By Erika Meitner
"The poems in Copia are approximately what's and what's almost-gone, what's in limbo and what won't fall down, what's nearly at all-time low yet nonetheless and consistently brimming with the potential of miracle."—Rachel Zucker
Erika Meitner's fourth booklet takes cues from the Land Artists of the Sixties who created paintings according to landscapes of city peripheries and buildings in quite a few states of disintegration. the gathering additionally encompasses a part of documentary poems approximately Detroit that have been commissioned for Virginia Quarterly Review.
Because it really is an uninhabited position, simply because it
makes me hole, I pried open the pages of
Detroit: the homes blanked out, factories
absorbed again into ghetto fingers and scrub-
oak, piles of tires, tons of cement block.
Vines knock and input via shattered
drop-ceilings, glassless home windows. Ragwort
cracks the street's asphalt to unsolvable
Meitner additionally probes the hulking ruins of place of work constructions, tract housing, superstores, development websites, and freeways, and doesn't shy from the interactions that take place in Walmart and grocery store parking lots.
It is sort of Halloween, which means
wrong sizes on Wal-Mart racks, type baggage of
pumpkins extinguishing themselves at the stoop
children from the trailer park trawling our exact lawns soon
so we will be able to supply away nickels, gentle, sandpaper, raisins, cement.
Erika Meitner used to be a 2009 nationwide Poetry sequence winner. Her paintings has seemed in American Poetry assessment, Ploughshares, Tin condo, the simplest American Poetry 2011, Kenyon evaluation, and somewhere else. She is affiliate professor of English at Virginia Tech.
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Extra info for Copia (American Poets Continuum Series)
I didn’t mean to go to IHOP and spend the entire time trying not to stare at the man in a reclining wheelchair covered with a coverlet, sucking on oxygen near the ladies’ room. I didn’t mean to write you a letter that falls into the oversharing category or scare you with Horace or otherwise compromise what might have been a perfectly fine correspondence (if not for my mention of my copious tattoos or other youthful indiscretions). I didn’t mean to get a fever on this vacation, or yell at my son in the bathroom of the BP station because he was touching everything including the toilet seat.
Chaos of lathe and plaster, baseboards and mold. The wood that framed rooms is bulldozed is cited is picked clean is abandoned is a prairie where a neighborhood once stood. Fire is a force for good in this place; the later it is put out the better; there will always be something left over. Trees grow thirty feet up through a gaping hole left by skylights collapsed in the heat of flames. Burn scars on cement where scrappers torched the last bits of plastic off copper wire spell out code that reveals what the world will look like when we’re gone.
41 Yiddishland The people who sang to their children in Yiddish and worked in Yiddish and made love in Yiddish are nearly all gone. Phantasmic. Heym. Der may kumt shoyn on. The month of May has arrived. At the cemetery my aunt has already draped my grandmother’s half of the tombstone with a white sheet. The fabric is tacked to the polished granite by gray and brown rocks lifted from my grandfather’s side of the plot. He’s been gone over twenty-five years. We are in Beth Israel Cemetery, Block 50, Woodbridge, New Jersey for the unveiling and the sky is like lead.
Copia (American Poets Continuum Series) by Erika Meitner