One Entr’acte
Two The Stranger
Three Mise en Scène
Four Odeur en Scène
Five Fertilization of the Gods
Six The Old Bastard Car Wash
Seven Warlock Heroes
Eight Dollars & Common Cents
Nine Cold Beers at the Lake
Ten They Reinstated Public Executions
Eleven They Grew Chainsaws in the Cornfields
Twelve Drive-In Movie Theater
Thirteen Hog Ripping
Fourteen Walk-a-lator, Etc.
Fifteen First Theory of Ultraviolence
Sixteen Pseudoexistentialism 101
Seventeen Felix Soandso Goes to Work
Eighteen Felix Soandso Goes Home
Nineteen Contes Cruelles
Twenty Second Theory of Ultraviolence
Twenty-One Tanning Saloon
Twenty-Two The Farmer’s Revenge
Twenty-Three Nostalgia for Unruffled Feathers
Twenty-Four The Farmer’s Head
Twenty-Five This Is What Happened Next
Twenty-Six Port-a-John
Twenty-Seven Five Bloodslides
Twenty-Eight A Shoe Store Named Footland
Twenty-Nine Solarized Crow’s Nest POV
Thirty Samson Thataway & the Fuming Garcias
Thirty-One Rape Scene
Thirty-Two Confusion’s Company
Thirty-Three Memento Mori Daguerreotypes
Thirty-Four Monty Python’s “Salad Days” (1971), Directed by Sam Peckinpah
Thirty-Five Third Theory of Ultraviolence
Thirty-Six The Hallucinatory Chemistry of Panic
Thirty-Seven Carjack
Thirty-Eight The Unpicked Brain
Thirty-Nine Gun Fetish
Forty Spigot
Forty-One Bad Grief
Forty-Two Samson: An Analysis of a Case of Hysteria
Forty-Three When Gazes Collide
Forty-Four Scene in Stop-Motion Animation
Forty-Five Fourth Theory of Ultraviolence
Forty-Six Meatballs, Coffins, Sociosexual Ferocity & an Apocalypse of Flesh
Forty-Seven “Man Stands Deformed to See His Deformity in Any Other Creature than Himself”
Forty-Eight Felix Soandso Breaks Out of the Clink
Forty-Nine Precious Blood Church
Fifty Rape Scene
Fifty-One The Nature of Rejektion
Fifty-Two Aide Memoire, or, The Boy without a Face
Fifty-Three The Weird Disaster
Fifty-Four Felix Soandso Goes to China Wok
Fifty-Five Revenge Is a Dish that Is Best Served with Shitloads of Gore & with the Antagonist Being Forced to Eat His Own Hand before Getting His Head Hacked Off with a Pair of Fantasy Axes & with Inevitable Residual Feelings of Unsettledness & Helplessness & Fury & Atheism on the Part of the Forlorn Protagonist & in the Aftermath & before the Aftermath Perception Shifts from Cartoon Comedy to Gothic Horror to Pastoral Dystopianism
Fifty-Six Fifth Theory of Ultraviolence
Fifty-Seven Loud Gusts of “Ha!”
Fifty-Eight Autobiography of an Auteur
Fifty-Nine Peckinpah (1925-1984): Age 59
