They woke together at a rest stop on the interstate, car windows dimmed by frozen breath and through the glass, anemic blue dawn swelling over Wyoming.
She struggled out of the sleeping bag, wrestled with the nest of blankets and pulled at the door. She poured herself out into the empty lot and shuffled a few paces from the car before she buckled over a strip of grass and vomited. It slapped the ground and steam rose from it. The man got out of the car and went to her and put his hands on her shoulders to steady her, to hold her. She heaved again, just water and foam.
There is a homeless man living in our house.
[img_assist|nid=880|title=Love Park|desc=|link=node|align=left|width=130|height=195]On the night before I drove Daisy Diamond home, I picked up my parents at the hospital, where they’d been visiting with a parishioner whose wife was dying of cancer. As the man walked with my parents to the curb, his glistening bald head shone. He wore a wrinkled corduroy sport coat, despite the heat, and loosely tied sneakers that shuffled like slippers on the concrete. He was hunched over, less from old age, it seemed, than from grief. But when he came into the light of the streetlamp overhead, I could see that he was smiling gloriously.
In graduate school, I took a nonfiction course taught be a woman who was (and still is) a very established and widely published New York writer (we’ll call her Brenda). Like her writing, her teaching style was brutal and painfully honest. It was clear from the start that she did not enjoy teaching. On the first day of class, she looked at all of us gathered hopefully around the conference table with our notebooks and pens and said flatly, “There will be no tears in this class. Anyone who cries fails.” I laughed. She glared at me, but didn’t go so far as to ban laughter, though I suspect she would have liked to.
For someone who loves to read and thinks that authors are like rock stars, it was a natural fit for me to become involved with Philadelphia Stories when I accepted the position of Director of Development. This has allowed me to actively share my passion in a professional capacity, by helping to build a community of readers, writers, and artists.
[img_assist|nid=849|title=Josh Emmons|desc=|link=node|align=left|width=150|height=237] Few writers walk the line between the real and the fantastic quite like Josh Emmons.
His first novel, The Loss of Leon Meed (Scribner 2005), reads like a cross between the works of Philip K. Dick and Jonathan Franzen. His second novel, Prescription for a Superior Existence (Scribner 2008), has been described as “a wicked skewering of religious cults and a finely wrought testament to their power.” Fresh off a stint at Yaddo, the renowned artists’ community, Josh sat down with us to discuss writing, faith, and inventing one’s own religion.
Brrrrrrrrupt! Brrrrrrrrupt!” A muddled fanfare penetrated Allison Reed’s sleep. She rolled over, hoping she was dreaming. She was pleasantly hot under the heaped up blankets and vaguely aware that she wanted to keep sleeping. But a few moments later the sound repeated – “Brrrrrrrrupt! Brrrrrrrrupt!” – followed by a bellowed “God bless the Mummers!” in the street below and Allison was awake and knew that it was New Year’s Day.
I start to delete the e-mail from Vincent, not
anybody by that name, when I realize the address
is my father’s.