Dead West (AKA Cowboys and Vampires) (director: Douglas Myers)
Starring:
Jasen Wade
Angélica Celaya
Shannon Whirry
A western movie actor is trying to make it
big in a western film studio and theme park, when a 'new management
team' takes over the park and turns the film studio into a fright-fest
for the month of Halloween.
Jeremy Stewart: Hidden city
Neighbours had under their house an ossuary
blamed it for evil emanating for a block
inverted saints manifested
supernatural reek
they told me it was there when they moved in
right
I planned to buy the bones to remove them
but when I went inside they got to me
now barking dogs are invited to my party
they’re the only ones
neighbours took their loud bass
& fell into a ravine
let them be added
to the number of the numberless
remains to be seen
what will be left when they’re gone
large enclosures armed with woofers speak
to me, it’s a numbers racket
I can’t read you anymore because
there isn’t any more now go to sleep
dust & sand in my mouth & muffled
sounds above, so be low
the disaster already
happened, & it made
a lousy movie. A pack of wolves against the orange horizon
watch the lousy movie. Daylight’s yolk
about to crack. Smoking
year-end best-of lists
of lists of lists burn in muted
television light watching
the fireplace show, the log, every
so often a hand
or day of infinite justice the chamber
of commerce should welcome erasure
searching out blind spots
I created Nosferatu’s mirror
saw a tangle of black dogs & hair run after
unspooling tape
& I felt like nothing so much
as
wounded absence of a line
while the house falls in
violet repeat offender
song of the violent repeat offender
can’t get nothing right
don’t you motherfuckers ever fuck with me
don’t fuck with my family
can’t get nothing right
watching TV puppet shows as a kid
gravel parking lot skid
I was a poet with no M.O.
never seen a poem before
bang this empty skull
about to fly away on the shop wing
no one’s gonna try to reach out to me
bang this empty skull
honest work for honest pay
oh, you say you already heard that one?
I was a victim until I rewrote the scene
now it’s cops try to victimize me
I will buy one smoke off you for fifty cents
six weeks of compulsory anger management counselling
all the places I won’t get to go
with my hand smashed in the car door
yeah, you think you can fuck with me?
steal my bike & step on my hand?
suffocating in the space between
two burning buildings
mirror the hip sounds
of Bloody Holly
I quit the band, too
but somehow survived
traded interior deserts
for coastal deserts before falling
asleep at the bottom of a lake
where I could hardly hear the phone.
You asked for a complete account
of myself & that’s it
anything further will be in my RCMP file
along with urine, hair, teeth
Lewis Call: "Sounds Like Kinky Business to Me": Subtextual and Textual Representations of Erotic Power in the Buffyverse
Slayage: The Online International Journal of Buffy Studies, 6(4)
[1] Buffy the
Vampire Slayer and Angel have done a great deal to promote tolerance
of alternative sexualities. The two programs are especially well known for
their positive depictions of gay and lesbian sexuality. However, Buffy
and Angel have also brought about another intriguing revolution in the
representation of unorthodox sexual practices. Throughout the twelve seasons
which comprise the Buffyverse narrative, Buffy and Angel have
consistently provided positive portrayals of sadomasochism (S/M) and erotic
power exchange. In the early seasons these representations were, of necessity,
largely subtextual. As the two shows progressed, however, they began to provide
bolder, more explicit depictions of S/M. Thus the Buffyverse's discourse of
erotic power gradually moved out of the subtextual and into the realm of the
textual. As representations of erotic power exchange became more open and explicit
at the textual level, these representations became increasingly available to
the Buffyverse's audience. In the later seasons of Buffy and Angel,
the two programs did not merely depict S/M, but actually presented it as an
ethical, egalitarian way in which participants might negotiate the power
relations which are an inevitable part of their lives. Buffy and Angel
brought S/M out of the closet and normalized it. The two programs thus offered
their audiences a positive and practical model of erotic power exchange. The
Buffyverse has already secured for itself a prominent place in the history of
narrative television. By endorsing the ethical exchange of erotic power, Buffy
and Angel may earn an important place in the history of sexuality as
well.
[2]
Few television shows are as fascinated with their own subtexts as Buffy and
Angel. Both shows feature a frequently flagrant disregard for their own
master narratives. "Storyteller" (B7016), for example, emphasizes the
perspective of a character who would be considered minor on most programs,
geeky reformed "super villain" Andrew. "The Girl in
Question" (A5020) sends Angel and Spike to Italy, ostensibly on a quest
for Buffy, but quite obviously for the real purpose of permitting the
homoerotic relationship between the two male vampires to eclipse their mutual
obsession with Buffy (who, like a proper fetish object, is much discussed but
does not appear in the episode). Both shows also have a deep and abiding
interest in saying those things which cannot be said with words. Thus in
"Hush" (B4010), the characters must find ways to express themselves
in the absence of spoken language, while in "Once More, with Feeling"
(B6007), they can express their deepest feelings—but only in song. Series
creator Joss Whedon seems determined to make use of every possible form of
non-linguistic communication including, remarkably, ballet (see "Waiting
in the Wings," A3013). Since spoken dialogue is the main form of
textuality in narrative television, the effect of these experiments is to
foreground such normally subtextual elements as gesture, facial expression,
color, editing cuts and (of course!) music and choreography. (But then, Giles
warned us way back in Season Two that the subtext is rapidly becoming the text,
“Ted,” B2011.)
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