Grand Entrance to the World of the Dead

Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.

I really hope this is well-received. I really hope there's some sort of reprieve.

Onward, upward, greener [redder] grasstures.

On the Clickity-clack Express it's clear I'm always under duress, unless I forget.

Shadows frighten what one oughtn't be gripping (that thing before/hind you).

Return to 'burn' only to find out you're already in that urn.

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Hiding inside&out, writhing about, taken out&in.

Rather pointless, rather stilted, fetid; not what we want us going after.

Beyond all human restraint lies one's lugubrious layers of paint.

From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.