Wire to Wire
The screens in Michael Slater’s editing suite had immaculate reception. At night they showed him things no one had ever filmed. Sometimes, Slater could make the images go away, but he could not keep them away.
Screen three — a 1981 Sony Studio Master — showed a freight train rolling through a dark Detroit switchyard. Silver-edged clouds hid the moon. Up ahead, invisible in the dark, a power line hung low over the tracks, hustling a current of electrons endessly onward.
Of the two fools standing on top of the train, one was Slater. A joint between his lips bobbed, unlit. Slater and Harp had their heads down, searching their pockets for matches...
"All edge from start to finish.”- Willy Vlautin, Lean on Pete"Stunning emotional depth.”- Playboy"Wickedly brilliant.”- Donald Ray Pollock, The Devil All the Time
From the Hallucinations blog:
My earliest residencies were in boxcars. Admittedly, they taught me more about riding than writing. Traveling by freight trains across the United...more »