Sandra Miller's first book, Oriflamme, was published by Ahsahta Press in 2005. A recent recipient of the Paul Engle-James Michener fellowship, Miller's new work—entitled Chora—currently appears in Denver Quarterly, Crowd, Forklift Ohio, and Order + Decorum. She is the secret founder & editor of an international journal and small press of poetry, poetics, art, and their intersections. Sandra works as an artist-in-the-schools in central Ohio, where she lives with her husband, the poet Ben Doyle, and their pup.

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Ahsahta Press

SPD Books

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Electronic Poetry Center

Academy of American Poets

Slope (+ audio)

Chora (five). by Sandra Miller


Moscato, drop glass, sistinic tier, the invention of the visible clock, the invention of street, broken into candle, of the unified sky, down, the corner, there were, dark, in the ark, until stairs.

Because of the intense fabulation, you might as well, betrayed her, oddly body, the button capital, of the world, doesn’t it seem like they, should leave a mark on you or something?

It’s all about carriage, so I think he’ll sing, what are you doing up there?

A mediocre mannerist, they do not want to die, and will not die, they do not die, the nude figure of the foreigner, stress, the last, his priestly quality toward the place of his death represented the episode on the left.

The Nativity was destroyed to make place for the Judgment, handing over of the keys, the fresco is swarming, cut across by a duck in flight, was painted in some of the figures a great square, the importance of windchimes, the leper, the new law.

Dominated & domed, two triumphed faithful copies and the attempted conturbatio, a setsquare, mane of dark hair around his face, and the two animals and the Agony, the Capture refers to the main episode.

An iconographic program could certainly not have been left to the free will of the painters called to carry it out, contains a severe warning.

‘I believe he doesn’t have the heart for it.’

At the end of bitter were erroneously mentioned, ‘it seemed it would not turn out well,’ then a ‘new commission that I should do what I wanted.’—Michelangelo

An imposing mock, and the Drunkenness, their spandrels typologically to their place, the reason why tree of Jesse a motet, there is no real structural.

‘There is no real structural connection between the world of the Seers and that of the Ancestors.’

Objects full of meaning, the Rebel Angels point to their ears, but the witness of the artist has been placed in doubt many times, thinking of my father, looking at the separation of light from darkness, the most articulated, from whom the theologian received his red hat.

A polycentric and moreover a so-called Roman could not have been made from the ground, an extremely irregular surface perforated the ceiling and obtained permission to do what he wanted.

The series of the Seers and the spandrels this was an erection, this structure seen in section, perfectly during the summer months, volcanic dust possessed remarkable knowledge for colours, thanks, members of the team.

A man of whom we know little besides his name, ‘one morning he determined to destroy the whole of it’ clearly in the putti in the reliefs.

This can be seen in the group of the Children in the Drunkenness in some parts of the Flood and in the Sacrifice, executive timidity, in the use of an outline understood as a limit, around the Drunkenness.

On the islet, the old man figure bearing the body of his son the presence of the assistance, despite local, very accurate, cartoons.

Basically with the one, the one of the Drunkenness, it seems that many were burned following instructions, the dusting powder continued, much was left to inventiveness.

Very quick sketches, generally of small, generally in charcoal or in red chalk but also in pen, in situ, toons, and were of fundamental, the local situation, and making use of nails.

Remained impressed, the master kept only the fugitives on the island, with the exception of some second thoughts, and for the presence of gilding.

Obliged him to work differently, dealing with a ceiling, drafting without body, often very like water, at times thicker and close, at times left, the result is a very luminous, made to be legible in all weathers, and therefore in every light, of an almost maniacal perfection, without harm.

The work proceeded quickly towards the altar.

So too, it is not probably by chance, there is accident, when studies of more than one figure appear on one sheet they always refer to the same.