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Now available for preorder:
The San Francisco Panorama.
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Filmskimming.BY DAVID KOEHN
In Barton Fink's Hollywood flat. Next To me is a woman, Mimi, from Polanski's film Bitter Fruit. She is his wife. My cock is now Jean-Hugues Anglade's in Beatrice Dalle, the opening From Betty Blue. Reef, her body Is the shore, salt-stained, at low tide, the bodies Of the actors outshone by the scenic Background in The Tempest. Only Angels Have Wings opens With Grant in baggy shirt, rolled up trousers, bandana, next To Jean Arthur. Grant in his huge cane-cutter's hat, now That is discomfort. I am post-coital. In the film Smoke, the camera draws down on Keitel, the film Doesn't cut nor pan as Keitel's body Holds us to the story of the blind woman. Now She is telling me a story about a blind woman, a scene Where a dog leads her into a busy street, next Cars rush past her, one stops, its door opens. I ask her if there isn't a film that opens Just that way. I am James Spader in the film Sex, Lies and Videotape. Inquisitor. Next, Cut to breakfast, I am Stansfield's body At the end of Leon. Or am I Hackman in the film The Firm, overtaking Tripplehorn? Now As I lift the coffee to my lips, And Now For Something Completely Different opens At the table. The bank robber in a lingerie shop scene Lifts her spirits. The morning light is a gold film On the day's spot, like the stage from Headless Body In Topless Bar. I don't now what will come next. Suddenly a scene from a reverse The Next Best Thing. She wanted me as a lover, but now She wants a woman. I guess a body is not just a body Coming through the rye. It is 3 p.m.. J.D. Salinger opened Uncle Wiggily in Connecticut at 3 p.m. The film My Foolish Heart based on it is a mess of scenes, Scenes that so incensed Salinger, he next Had his will indicate no films be made now or ever. The plot of Split Wide Open. Our bodies. This poem.
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