In her previous five collections of poems, Erika Meitner has established herself as one of America’s most incisive observers, cherished for her remarkable ability to temper catastrophe with tenderness. Meitner’s sixth collection, Useful Junk, explores memory, desire, and the various ways the body sees and is seen. Part travelogue, part dream journal, part epistle, these poems arrive right on time with their wisdom, wit, and wonder. With dauntless vulnerability, Meitner travels a world of strip malls, supermarkets, airplanes, and subway platforms, remaining porous and open to the world, always returning to the intimacies rooted deep within the self as a shout against the dying earth. These poems affirm that we are made of every intimate moment we have ever had, and plumb the ways in which digital technologies—sexting, Uber, selfies, Instagram—are reframing self-image and shifting the ratios of risk and reward in erotic encounters. Boldly affirming that pleasure is a vital form of knowledge, Useful Junk reminds us that our selves are made real and beautiful by our embodied experiences, and that our desire is what keeps us alive.
Erika Meitner is the author of 6 books of poems, including Makeshift Instructions for Vigilant Girls (Anhinga Press, 2011); Ideal Cities (Harper Perennial, 2010), which was a 2009 National Poetry Series winner; Copia (BOA Editions, 2014); and Holy Moly Carry Me (BOA Editions, 2018), which was a finalist for the 2018 National Book Critics Circle Award in poetry, and the winner of the National Jewish Book Award in Poetry. Her most recent book, Useful Junk, is due out from BOA Editions in April of 2022. Her work has appeared most recently in The New Yorker, The Believer,VQR, Orion, The New Republic and elsewhere. She is currently a professor of English at Virginia Tech.
I am not a huge poetry fan so feel free to not give this review much credence. Many of the poems in this collection were about hookups, blowjobs, bad decisions, and dick picks. I have no problem with any of those, I was just expecting to see a little more variety in this collection. Some poems resonated with me and others were a struggle to read. It was a total crapshoot. Some of the themes and poems felt relatable and powerful and others felt disjointed. Poetry hits everyone different - so I fully expect that others will love this collection, just personally not my cup of tea.
This book was a little bit of a mixed experience for me. I had a hard time getting into it and I felt confused and discombobulated after some of the poems. But I have heard Erika Meitner at two poetry readings and I absolutely loved them and her. That’s why I kept reading on, even when it got difficult. What I really loved about Useful Junk was the theme of things in your past still very much affecting your present. The speaker in the poems has not forgotten their exes, even if the relationship happened long ago and the speaker is married with children now. It felt very relatable to read about someone else who is constantly thinking about people and events that happened long ago, even when your life is different now. I might not recommend this book to someone who’s just getting in to poetry, but I liked it and would read more by Meitner.
Useful Junk by Erika Meitner is intimate and existential all at once, and readers will swim in the morass and indulge in memory and perception imparted with quick wit and contemplative angst. Meitner provides us with a bridge between our memories and their changing patterns and our desires to be seen coupled with the anxiety of how we are perceived by others and ourselves.
Let's say you are on a plane, and before the plane rises to clear congregations of treetops and blue-gray mountains, you watch the woman who called you up by zone number then scanned your ticket-- you watch her from your plane seat don a knit cap & head out to the runway to wave your plane from the gate with two bright orange batons, her arms held in an uppercase L as our plane taxis past her and her fluorescent green safety vest to rise quickly over the tiny houses and iced-over cattle ponds of the Eastern Shore. Let's say that now you are on that plane thrusting itself deep into clouds which enshroud everything for a moment in a dense halo of whiteness that is not fog-- the kind of bright cloudiness you'd expect from the transition to a movie's dream sequence or the opening to an episode of Highway to Heaven with Michael Landon right before he walks down that deserted canyon road, duffel bag in hand, then hops in a baby blue 1977 Ford when Victor French pulls over for him. In the show, Landon is actually an angel stripped of his wings. He and French (a retired cop) are given assignments by The Boss to help troubled humans overcome their problems. What I'm saying is sometimes we are asked to arrive in a new city and assume the identities of business employees or civil service workers for the greater good. Or sometimes we are forced to hold out our arms like cheerleaders for a team we don't believe in as if our bodies can influence the score no matter what we are thinking, but what if the team is humanity? I don't know if there's a god, but sometimes we are asked to carry a baton for long periods of time as if we're in a relay and can hand it off to the to the next person waiting usually somewhere other than the place we began, though that action is so tricky and fails often. I hope the gate woman was L for team Lift-off or Levity or Love of the human race--Luck for our tin can with twin engines newly cleared of snow. Let's say yes.
Erika Meitner's poetry collection Useful Junk captures the spirit of her collection Holy Moly Carry Me. It's full of creative, provocative verse conveying her unique perspective. Her forays into erotic territory are surprising, but these surprising moments enhance rather than blur her vision.
Another soul satisfying collection. If you enjoyed Holy Moly Carry Me, you certainly want to continue with this collection.
...and the band is trying to play the theme song from Mission Impossible now--they're on their third start--the conductor is apologetic, but they can't get the rhythm right: 5/4 time and percussion didn't rehearse with winds due to class scheduling so the instruments sound like they're racing each other in a relay where someone keeps falling behind, has dropped the baton. We are failing each other in every possible arena, this auditorium of listeners, a metal tube throttling through clouds, the spectacle of love or crucifixion or vulnerability, a conversion experience at 40,000 feet. Do you not know your bodies are temples of the holy spirit? I think, each time I look at my phone glowing like a flame I cup in my hands.
Erika Meitner came and read for my Poetry 409 class at the end of this past fall semester, and I found her poetry to be very different from what I’d come across before. She has this guileless spirit, from what I could tell in the few times I’ve seen her, that emanates in her writing through a very unique voice. This doesn’t take away from the reality of the themes that are brought up in Useful Junk, only shows them from different perspectives (one that stood out to me—sitting in your car, that moment of passing when you sit on your phone, see other people sitting on their phones). I was reminded of her book once more at a Monsters of Poetry event last night, when I noticed a lot of the distant (from me) understanding from the first time i read Useful Junk slip away when I heard the voice in the poems read them herself.
Simply thirst-quenching. Erika Meitner knows how to lead you down a trail and then make a tree fall in front of you so you are simply gasping at the sheer magnitude of it as well as thanking yourself for being there at all. I love this collection.
If I could give Useful Junk more than five stars, I would. Meitner's latest collection of poetry is riveting, sexy, nostalgic, moving, and so fiercely alive.
I don't really feel qualified to rate poetry, but I got the chance to listen to Ms. Meitner read at the Joynes Reading Room last week, and I've enjoyed working my way through the rest of this collection. I've been thinking a lot about my body and my creative practice lately (unrelated topics, or are they?), and she speaks about both beautifully.
Confusing and boring, and very repetitive. Why on earth did the author describe the excited expression of a toddler on their first plane ride as an “o-face”. Some of the poems were interesting until they turned out to just be about some ex again.
This entire review has been hidden because of spoilers.
A collection of poems about memory, aging, desire, and one's own body.
from A Seeming Impenetrability of the Space Between: "When were were young and / stupid, and maybe beautiful as a beer bottle // shattered on a moonlit sidewalk, we'd / fuck all ight and I knew if I opened you up / below the rib-cage you'd be filled with // jewels or whatever gave off the most / lights"
from this thought a hazy question: "men see women's bodies not the way we see our own bodies, with the / scars and misshapen bits and hanging flesh, but as gifts, wrapped / things filled with pleasure and surprise and I knew as soon as she said it/ she was right"