MiPOesias Magazine

ANNE GORRICK

Anne Gorrick’s work has appeared in: American Letters and Commentary, the Cortland Review, Dislocate, Fence, Goodfoot, Gutcult, Hunger, No Tell Motel, the Seneca Review, Sulfur and word for/word. Collaborating with artist Cynthia Winika, she recently produced a limited edition artists’ book called “Swans, the ice,” she said through the Women’s Studio Workshop in Rosendale, NY. She lives in New York’s Hudson Valley.

Fear of Taxidermy

after a dream had by Grace Gilbert, age 5

Try an interest in your Water Museum on the beach

“You wore pink? For me?”

In the manufacture of marriage: the figures on a vapor boat

You turn in parted dresses, tighten your teeth

Laughter takes up your entire face

“If you are afraid of the ocean: talk to her

or swim another day”

Fear of the animal specimen exhausted by technique

Your worst nightmares compare persona to decoration

as if your room lays down in Mexico

a water ox installed above your bed

Your museums: just add water

When the I is interested in the beach

“You delivered pink for me?”

Spend the day charting manufacture

“This is a vapor boat, see because it has two eyes

This is the dock, and a fish named Jeremy

The fishing line is Picasso”

You rotate in formal clothes, laughter adopts your face

If you are afraid of the ocean or conversation

see whether it will invite you inside gently

Or swim other days

Attempts to install steerheads over your bed

“You supplied its Pink over mine?”

An industry of sequins falling

They try to add water to your museums

Formal clothes tighten around your teeth

their laughter accepts your entire face

Swim in other days

Technology exhausts all mechanism

The unpleasant impression of sleeping

beneath cattle over your bed

Compare the person to the bed

The fact that you have a Water Museum on our beaches

Pink because of me conveyed

Marriage: an industry that uses diagrams

Picasso picks up the fishing line

As for your laughter, extensive surfaces adopted

that calmly and if opposite how the sea

Machinery exhausts technique

the silk of animal fact

An unpleasant impression decorates your room

From person that place is a bed filled with taxidermy

when steerheads read your paragraphs from above

The seashore gets up to become place

which is the possibility of done

Your museum in adjacent waters adds convenience

Fact tries out its pink color in charted uses: a fume boat

And this shouts fish which are shaped like this:??????

And this fish, a collection of lines observed by Picasso

Regarding your laugh, the surface which is you is immense, adapted

We talk ourselves into fear

The place where sand is big inside us in the form of talking

Inside the ocean attaches in fear, in opposition to location

A constant temperature peels

or swim indifferent one

Animal fact on silk canvases

orderly called “they” in fear

Unpleasantness decorated in Mexican colors

To adjoin the impression of worst placement about you:

which jellyfish? which oxhead?

Interest adjoins your museums in pink, in fresh clay

an orderly start to the marriage production industry

See? This is the smoking boat and this fish shouts

A pink dress contains her appendices

You earnestly tighten, your giant surfaces adopt a smile

Our fears discuss us

The sea enclosed in fear

in opposition you find skins to be

fact in constant temperature

The silk of machines, exhausted in animal fact

an impression of worst placements, the colors of Mexico

jellyfish and oxheads

In place of the bed: a comparison

Matter, the edges of the sea, concern and interest

become the marks in your museum

a convenient attempt at fact

Pinks transported from a matrimonial industry

Nicotine boats dry docked

In you, reddenings tighten sincerely

smiles in the bedrock of your gigantic surfaces

We frighten the sea included

A silken technology, blots of some woven drainage

in animal fact

These indicate you to you, feared

In order to touch the impression of a defective disposition

approximately, your head jellyfishes in study

your base for comparison

Matter at the edge of interest and worry in the sea marks your museums

Indent the colors of the sea

Boats that suffer from nicotinism

Two objects are eyed in conversation with possibility

And this outcry in fish?

And this fish “an outline of accumulation, dressed, appendixed”

The You tightens in reddenings

smiles frankly on the north cliff of your giant surfaces

The approximate You frightens in discussion

with watched skin in constant temperature

Silk blots some of the draining weaveweed in animal fact

Approximate Yous awkwardly decorated with oxen and jellyfish

Marks or in museum touches

color cut from a nicotined boat

The You pressed in reddenings

The enclosed sea, in skin fear

Technology makes its silk marks, weeds of a kind

The impression of your defective removals

in the end studied, manufactured in comparison

On the edge of the sea of interest

Interest changes its markings, its museum notes

in the end to increase itself

because of comfortable attempts at fact

The color of change cut from the cold color of loam

On the boat to nicotinism

is eye this

and a discussion with possibility

into your operated reddenings

an approximate smile sincerely

You are dressed with surfaces

The enclosed sea, the fears inside of it

the attentions to skin them

Constant temperatures spell your name

The silk marks of technology

as bad grasses discharged with animal facts, indicated fears

Awkwardness roughly invests in our ends

a place to manufacture under-skin comparisons

At the edge of interested seas: inscriptions, notes, museums

comfortable attempts at fact

The cold color of fatty ground

A boat lists with nicotinism, in discussion with

your actual reddenings

is sincerely to smile

You are equipped with under-surfaces, cliffs

We invite March into the sand, the will of us discussed

The sea included in fear inside with it

an attention to skins at constant temperatures

The net signs of animal payment, silk grasses

Awkward in him the impression of imperfect displacement

that, and edge being inscription

carving, moments, letter or noted edges

In the museum of comfort: the color of crosses in transport

Cold land has a fat quality

In order outside and that side is the edge

that is pulled, to look at that? That this boat, nicotinism

Reddenings operated including sincerity that smiles

“The edge must invite the sea in order to transfer skin”

Let spelling do other things

The show of fear is an indication of animal payment

in silk techniques

Grass called “actually” as his shedding

In that general awkward surplus, a displaced edge

is attached with attachment

The epitaph: a carved moment, letters along a week’s edge

in their place a museum of causes

The transportation of color starts in auto-seclusion

The fat questions of ground invited

because of the anxiety in permission

Approximately happens at your surfaces

You are equipped with enormous cliffs

accumulated lines reddening in sincerity

prime numbers move under these skins

The rules of spelling on alternate days

“and between you and me? I’ll NEVER like school”

Networks of animal compensation

derived from the fear of exhibition

an indication of silk methods over grass

Awkward remainders, displacement imperfectly

Borders fastened to application

A created impression in place of persona

invests him generally in surfaced comparison

When object preoccupation, an ocean interest

in letters or weeks, epitaphs carving their moments into place

into the museum of reason

As far as possible it occurs in that age called “5”

The seclusion of the automobile begins

on the fat earth of a question

Permissions fastened on this side of writing

Accumulation observed in lines reddening

smiles set sincerely in action

There is March to spare in this sand

Temperatures overhaul the basic object

moves skin, invite ocean in when it knocks

The rules of spelling construct of you different days