Stephen Caratzas: Past Present Suture

Past Present Suture by Stephen Caratzas, Drifting Man Press 2011

Reviewed by OLIVER WOLF

Although possessed of his own unique voice and aping no one, Stephen Caratzas’ latest book of poetry, Past Present Suture, would sit very comfortably on any bookshelf next to the best of Huncke, Bukowski, Trocchi—that gang. But before it sits on any shelf, it needs to be read, because the entries in this book make you feel, and cause you to see just how much the writer feels…a hammer blow to the heart and mind. Pathos always leavened with black humor, as in “My Least Favorite Memory of You”, the last line of which slayed me (just read the poem). Or the heartbreaking conclusion to “I Still Reach For That Book”, easy to relate to by anyone who’s ever been in a failed relationship but where feelings still linger. This is brutal, hilarious stuff.

Judging by the quality and depth of what’s on display here, it would seem that—much like the book cover model’s face—Mr. Caratzas’ poetry ambitions are pretty much all sewn up and the places where his writings can take the reader appear limitless.

Past Present Suture, Stephen Caratzas, Drifting Man Press, 2011. $10

Oliver Wolf has been in various bands/musical projects around New York City for the past twenty-five years or so. He is trying to pass on his love of books, art, and music to his two boys, and says  "surprisingly it's working!"

We accept book reviews for our website. Please query via the contact pagebefore submitting. Reviews must be under 1000 words. Our aim is to support new and emerging writers, and other small presses. Poetry and experimental prose reviews preferred. Review submissions accepted all year round.

Literary Ambush! An Interview with Ambush Review Editors, Bob Booker and Patrick Cahill.

Bob Booker and Patrick Cahill chat with great weather for MEDIA editor, Jane Ormerod

Jane:I really enjoy reading Ambush Review. Can you tell me a little more about it? Why did the two of you decide to start up a literary journal?

We thought there was a need for a different kind of review, a review with more emphasis on the experimental and the innovative. For example, in issue #2 we quote Carole Maso from her novel, Ava, which addresses this: "...so that form takes as many risks as the content..." We also seek out and want to represent emerging and underrepresented writers and artists. At the same time, we publish established writers, as well as critical reviews, essays, interviews, translations, art and photography. In issue #4, we are planning a special feature on the graphic novel and the comic arts. Our goal: to feature exciting, new creative work for the 21st century.

You are based in San Francisco. How important is location to the feel and scope of Ambush Review?

It is very important for us to reflect what is happening in our local community. Although we are San Francisco & Bay Area based, we are reaching out, expanding beyond borders, and into the digital world. We believe the feel and scope of Ambush Review should reflect the diversity of voices here and from around the world. It is our challenge as editors to reflect a happy balance between the local and international experimental work we find.

Who is your audience? How important are readings for reaching a wider readership?

For now, poets and local writers are the core audience, but we are expanding all the time. Ambush Review readings are very important for increasing and diversifying our audience. We are planning additional readings this fall with the publication of issue #3. Readings in bookstores, galleries and cafes around the Bay Area are an integral part of our vision—we want to grow a community not only of writers, poets and artists but of their audience as well.

What are you looking for in submissions? Do you have any practical advice for writers? What mistakes or irritations do you commonly find in submissions?

We are always looking for something that surprises us, new work that takes risks in language, style and form. New work that "ambushes" us, and this can happen in various ways, through form, rhythm, content, the tone of a piece—or some combination of these, and we encourage the experimental. We want writers to use their imagination to envision new ways of seeing the world—to re-view and reconstruct the world. Our best practical advice is to read broadly—to read poetry, fiction, and nonfiction, and to be aware of what is happening in theater, music, and the visual arts. Irritations? People who submit blindly without checking out the review to see if their work is a good fit. Also, those who ignore our online submission instructions and don't present their work in a professional way.

What have you learnt since your first issue and how do you see Ambush evolving?

Publishing a review like Ambush is a big responsibility. Writers and artists are entrusting us with their work, and audiences are giving us their valuable time. We want them to feel rewarded in some way.

What other journals or small presses do you admire?

To name just a few: Otoliths, an online publication with a wonderful diversity of the visual and the written; lyric&, formerly a print journal and now online only; Poetry Flash: Literary Review & Calendar for the West; Etherdome, a publisher of women's chapbooks; Amerarcana, edited by Nicholas Whittington of Bird & Beckett, SF; Volt, a terrific local publication; the new great weather for MEDIA, of course; and Zen Monster, another monster out of New York City.

Thank you, Bob and Patrick. Congratulations on a wonderful journal!

To discover more about Ambush Review, visit http://ambushreview.com/who

my balls wait for it to vibrate

My name is Thomas Fucaloro.  I am 35.  I live in the suburb of Staten Island.  I am a Capricorn.  I just got a cell phone.  They are very odd little instruments of communication.  For some reason I don't like being able to communicate with someone all the time.  It's the things left unsaid that I cherish most.  So far the only thing a cell phone has taught me is that other people are late a lot.  You see when I didn't have a cell phone and I had to meet someone somewhere they knew because I not having one meant they were never late.  Now with the cell phone in place I get constant text messages about having to be late because of crotch itch or whatever lame excuse is being offered up for sacrifice that day.  So I am official plugged in and part of the problem.  I smile.  The cell phone just stares back at me.  I put it in my pocket.  My balls wait for it to vibrate.

Breaking Bad--A beautiful butterfly with fangs

It's interesting what you can learn from TV and how it allows you to let go and find something else that was always inside you.  I've been watching episode after episode of the TV show called Breaking Bad and if you are not familiar with the show I suggest you stop reading this and start by watching season one, episode one.  Don't worry this blog will be here when you get back.  As for the admirers of this show not only is the writing excellent but the many things Bryan Cranston needs to be in this role is astonishing.  He takes on a new personality every episode combined with the multiple ones he's infected us with already.  It's a beautiful tragic metamorphosis that is a pleasure to watch...kind of like a beautiful butterfly with fangs.  Then of course, I started thinking about poetry and how in order to evolve you can't just be one thing.  You've got to put the all of you in there, not just the bits and pieces that make you look good but the things that show us where we could have been better.  I've really been focusing on performance lately and trying to make my voice and Thomas do other things, damn that shit is hard.  I'm just learning about crescendo and personality and if  you fuse the two you get a much more cohesive performance but a not so cohesive explanation of why.  I'm starting to write from the perspective of the words leading me and I not so much leading the words.  You've got to let go.  To be all things, you've got to let go.

heart-felt stories need popular actors to sell not hearts

Went to see Wes Anderson's "Moonlight Kingdom" the other night.  It was a great, sweet and endearing film starring Bill Murray, Bruce Willis, Frances McDermott, Edward Norton and a whole lot of children.  The movie takes place in the 60's in some made up world that only can be found in the head of Wes Anderson and that made up world is New England.  It's about two young kids who find each other and grow in each other's love.  The setting has a boy scout flavor to it which really adds to the story but I have a problem with the cast.  Usually Wes Anderson movies have an ensemble cast, each having their own significant stamp on the story but here anyone of the adult leads could have been played by lesser known actors because they were not in developement the children were.  They were there to add scenery and sell the movie.  It's a shame, heart-felt stories need popular actors to sell not just hearts.  But hey what do I know, I'm just a 35-year-old unemployed poet living in his mom's house, sounds like there's a Wes Anderson movie in there, somewhere too.