mythic, Gorrick lets desire flourish and combust. One could return to these meditations season after season. I will. ‘She is systematically new’.”
 
– Lori Anderson Moseman

  
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The April Garden
 
 
The sky’s miracles gaze into her thinness
Weeping: what she does to give the days form
Because Shaolin gave me “Colette” in roses
The garden takes in her greening arms
willful, ancient wood narcissus
Spring’s shadows fall into their fire
 
          Guinea hens, obstinate and strange
          The ancient yellow of narcissus in April woods
 
That which has extraordinarily expanded is recently thin
Crying is what makes the days occur now
The old yellow narcissus is intentionally strange in the wood
Photography lodges itself into one of her weekends
It’s purpose? To stand still very quickly
 
          Star of many miracles A and as for me
          sometimes you’d think I’m composed
          entirely of my own screaming
          Grandmother: where we were large once
 
Cancer peels her into thinness
Each day now is a cinder
Darwin criticizes her lips
a pink impression, yellowed pages
Aluminum silk, cancer silver
She fasts and stands as though inside glass beads
 
          The cancer believes in itself
          Regard the many, many stars in her
          “Colette” knows the essential color of roses
          The writer believes firmly, yet it does not happen
          Quiet inside an aluminum book
 
Consider stars, their vapor whistles
how they spread out their thoughts across the night
in our shouts, our affliction
How do you know the true color of roses?
 
          Darwin’s own blood spills
          Changed yellows
          I am installed inside a photograph
          for the duration of one weekend
          The rope colored crown
          Movement takes place in glass granules
 
The belief that time exists completely for cancer
The skin end of a dog
As for me, the stars are steam considered
The rose whose belief is secure
 
          When knowing does not happen
          Green, a fact which waits around for tulips
          When fairness first changes
          I fast from silver
          The aluminum silks of cancer
          their glass particulates
          engaged in movement, acquisition
 
 
 
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The October Garden
 
 
          Our first true freezing
          by the time the sheets hang in addition to the leaves
          I supervise the landscape
          There have been very few distinguishable reds this year
          Facts linger in the Japanese maples
          “Slap me red”
          The hydrangeas turn to paper
          pale and luminous
          The birds devour the crimson seed heads
          The sky divided multiply by a tree
 
The year is few and red under enormous rain
as soon divides itself
If I indicate a view, this year taken in small amounts
very mine amongst the You seen in red
A factual Japan applied with influences
in paper revolutions bright in an arc of salt
The birds below “Jeanne d’Arc”
the white of 300 Thalia swallows the wood immediately around him
That decreases were decreased
 
          When autumn originates within rain and indicates
          a view: German silver, deep red
          Method dawns in a plate of hydrangeas
          new jonquils the color of white cars
 
A medical exam in October, normality under an enormous rain
The enemy sees you completely in a German silver-plated place
which is red-dark
The facts outside of Japan: dishes of hydrangea
jonquils carved into the red-dark
The He is tall, next to white car underneath a red pine
swallowing 300 Thalias
When he is divided from form
importance immediately ardently
This reduction of environments
 
          The interior of this year is enormous
          When German silver indicates sight in place
          of a dark red ore
          Papery, pale and luminous
          The Japanese fact applied to a tree
          “He will be red-dark, reliably believed”
 
Method shovels hydrangea, plates of jonquils
Belief in the firmly red-dark bulbs in electric lamps
The high crow and the white automobile
You under a red pine tree
300 established for swallow’s white
Thalia in components
Respect divided by form in love immediately, importantly
Environment in this reduction
 
          The You I write has changed
          still inside the fall, an enormous rain
          takes Looking at this thing, this ore
          when the German enemy should cover the place
          with a silver that is also dark red
          A thin bright paper
          Japanese fact applied to function in wood, which is
               substance
          Securities stacked with red darknesses
 
Meaning in order to believe in electricity
The world prints an annual edition of 300 hydrangeas
The white automobile You
and being wooden the pine to be red
swallowed in white hostas where the jonquils are
When we are divided by form in certain decreases
immediately, seriously, decreased in love
 
          October is the prosecuting attorney of these materials
          In order to establish fact, we exchange seats
          The I spreads out and it writes
          Belief in enormous fires
          in identical times, in Grace’s Water Museum
          An ore in place of obligation
          The enemy of time and red
          The paper, as dawn, thins
          The Japanese fact as function applied to these trees
          By him, an immediacy, the targets piled up
          To believe in a lightbulb when it’s dark
          The jonquils point inside in inferior
          white shedding of the blood curve
          In love with reduction, the mother-body, in decrease
 
The I propagated outside and written
under enormous fires
Autumn rains mineral and obligation
Documentation is thin
The trees are applied to the sky above us
a considered directness, objects accumulate
jonquils swallowed in buttery light
The white autokinetic You
The pine tree and a spade divided
decreases in places of love
This mother-body, this reduction
 
          The jurist in October
          The I external, and he writes her
          There will be enormous fires in this rain
          Our interior autumns in regard to water
          Expenditures, mineral final, obligation
          When Germany is applied to the red of the thing
          Documented together, we appear thin
          Tasks accumulate alongside darkness
 
In concrete she eats attainabilities
A bright tuber of electrical light = sufficiency
Problems swallowed in walnut oil
The jonquils inside Jeanne d’Arc when she burned
an interior whiteness, blood oppression
Crow writing high crow
The white automatic kinetic You
swindled hydrangeas from a red pine
 
          Jurist, natural elements, examinations
          Minerals established instead of place
          The electric light is tubercular with obligation
          Tasks accumulate in responsibility
          The whiteness of jonquils, a blood oppression
          Crow high, a kinetic automatic target
          along the axis of a hydrangea
          The atmosphere diminishes leaving him on an axis divided
 
October is a material jurist
a place for ending mineral things
The obligation in him
German characters in red time
The crow has written in order to write
You swallow jonquils, pure white
He shines electric against concrete
The methods of resembling when she is systematically new
The atmosphere divides, decreases
On the axis of automatic motion: some hydrangeas
 
 
 
 
from I-Formation, Book One (Shearsman Books, 2010).
 
Order I-Formation, Book One.
 
Allen Bramhall reviews I-Formation, Book One at
Galatea Resurrects.
 
Lynn Behrendt reviews I-Formation, Book One at
Galatea Resurrects.
 
 
 
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