Kalil Haddad, The Taking of Jordan (All American Boy), 2022. Digital video. Courtesy of the artist.
He is still gorgeous albeit the fact over 10 years passed since his last apperence on camera. He cut all his beautiful curls but still he remains as a hot manly rascal stud. Despite having a tiny dick, he knew how to please a bottom. In closing I also want to add that although he labeled himself as a straight dude when he introduced himself on bsb (Broke Straight Boys) there was definitely a connection between him and Giovanni Summer(This scene is the scene I love most of his. The one he porks with Giovanni not the first where they just hug, give each other heads and kiss). It appears like "Jordan" is enjoying it more than the gay guy Giovanni
- Anonymous User, breedingZONE Online Forums
I. Albeit the fact.
A winning smile, a dying laugh.
Tanlines & doe eyes & baby fat.
Meat of haunches that dribbles & skids.
Come home to pork suds
you hot manly rascal stud.
That smell milky
& musky that comes off
a boy unshowered
& fermenting in his own juices
a hint of Dove soap on top—
Submission’s only fun if it’s total.
My desire turns me to a husk.
Boys in whom I believed and belonged
Boys bored or bored of
Boys who clamour for batter for shelter
Boys deranged by gore for gore
Boys’ hurt looks
Boys get what they want
Boys leave it all behind
Boys with blonde dipped in GoGurt
Boys steely-toothed
Boys pronouncing beauty in chorus
Boys shy away
Boys awkward and pleading for allowance
Boys rear out and peel back
Boys in leather boots who take
Boys from behind the facade of
Boys in Bermuda triangles
II. He cut all his beautiful curls.
so I slid my vitreous cross his body
whole glaucoma of being not touched
back I like the tautness of skin round
his fingertips (young) oil stains on
white cotton socks blonde hair whitened
to bone-white in sun streak of hair on
lips that wd kiss stone kiss drywall
school pics with starched collar soft
selfsensing (Giovanni) soft to risk
two skintight Live Strong bracelets
not given to sentience but barreling
down the backroads I let his analog
cock bleed me out blue motel dusk
big macho foot cramp flight man
hole golden age hole professed hole
in wild abstention of a fist pressed
into a yawn a lisp coarse deathovertaken
hangdog slip wide grin frisks a future
III. Give each other heads and kiss.
The part of me that wants to be completely owned by a boy like Jordan is the same part that would slide my nasty fist down his throat. The All-American Boy is the archetype of power invisible to itself.
A swoon of indeterminate bodies: Jordan, Michael, Steve, Adam; or Clint, Keilor, Skyler, Sam; or Chase, Trent, Max, Josh. Unmoored from their patronyms, the names are bite-sized, vaguely Californian, a signal of the hunger they’re designed to evoke. The All-American Boy wields the brutality of unearned innocence.
I want to believe that the American Empire is finally on the verge of collapse—that, at least as a symbol, the unveiling of the truth of its rottenness has begun. Those born to power or power-to-be disgorge their own loneliness at the top; insensate defenses falter in last throes. To love boys is to know not weakness, but that other side of power.
What does America see as it dies, not yet even a tween in the sweep of universal history? Bursts of red punctuated by static—a life kinda lived, born of originary barbarism, masked by sea sand surf.
A boy found dead is a form of repetition.
Face smushed past recognition.
I make my desire a smear, an echo—that’s all the strength I can muster.
I yawn.
The All-American Boy dies as easily as he lived; that is, in a ditch, the flag of its myth flying at half-mast.
“In closing I also want to add”:
The All-American Boy is an idol of fact,
truth’s a shadow cast by the sun
he will never see – he’s never privy
to the Hell behind he who won’t turn back.
Kalil Haddad is an experimental filmmaker based in Toronto. He has written, directed, and edited over a dozen short films including: Vampires Drink Blood... I Drink Sorrow (21), The Taking of Jordan (22), and His Smell (23). His work has screened internationally at festivals and gallery exhibitions in Europe, Latin America, and the United States; including Indie Memphis, Kassel Dokfest, London Short Film Festival, and Onion City Experimental, where The Taking of Jordan was awarded a Jury Prize for Best of the Festival. Writing on his films have appeared in Tone Glow, Cinema Year Zero, and Counter Arts, among other publications. His work appears in the collections of The Film-Makers’ Cooperative, Canadian Filmmakers Distribution Centre, and Vtape. His newest film, Victim of Circumstance, is scheduled for release later this year. Website: www.kalilhaddad.com.
Fan Wu is a loiterer at the ledge of desire who yearns for self-annihilating immersion into the Other. His current research explores the cosmologies of Daoism and Tiantai Buddhism and how their radical aesthetics of non-attachment can take place in a Western world. You can read more of his writing online at baest Journal, Shrapnel Magazine, C Magazine, and The Ex-Puritan; or get in touch with him at: fanwu4u@gmail.com.