before being forcibly evicted by the police. Fuller's literary conceit was to insert himself into the situation, "playing" the narrator, a cigar-smoking American film director (in London for a BFI retrospective of his films) who gets involved with the squatters by accident. Unlike most of Fuller's books, it's not just a novelization of one of his own film treatments; as he tells it in his posthumously -published memoir, he actually had been in London
when the occupation was taking place, had witnessed the initial break-in while out on a late-night walk, and with his "newspaperman's nose," had contrived to have a chat with the occupiers. "The disheveled squatters invited me to stay on," he wrote '(if)...I hadn't had prior commitments, a wife, and a flight back to the States the next day, I would have." He subsequently got "damn mad" about the treatment accorded the squatters by the British media and the police, and knocked out a novel in which "an American film director very much like me participates in an illegal entry in London, then tries to bridge the generational gap by becoming the group's mascot and witness. The fictional 'me' does what I was tempted to do but couldn't, abandoning his hotel suite for a mattress on the floor with the flower children." He never made a movie of the book.
Loosely inserted in the book is a typed postcard (27/11/71) from Fuller "Am writing 'Dead Pigeon on Beethoven Street' which I'll shoot here in Feb. My book 144 Piccadilly just came out... Am at Senats Hotel 5 Koln 1 - Unter Goldschmied". Fuller has not signed the card but the words 'Mit Luftpost' are handwritten in red ink, presumably by the great man... At the front of the book is the ownership signature of Phil Hardy, the recipient of the card- he wrote a book on Fuller published by Praeger ( N.Y. 1970)
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