Online Exclusives

12.30.04
Swiss Miss
Lingers now in peace upon the swollen tide,
ruby-throat fallen from sky in the last few hours. [...]
11.16.04
From Draft 59: Flash Back
A half glass carafe,
a choice red ochre chalk,
a felt-blue paper  [...]
10.18.04
From Archicembalo
Ask if this showing will make a better weave. [...]
09.17.04
I know the letters this way
The way I talk is a result of the way I hear her I was told but it took how long to show up in cursive. [...]
08.17.04
Diagramming Here: An Interview
Free verse and the prose poem may have emerged in revolt against the formality inhabiting French language but insofar as New York School poets write imitating the relaxed line that they have read they persuade us of their urbanity and their literariness.  [...]
08.01.04
CLOUD / RIDGE
pale blue white haze in front of the vertical

plane of the ridge in window on left, sunlit

orange flower on green passion-vine covered

fence in right foreground  [...]
07.08.04
Summer Letters
shored up inside still
they speak liturgies over
this valley’s grid [...]
06.01.04
The Skirmish
“… and then I died and went to France.”
Thus, the story of your life wrapped up and pensive. [...]
04.17.04
Two Poems
Play your hand, Madame.
      Black stripe down
your dress, keyhole slit,
      door to a dark room.  [...]
02.26.04
FAQ
I first drew shoes on an animal a long long time ago. [...]
02.17.04
The Library of Seven Readings
Because its material substratum remains transcendental
the freedom of the subject, which the transcendental is designed to rejuvenate,
allows us to inhale and exhale refreshing drafts just as we approach the summit. [...]
01.22.04
Two Poems
It drew in my eyes, a slab, on it a huge white fish
just landed, or beached, a beluga, intact, naked  [...]
01.06.04
From Nets
you               absent in

                              every thing



    the deep vermilion
                  figures
              pattern of

    your shadow [...]

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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.