By Michael Turner

American Whiskey Bar is a awesome fake memoir concerning the un-making of a film—a movie which Michael Turner was once commissioned to jot down. notwithstanding, even if this movie was once ever “made” is arguable. And just one print is expounded to exist. however, American Whiskey Bar, a movie visible through just a handful of individuals, is definitely on its option to turning into a curious footnote to cinematic history.

American Whiskey Bar, the booklet, is an try to set the list straight—a tale of intercourse, violence, lies, ambition, energy, paradox, desires, and remorse. think of your self warned.

First released in Canada in 1997, this re-creation, which encompasses a foreword through William Gibson (Neuromancer, development Recognition), is the 1st variation ever on hand within the U.S.

Praise for American Whiskey Bar:

“Tightly packed . . . the ebook weaves its approach out and in of varied degrees of fact. . . . There’s a vibrant, playful brain at paintings here.”—Toronto Star

“Turner constructs an severe, clever, and darkly funny satire. . . . Too unique to be nominated for awards.”—Quill & Quire

“Brilliant . . . a stunning, dizzying multilayered mix of truth and fiction, of the believable and the preposterous, of the genuine and the hyper-real. it's also screamingly funny.”—Globe & Mail

Globe & Mail awesome ebook, 1997
Quill & Quire top e-book of 1997
Coolest Canadian e-book of the 12 months, Chapters

Michael Turner lives in Vancouver, the place, as well as books and screenplays, he writes artwork essays and edits ArsenalAdvance, a literary/visual paintings imprint. He has gained a BC ebook Prize for fiction and a Genie Award for unique tune. lately, he has collaborated with artist Stan Douglas and filmmaker Bruce LaBruce. His novel The Pornographer’s Poem was once released this 12 months by means of tender Skull.

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Example text

Sure enough, Evgeny was right. The next day the phone rang. It was Klaus. He told me the usual things and I dutifully wrote them down. Before leaving I briefed Evgeny on the project thus far, giving him my director notes, as well as the treatment that Michael e-mailed a couple of weeks before. I also gave him Michael’s e-mail address and encouraged Evgeny to introduce himself, since Michael, at that point, had an interesting idea about camera placement, suggesting that we set up a stationary camera in the middle of four tables and pan from scene to scene.

College campus – night w1 and the exchange student break from their embrace. He takes a step back. She does the same. They wave goodbye to each other, smiling, awkward. He backs out of the frame. She lingers, her smile slowly fading. w1 (voice over) Oh yeah. He was. I’d never been with a guy with a foreskin before. w2 (voice over) Did you go down on him? 48 t h e o rig ina l s c re e n p l ay w1 (voice over) Oh God. I can’t believe I’m talking about this. w2 (voice over) Why? w1 (voice over) I’ve never told anyone about this before.

He jumped from the camera and began to beat me. Not just slapping me, but really laying into me. Yet all I could feel was my hand, still in its fist, punching back. That’s the last I thing I remember. The next thing I knew I was coming to in the hospital, still in Varna. I had been in and out of coma for the past two months. The doctor told me I was lucky to be alive, that when I was brought in I looked like a side of raw beef. One of the nurses told me that I should be thankful to have been in a coma, that the coma gave my wounds time to heal, and that if I hadn’t been in the coma for as long as I had been I 24 in t rodu ctio n wouldn’t have been able to stand the sight of myself.

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