Wolfgang
Carstens is a busy
man; poet, publisher, editor, husband, father, social commentator,
intelligent anarchist, etc. He's a prolific and powerful writer whose
poems in Crudely MistakenFor Life (copyright
2010, Epic Rights Press), are, in a word, unforgettable. I was
curious to find out what motivated Wolfgang to put together this
particular collection, and he graciously took time to answer some
questions regarding CMFL,
his writing process, and what's next on his literary horizon.
Q: What prompted you
to write Crudely Mistaken for Life, and why Death? Why the
preoccupation with that particular topic?
A:
Crudely Mistaken for Life was written during a time when Death
starting hunting down my family and friends and picking them off one
by one. For an entire year, I was either returning from a funeral or
preparing for one. At some point, I went numb and the words just
started gushing from my fingertips like a broken faucet. Even on the
day that Crudely Mistaken for Life was released, my great
friend, Todd Moore, passed away.
Death isn’t something I
dwell on, yet it’s never far away from my thoughts. Death is what
gives life perspective and value. As a poem from Crudely Mistaken
for Life explains:
the
living complain
about
birthdays—
only
the dead are thankful
for
every year above ground;
the
living complain
about
aches and pains—
only
the dead are thankful
to
feel anything at all;
the
living complain
that
death devalues life—
only
the dead are thankful
that
death gives life value;
the
living complain
about
becoming the dead—
only
the dead are thankful
to
be part of the living;
only
the dead celebrate
the
living,
only
the dead celebrate
the
dead.
only
the dead celebrate
every
sunrise,
every
kiss,
every
hug,
every
orgasm
above
blades
of
grass
Q:
Crudely Mistaken for Life is filled
also with moments of appreciation for life, as in the poem, “Lines
for Betsy,” your chronicle of a ride on a runaway horse, which has
a killer ending (no pun intended):
the
living don’t appreciate
those
rare moments
when
the monotony of life is broken
by
the sheer energy of being alive
only
the dead could appreciate such moments
their
pounding heart
as
it threatens to burst from their chest;
the
flesh separating as the blade slices
through
their wrist;
the
cool wind as it whips through their hair
to
the skull beneath—
chilling
them to the core.
Would you say that your
collection is a cautionary tale to those of us who are still
corporeal, an homage to those in your life who have passed on, or
both? Why/why not?
A:
My most prominent memories are those
moments when the monotony of life was shattered by the sheer
exhilaration of being alive. These moments teach us that by living
our lives to the fullest, we can live every day with that same
intensity.
Crudely Mistaken for Life
is intended as a wake-up call. Don’t wait until tomorrow because
tomorrow never comes. There is NOW and there is a GRAVE. There is a
steel beam waiting to drop on your head. You’ll never know where or
when it will hit. As soon as you close your eyes and start stumbling
through life like a sleepwalker, you’re already DEAD. Don’t take
anything for granted. Wake up!
Life
is
too
short
to
waste
on
the wrong jobs,
the
wrong relationships,
the
wrong ideas.
soon
enough
you’ll
be planted
on
the wrong side
of
the grass.
if
you’re looking
for
a foundation stone
upon
which to rebuild
here
it is:
remember
that you must die.
be
ruthless
in
the choices you make,
in
the company you keep,
in
the pursuit of happiness.
live
to the point of tears.
(you
haven’t much time)
Q:
You, Rob Plath, and David McLean all write with some authority on
Death. How do your ideas and poetry styles influence one another?
A:
David McLean is one of the most unique poets of our generation.
McLean’s work illustrates that even pop culture can be used in a
way that’s timeless and memorable. His book, Hellbound, for
example, consists of forty-three poems about Clive Barker’s popular
Hellraiser movie franchise. I don’t know anyone except David
McLean who could make a book like this work.
I’ve learned many things
from reading the work of Rob Plath—most notably that you need to
write like “an ogre is banging at the door,” to be brutally
honest, and to just get the poems out. Don’t be a dictator, man,
unload those poems in whatever way you can: beer shit, autopsy
report, grocery list, hate letter, etc.
Another poet whose work
inspires me is John Yamrus. John Yamrus (to borrow something from a
recent critic of his work) is not only doing things nobody has ever
done before, he’s doing things nobody has ever thought about doing.
Yamrus gets the reader involved in his work, creating these intimate
moments between writer and reader—making them a part of the poem.
There is something magical surrounding the work of John Yamrus.
Until I read books by Henry
Denander, I’d always considered the question, “Which books would
you want to have if you were stranded on a desert island,” to be a
dumb one. When I read Denander’s poetry, it helps me remember those
small details in my own life that I’d forgotten because I thought
they were insignificant. Denander’s books inspire me to write
poetry!
Since we’re talking about
influences, I’m also on record as saying that William Taylor Jr. is
one of the finest poets of this (or any other) generation and that
Todd Moore has written some of the best poetry the world has never
seen.
Q:
A good portion of your poetry is dedicated to family members; your
father, your grandmothers. How do you think they would react to your
portrayals of them, of yourself, if they had a chance to read your
collection?
A: Great question! I think they’d be mortified.
Brutal honesty has always
been the cornerstone of my writing. I’ve never shied away from any
topic and when I hit bone, instead of backing away like some writers
do, I sink my scalpel in even deeper. The very notion that what I’m
writing about is making me uncomfortable is a great indication that
I’m on the right path. I’ve heard about famous writers who say
their writing improved when their parents died because they didn’t
have to worry about their reactions anymore. I also know great
writers who won’t write about certain topics (like past
relationships, for example) because they fear how others will react.
I say, “Fuck that! Open the femoral artery and leave some blood on
the page!” The very act of being too afraid to really live is the
main theme in my book. You better wake up while you still can.
Q:
Being an editor, a husband, and a father of five is a lot of work.
When do you find time to write? Do you find that these other roles
interfere /inspire your writing? Why/why not?
A:
Most of my writing happens inside my head. When I pick up the pen,
it’s merely a process of transcription. An idea may stew in my
brain for days before it comes out. When it does, it happens very
quickly. I carry a notebook around with me, jotting things down when
I can. Every scrap of paper, it seems, has something written on it.
In my biography, I say that my “poetry and prose are printed on the
backs of unpaid bills,” and this is quite true. I write on the
backs of bills, on any white space on the front, and on both sides of
the envelope. I’ve even been known to write on walls.
Q:
You are a poet who is clearly inspired by the immediacy of your
environment. How do other influences (literary, political,
ecological, etc.), shape your work?
A:
The main influences on my writing are my experiences, memories, and
my family. I rarely pay attention to anything else. It was
Schopenhauer who wrote that it’s not only important what you read,
but also what you don’t read. You need to figure things out on your
own. I can’t honestly think of any one writer or thinker that has
directly influenced my thoughts or my writing style. Another great
quote by Schopenhauer was that inspiration was having something
important to say and knowing who you were saying it to. I would also
add that you should always strive to say it well. These three things
are something every writer needs to figure out on their own. If you
ape another’s style or themes then really what’s the point in
writing anything at all?
Q:
What kind of reaction/feedback are you getting from Crudely
Mistaken for Life, both good and bad?
A:
The reaction to Crudely Mistaken For Life has been
overwhelmingly positive. I haven’t received a bad review yet. What
I really love about CMFL reviews is the strong emotions my
book evokes. I find reviewers who are normally quite reserved
dropping F-bombs and saying things like “Live. Motherfucker. Now.”
A
number of great things have happened with CMFL. It was placed
on the “recommended reading list” at Small Press Distribution,
portions were nominated for a Pushcart Prize, and selected poems have
been translated into numerous languages. My book is presently stocked
in numerous public and academic libraries around the world—including
Ivy League schools like Yale and Harvard. Additionally, my book was
recently adopted for classroom study in a North American university.
Crudely Mistaken for Life
is presently stocked in hundreds of bookstores around the world. You
can buy the book in Japan, for example, or Sweden or practically
wherever you live—and that, to me, is really cool. The readings
have been phenomenal, and that, I suppose, is where the hard work
gets done.
Saying all of this, Crudely
Mistaken for Life hasn’t even surfaced yet. What has happened
is only the tip of the iceberg—I’m proud of this book—I want
EVERYONE to read it—and I’ll continue promoting it until the day
I die.
Q:
What is your next project?
A:
My immediate project is a collection of short prose poems and
stories that center around my roles as husband, father, madman and
son. There’s a fair amount of humor in these new works and I’ve
received great responses at readings so far. Selected material from
the new book has been published by ERP, Pigeon Bike,
Lummox Press, and Ebullience. What I love about my new
book is that it adds new dimensions and concrete images to my
previous body of work. These new pieces are very different from
Crudely Mistaken for Life.
I
can’t say with any certainty about when the new book will be
released because (as my editor, David McLean, will attest) I tend to
sit on my books like eggs—making sure I’m completely happy with
the final product before it sees the light of day. Right now, it’s
a matter of arranging the material into the best possible story it
can be.
Here’s a sample piece from
the new book:
There’s
been a team of electricians in our house all week trying to determine
why the power in our bedroom keeps going out. After stripping away
the drywall, they discovered that a bad connection had started a fire
in the junction box above our bed. Explaining the situation to my
wife, she just shrugged her shoulders, then said “That’s ironic.
I could’ve sworn there hasn’t been any fire in our bedroom for
over a decade.”
Anyone
who wants to know more about me or my books can learn more at
wolfgangcarstens.com. or through the ERP website at epicrites.org.
Photos
courtesy/property of Wolfgang Carstens and Epic Rites Press
Poetry/Prose
excerpts copyright 2012 Wolfgang Carstens
Article
content copyright 2012 Marie Lecrivain