Anne Gorrick's works inhabit a space embodying both place and machine, and is informed by living near New York's Hudson River his whole life. He is also captivated by all kinds of mechanical gardens - trains and their tracks, cars, tools, senseless metals. He is currently working on a series of poems that are experiments with translation engines, creating sense into nonsense back into sense again. He is 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. His work has most recently appeared or is forthcoming in: Anthem, Big Bridge, Blackbox Manifold, Cordite, decomP, Drunken Boat, eratio, Foundry, Galatea Resurrects, Glitterpony, indefinite space, kadar koli, La Vague, Leveler, Literary Orphans, Litter, Map Literary, Marsh Hawk Review, New World Writing, Otoliths, Peep/Show, Plath Profiles, Poetry Wales, Shadowtrain, Shearsman Magazine, Sugar Mule, Tears in the Fence, Upstairs at Duroc, Wag’s Revue, West Wind Review, White Whale Review, Word For/Word, and Yew. His full-length books of poetry include: An Absence so Great and Spontaneous it is Evidence of Light (forthcoming from the Operating System, 2018); The Olfactions: Poems on Perfume (BlazeVOX Books, 2017); A’s Visuality (BlazeVOX, 2015); I-Formation (Book 2) (Shearsman Books, 2012); I-Formation (Book 1) (Shearsman, 2010); and Kyotologic (Shearsman, 2008). He has co-edited with poet Sam Truitt an anthology of innovative poetry from New York’s Hudson Valley called In/Filtration: An Anthology of Innovative Poetry from New York’s Hudson River Valley (Station Hill Press, Barrytown, NY, 2016).