Peter Arliss was only a boy the first time he crept down the hall and peeked into the room where Jane and Charlotte were playing their erotic games. They soon made a man of him as they included him in every deviation imaginable. Under the skilled tutelage of these two insatiable fiends, Peter was seduced into a way of life that he knew to be abnormal, but was powerless to stop his mad descent into the depths of depravity. As the young slave, he performed the most intimate servces required by his strange mistresses. As a boy who wanted to taste normality, he roamed the night — peering at others even more debauched than he. Peter sought the thrill of seeing women undressing and doings things no person should do. He witnessed an underbelly of society known only to the perverted, and learned to consider it as his own. He discovered the joys of degeneracy and, in turn, became the pawn of every twisted female desire int own. Would he ever find a normal woman who could save him? Or would he end his twisted life emneshed in a world of NIGHT LUST!
A passion procession leads to a blood orgy! From Satan himself comes eight tales of debauchery and degradation. Tormented souls bound by flesh agonies, causing a downward spiral that ended in the fiery pits of hell! Love slaves, pain enthusiasts, sex maniacs; all suffered the endless, eternal torments of shrieking damnation!
Jonesing for a drive-in theater and a hotrod El Camino?
It’s the dawn of the 1970s and everything is changing. The war in Vietnam is winding down. So is the Apollo Space Program. The tiny northwestern city of Spokane is about to host a World’s Fair. But the Watergate Hearings and the re-entry of Skylab and the eruption of Mount Saint Helens are coming…as are killer bees and Ronald Reagan.
Enter ‘The Kid,’ a panic-prone, hyper-imaginative boy whose life changes drastically when his father brings home an astronaut-white El Camino. As the car’s deep-seated rumbling becomes a catalyst for the Kid’s curiosity, his ailing, over-protective mother finds herself fending off questions she doesn’t want to answer. But her attempt to redirect him on his birthday only arms him with the tool he needs to penetrate deeper—a pair of novelty X-Ray Specs—and as the Camino muscles them through a decade of economic and cultural turmoil, the Kid comes to believe he can see through metal, clothing, skin—to the center of the universe itself, where he imagines something monstrous growing, spreading, reaching across time and space to threaten his very world.
Using the iconography of 20th century trash Americana—drive-in monster movies, cancelled TV shows, vintage comic books—Spitzer has written an unconventional memoir which recalls J.M. Coetzee’s Boyhood and Youth. More than a literal character, ‘The Kid’ is both the child and the adult. By eschewing the technique of traditional autobiography, Spitzer creates a spherical narrative in which the past lives on in an eternal present while retrospection penetrates the edges. X-Ray Rider is not so much a memoir as it is a retro prequel to a postmodern life—a cinematized “reboot” of what Stephen King calls the “fogged out landscape” of youth.