He recognizes in all these dislocations, of course, his lonely quest for the impossible mating, the crazy embrace of polarities, as though the distance between the terror and the comedy of the void were somehow erotic—it’s a kind of pornography. No wonder the sailor asked that his eyes be plucked out! He overlays frenzy with freeze frames, the flight of rockets with the staking of the vampire’s heart, Death’s face with thrusting buttocks, cheesecake with chaingangs, and all just to prove to himself over and over again that nothing and everything is true. Slapstick is romance, heroism a dance number. Kisses kill. Back projections are the last adequate measure of freedom and great stars are clocks: no time like the presence. Nothing, like a nun with a switchblade, is happening faster and faster, and cause (that indefinable something) is a happy ending. Or maybe not.
From Robert Coover’s 1987 short story “The Phantom of the Movie Palace.”