Streitz dives into an impressive and expansive range of topics, tackling them head-on rather than tiptoeing around them as most normally do. In the process, audiences get to reflect on how they interact with their own lives and the stimuli they are constantly surrounded by. Above all else, however, it is the poet’s ability to use language, particularly metaphor, imagery, and satire, to create a remarkably relatable and universal connection with his readers.

One of the more prominent themes that appears throughout is the idea of seeing and having a vision, which is often paired with knowledge. References to Helen Keller and a mirage, for instance, are just a couple of the subjects he plants in his work to execute his commentary. In that vein, “Philosophers” hits all the right notes when Streitz writes, “They’re neither Gods / nor blasphemers–but a third thing.” Whether he is talking about more abstract topics like philosophy or more tangible ones like abortion and depression, his fearless writing style projects loud and clear, and his knack for injecting dark humor or subtle references to things like the Apple Watch or Vegas sportsbooks gives credence to the notion that this poet and his work are not only exploring the spectrum of human emotions but also genuinely understands it, both the good and the bad.

In other poems, the raw nature of drug addiction that is often swept under the rug by society is fully unraveled for society to see with warts and all. Interestingly, poems like “Asshole” are both eye-opening but with something meaningful to say as the rectum is personified in a deeply thought-provoking manner. Digging deeper, the poet’s command of syntax is on full display, using the repetition of “I fear” to highlight the magnitude of the topic being explored. From comparing brains to Byzantine libraries and describing the Apple Watch as his date in “Hellhole,” Streitz masterfully weaves past and present, history and modernity together to express the plight of the human being.

Overall, Streitz exquisitely combines the use of light and dark to paint a picture of the world as “Sunshine / radiates crystal hues. / In darkness / awaiting the dawn.” While the work certainly exhibits a penchant for dark humor and satire, it also suggests that life should not be taken so seriously that one forgets to live it altogether. On perhaps the other end of the pendulum, there is a level of sensitivity, such as in “A Mother’s Farewell,” that speaks to the deep well of emotion pooling within the poet. From the avid thinker to the action-oriented adventurer, the poetry within these covers is exemplary, both for its poetic technique as well as its pertinent discussions of life. To read and ponder, to reflect on the human condition, and to face reality head-on is what this work urges one to do. It is, in that regard, an encapsulation of what it means to be alive, and Streitz's ability to capture everything from life and death to survival and madness is what makes this pocket poetry profoundly meaningful.

RECOMMENDED by the US Review

A 2024 Eric Hoffer Book Award Category Finalist

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