ETIENNE
(#22)
He non-linguistically defiled the nouns
stacked miles high without permission. Formal aspects of the human condition
shuddered a collective sigh, Zola's memory rang out. It was 5 AM and Etienne was
accused of being a modern theatre: a reverse burlesque in the red square. He
insisted it was blue as he recited Murphy's law and the Miranda rights in
tandem. It was apparent that the Russians would be short on patience so he
blinked back to 1833 and the smell of coffee permeated his boardinghouse room
where once again the reductio ad absurdum went stage left. Two streams flowed
into one - mockingbirds wore crutches - and Alabama was just a notion. Needless
to say everyone wore confusion. It was fortunate that the weight of the trains
on the roof was only a bisecting attempt to be graphically unreal as Etienne
threw the switch. Lens distortion, promotional stills, story boarding on green
grass. Static horizontals fade in and fade out - a vague roller coaster - a
golden lens of delight. In Italy a sober eye is the harbinger of the hobbyist
grinning with color in that black and white kind of way while spatial
relationships enter the Japanese film playing in Harlem and upon hearing that
Etienne mutters politely 'Oh I doubt that'
Sherry Steiner
Housatonic MA
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