Contributors

Amy Catanzano
Contributor History

Biography
Amy Catanzano
Amy Catanzano publishes poetry, fiction, and multimodal poetic theory on the intersections of poetry and science. An associate professor of English and the poet-in-residence at Wake Forest University, she collaborates with scientists and visits scientific research centers for her projects. These have included CERN, where she was a research artist with the ATLAS Experiment at the Large Hadron Collider, and the Simons Center for Geometry and Physics, where she was the inaugural poet-in-residence. She is the author of exhibited digital poetry; poems and essay-poems on poetry and physics published in venues such as CounterText: A Journal of the Post-LiteraryCrisis and CritiqueJacket2New American Writing, and Physics Magazine; and three books, including Multiversal (Fordham University Press), recipient of the PEN USA Literary Award in Poetry.

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In Print

Vol. 82
Works & Days
Spring 2024
Bradford Morrow

Online

July 24, 2024
On Valentine’s Day, Milo strings a horse-shaped piñata from the ceiling light in our living room, and I walk by twice before noticing it swaying there. The light is off and the horse is dark, but I am not unobservant. Part of me accepts a horse swinging in my periphery. Milo makes up a real reason for me to go back down the hall and, when I look for the space heater, I find the horse hanging. He dangles from a yellow jump rope, and I am so happy to see him in my house. Milo hands me the stick. “You need,” he says, “to kill a horse.”
 
July 17, 2024
There is the man on the moon. Go to him. Get bread from him, drink his water. Take your dog, Blue to him. Take your mother. She is skiing outside around the house. Stop her, tell her that Blue is going also. Take the gander, Henry. He is short in the legs. Leave me Iris. I have seen her eat feed in a pattern.
 
July 10, 2024
Marcie decided on Vertigo because she’d recently encountered several texts in quick succession that made extensive reference to it: Chris Marker’s time travel film told in still images, La Jetée, Terry Gilliam’s unlikely Hollywood adaptation, 12 Monkeys, and a story by Bennett Sims called “White Dialogues” about an embittered academic seething in an auditorium during a lecture being given by the hot new thing in Hitchcock studies. The coincidence made her feel involved with the film, and vice versa, in a way that evades more specific description.