Grand Central Winter: Stories From the Street

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Overview

Whether Lee Stringer is describing "God's corner" as he calls 42nd Street, or his friend Suzy, a hooker and "past due tourist" whose infant child he sometimes babysits, whether he is recounting his experiences at Street News, where he began hawking the newspaper for a living wage, then wrote articles, and served for a time as muckraking senior editor, whether it is his adventures in New York's infamous Tombs jail, or performing community service, or sleeping in the tunnels below Grand Central Station by night and...
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Overview

Whether Lee Stringer is describing "God's corner" as he calls 42nd Street, or his friend Suzy, a hooker and "past due tourist" whose infant child he sometimes babysits, whether he is recounting his experiences at Street News, where he began hawking the newspaper for a living wage, then wrote articles, and served for a time as muckraking senior editor, whether it is his adventures in New York's infamous Tombs jail, or performing community service, or sleeping in the tunnels below Grand Central Station by night and collecting cans by day, this is a book rich with small acts of kindness, humor and even heroism alongside the expected violence and desperation of life on the street. There is always room, Stringer writes, "amid the costume" jewel glitter...for one more diamond in the rough."
Two events rise over Grand Central Winter like sentinels: Stringer's discovery of crack cocaine and his catching the writing bug. Between these two very different yet oddly similar activities, Lee's life unwound itself, during the 1980s, and took the shape of an odyssey, an epic struggle to find meaning and happiness in arid times. He eventually beat the first addiction with help from a treatment program. The second addiction, writing, has hold of him still.
Among the many accomplishments of this book is that Stringer is able to convey something of the vitality and complexity of a down—and—out life. The reader walks away from it humming its melody, one that is more wise than despairing, less about the shame we feel when confronted with a picture of those less fortunate, and more about the joy we feel when we experience our shared humanity.
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Editorial Reviews

NY Times Book Review
Like Dorothy Parker cradling a martini, he makes no apologies...the prose lengthens out into easy strides, the storytelling is sound and the characters fresh...the portraits etched out of a rock of crack cocaine.
Bob Blaisdell
Stringer is engaging, funny and informative and has a wonderfully conversational voice, unaffected, occasionally poetic, modest and pleasant. Too conscious and artistic to demand our attention or understanding, he creates it. . . . In spite of the occasional editing lapses, all the stories are vivid and complete. . . Grand Central Winter probably will become anthologized not only as lucid documentary history of homelessness in America, but as first-rate literature. -- Quarterly Black Review
Publishers Weekly - Publisher's Weekly
"In New York City," writes the author, "there are three centers for people living on the street: Central Park, Grand Central Terminal, and Central Booking." And in this candid, sad, yet upbeat memoir we visit them all. Stringer once co-owned a graphic-design company, but with the death of his partner and his substance abuse found himself evicted from his apartment and camping in Grand Central Terminal. We see what life is like on the street and how the homeless search for shoes in a bureaucratic city agency. In one shelter we see hams, turkeys and other roasts going into the kitchen, but only fried salami is served. We witness homeless being rousted by cops for criminal trespass for sleeping in Grand Central, then learn that often the police do this only at the end of their shifts in order to collect overtime. The author relates the embarrassment of meeting an old business colleague while collecting cans for their five-cent redemption fee; how he rescued a coked-up businessman from muggers; and how the authorities ruthlessly cracked down on the homeless to move them out of Grand Central. Street News, the newspaper of the homeless, helps get him back on his feet, first by selling it, then by editing and writing for it. From stories about flim-flamming clerics prying on the homeless, to the streetwise Romeo who wants to make the prostitute mother of his child an "honest woman" ("I can't believe it, [she] even charged me to go to bed with her on our honeymoon night"), to the manipulations of being on the Geraldo show, Stringer possesses a sharp eye for the street and the rich, sagacious talent of a storyteller.
Library Journal
This autobiographical account of homelessness and crack addiction rambles engagingly among the key locations of New York City's Grand Central Station, Central Park, and Central Booking. Written by a former editor and columnist for Street News, a newspaper produced by New York City's homeless, the book gives full humanity to its troubled characters and homes in on the motivations, strategies, and relationships of people surviving on the streets. The power of each discrete narrative compensates for a disjointed overall structure. The biggest gap is a lack of attention to the dynamics of Stringer's transition to sobriety. In pivoting the center of morality away from the world of "working stiffs," Stringer challenges the taken-for-granted perspective on the problems of urban poverty. -- Paula Dempsey, DePaul University Library, Chicago
--Thomas L. Kilpatrick, Southern Illinois University Library, Carbondale, Illinois
--Thomas L. Kilpatrick, Southern Illinois University Library, Carbondale, Illinois
--Thomas L. Kilpatrick, Southern Illinois University Library, Carbondale, Illinois
--Thomas L. Kilpatrick, Southern Illinois University Library, Carbondale, Illinois
--Thomas L. Kilpatrick, Southern Illinois University Library, Carbondale, Illinois
--Thomas L. Kilpatrick, Southern Illinois University Library, Carbondale, Illinois
--Thomas L. Kilpatrick, Southern Illinois University Library, Carbondale, Illinois
San Francisco Chronicle
We tend to forget the simple elements of the human spirit -- love, pride, pity, compassion, dignity, hatred, longing. . . .It is the confrontation of these contradictory human elments that makes Grand Central Winter by Lee Stringer such a provocative and haunting memoir.
New York Newsday
Stunningly original.
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Product Details

  • ISBN-13: 9781888363579
  • Publisher: Seven Stories Press
  • Publication date: 7/1/1998
  • Pages: 239
  • Sales rank: 558,801
  • Product dimensions: 5.85 (w) x 8.53 (h) x 0.84 (d)

Meet the Author

LEE STRINGER's journey from childhood homelessness in the ’60s, to adult homelessness in the ’80s, to his present career as a writer and lecturer, as told in Sleepaway School and Grand Central Winter, is one of the great odysseys of contemporary American life and letters. Stringer, the only board member of Project Renewal who is also a former patient of the facility, has demonstrated that writers are made, not born. He is the two-time recipient of the Washington Irving Award and, in 2005, a Lannan Foundation Residency. He is a former editor and columnist of Street News. His essays and articles have appeared in a variety of other publications, including The NationThe New York Times, and Newsday. He lives in Mamaroneck, New York, where he also serves on the board of the Mamaroneck Public Libraries.
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Read an Excerpt

Chapter One

What happened was I was digging around in my hole — there's this long, narrow, crawl space in Grand Central's lower regions, of which few people are aware and into which I moved some time ago. It is strung with lights and there is a water spigot just outside the cubbyhole through which I enter. It's on the chilly side in winter, and I baste down there in summer, but it is, as they say home.

I have filled this place with blankets and books and have fortified it with enough cardboard baffles to hold any rats at bay (the secret being, of course, to never bring food down here. It's the food that attracts them). So, at the end of the day I come down here to polish off that last, lonely blast. Or just to sleep it off.

But as I said, I was digging around in this hole—lying flat on my back, reaching back and under the old blankets, newspapers, and clothes that I've amassed over time and that keep me insulated from the concrete floor, trying to find some small, dowellike instrument with which to push the screens from one end of my stem to the other, so that I could smoke the remaining resin caked up in the thing.

For those of you who have not had the pleasure, I point out that when you are piping up, the first thing to go is your patience. And I'm digging around under this mess, cursing and muttering under my breath like an old wino on a three-day drunk, when my fingers finally wrap around some sort of smooth, straight stick.

I pull it out and it's a pencil and it does the trick. I push my screens and take a hit and have a pleasurable half hour of sweaty, trembling panic that at any second someone or something is going to jump out of the darkness— I get much too paranoid to smoke with the lights on — and stomp the living shit out of me or something.

That's the great thing about being a veteran crackhead.

Always a lot of fun.

Anyway, the point is, I start carrying this pencil around with me because I really hate like hell to be caught without something to push with and then have to go searching or digging around like I was doing when I found the thing.

The good thing about carrying a pencil is that it's a pencil. And if I get stopped and searched for any reason, it's just a pencil. Of course I carry my stem around too. And there's no doubt about what that's for. But, hey, I'm not looking to strain my cerebral cortex on the subject. It's all I can do just to hustle up enough scratch every day and go cop something decent—without getting beat, arrested, or shot—so I can have a lovely time cowering in the dark for a couple of hours.

So I have this pencil with me all the time and then one day I'm sitting there in my hole with nothing to smoke and nothing to do and I pull the pencil out just to look at the film of residue stuck to the sides—you do that sort of thing when you don't have any shit—-and it dawns on me that it's a pencil. I mean it's got a lead in it and all, and you can write with the thing.

So now I'm at it again. Digging around in my hole. Because I know there's an old composition book down there somewhere and I figure maybe I can distract myself for a little while by writing something.

The things a person will do when he's not smoking.

The funny thing is, I get into it.

I mean really get into it.

I start off just writing about a friend of mine. Just describing his cluttered apartment. How I kind of like the clutter. How it gives the place a lived-in look. How you can just about read his life by looking around.

So I'm writing away, and the more I write, the easier it gets. And the easier it gets, the better the writing gets, until it's like I'm just taking dictation.

Pretty soon I forget all about hustling and getting a hit. I'm scribbling like a maniac; heart pumping, adrenaline rushing, hands trembling. I'm so excited I almost crap on myself.

It's just like taking a hit.

Before I know it, I have a whole story.

I go to read the thing and it's a mess. The pages are all out of order. Parts are scratched out. Other parts are written sideways in the margins. But what I can read looks pretty good.

Even great in parts.

By the time I go back and carefully rewrite the thing, it's too late at night for me to bother going out, which is a remarkable thing for me because I don't think there's been a day since I started that I have gone without at least one hit.

So I read the story over and over.

Fix a few things.

And what I end up with reads like Tennessee Williams (I have a paperback with all his short stories in it) in the way it kind of comes in through the side door. I mean, Williams will start off talking about, say, what it smells like to work in a shoe factory and before you know it, he's going on about wanting to kill his father or something like that.

That's how my story went.

It started with my friend's house and then I have a guy sitting there with him who wants to get some pills from him so he can take himself out before the AIDS virus gets him — you see, he is HIV positive — and when he gets the pills, he goes over to the park to just lie down and fade away on the grass.

Only he feels the need to apologize to the world because he has to die in public. And someone will have to come along and pick up his sorry dead ass and all. But he's homeless, there's no place for him to go.

I guess they'll never make a musical out of it.

But the thing is—and this is what gets me — when I read the story, I can feel this guy's pain! I mean, I haven't been able to feel much of anything in years. And there I am, sitting down there under Grand Central, reading this thing scribbled in an old composition book, and I'm practically in tears.

The next day I take the story over to my friend's house and he reads it. All I'm expecting from him is a sarcastic remark because this guy is one of those snob alcoholics. He doesn't approve of anything.

Ever.

Least of all me.

But he just puts it down quietly when he finishes and gives me the slightest nod. Then he says,

"Do you love me?"

I know why he asks this.

Because in the story the two guys are friends but they would never admit it. They just hang around together putting each other down all the time — a lot like my friend and me — and in the end the one guy is sorry because he'll never have the chance to tell his buddy that he loves him — in a normal sort of way, I mean — and that he'll miss him.

He never realizes this until he's dying.

The only real difference between the story and me and my friend, come to think of it, is that I'm not HIV-positive and I'm not dying.

But my friend is.

And when he asks me whether or not I love him, it gets to me because I would never have thought he gave a shit one way or the other. So I go over to him and hug him, and that weepy shit starts kicking up again.

What can I tell you?

It was one of those moments.

All because I sat in my hole and wrote this little story.

Next thing you know, I'm up at the Street New office with it, asking if anybody'd be interested in putting it in the paper, and — sure enough — damned if I don't open up the next issue and there's my story!

That's how I got my first thing published in Street News.

I think I called it "No Place to Call Home."

A couple of months later I had a regular column in there. And — one thing after the other — I had the writing bug.

After that there were four things I did every day. Hustle up money, cop some stuff, beam up, and write. And in the end I wound up dropping the other three.

Copyright © 1998 by Caverly Singer

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Table of Contents

Foreword 7
Preface 9
Acknowledgments 11
1 What happened was I was 13
2 When I was out there 19
3 The Streets of New York City, 1985 35
4 Grand Central Terminal, Winter 1985, 12:30 A.M. 43
5 Grand Central Terminal, Winter 1989 51
6 West Forty-sixth Street, Winter 1989 63
7 In New York City there are three 69
8 Hell's Kitchen, Fall 1994 91
9 Valentine's adoptive father 113
10 On every smut film 131
11 I was having a real 147
12 I was smoked out, tapped out 157
13 It's time for my nightly 181
14 Sure, life on the street 193
15 Dear Homey 203
16 Manhattan has only two 215
17 His name is Marvin 229
18 If, at the time of this 235
Afterword 241
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First Chapter

What happened was I was digging around in my hole -- there's this long, narrow, crawl space in Grand Central's lower regions, of which few people are aware and into which I moved some time ago. It is strung with lights and there is a water spigot just outside the cubbyhole through which I enter. It's on the chilly side in winter, and I baste down there in summer, but it is, as they say home.

I have filled this place with blankets and books and have fortified it with enough cardboard baffles to hold any rats at bay (the secret being, of course, to never bring food down here. It's the food that attracts them). So, at the end of the day I come down here to polish off that last, lonely blast. Or just to sleep it off.

But as I said, I was digging around in this hole--lying flat on my back, reaching back and under the old blankets, newspapers, and clothes that I've amassed over time and that keep me insulated from the concrete floor, trying to find some small, dowellike instrument with which to push the screens from one end of my stem to the other, so that I could smoke the remaining resin caked up in the thing.

For those of you who have not had the pleasure, I point out that when you are piping up, the first thing to go is your patience. And I'm digging around under this mess, cursing and muttering under my breath like an old wino on a three-day drunk, when my fingers finally wrap around some sort of smooth, straight stick.

I pull it out and it's a pencil and it does the trick. I push my screens and take a hit and have a pleasurable half hour of sweaty, trembling panic that at any second someone or something is going to jump out of the darkness -- I get much too paranoid to smoke with the lights on -- and stomp the living shit out of me or something.

That's the great thing about being a veteran crackhead.

Always a lot of fun.

Anyway, the point is, I start carrying this pencil around with me because I really hate like hell to be caught without something to push with and then have to go searching or digging around like I was doing when I found the thing.

The good thing about carrying a pencil is that it's a pencil. And if I get stopped and searched for any reason, it's just a pencil. Of course I carry my stem around too. And there's no doubt about what that's for. But, hey, I'm not looking to strain my cerebral cortex on the subject. It's all I can do just to hustle up enough scratch every day and go cop something decent--without getting beat, arrested, or shot--so I can have a lovely time cowering in the dark for a couple of hours.

So I have this pencil with me all the time and then one day I'm sitting there in my hole with nothing to smoke and nothing to do and I pull the pencil out just to look at the film of residue stuck to the sides--you do that sort of thing when you don't have any shit---and it dawns on me that it's a pencil. I mean it's got a lead in it and all, and you can write with the thing.

So now I'm at it again. Digging around in my hole. Because I know there's an old composition book down there somewhere and I figure maybe I can distract myself for a little while by writing something.

The things a person will do when he's not smoking.

The funny thing is, I get into it.

I mean really get into it.

I start off just writing about a friend of mine. Just describing his cluttered apartment. How I kind of like the clutter. How it gives the place a lived-in look. How you can just about read his life by looking around.

So I'm writing away, and the more I write, the easier it gets. And the easier it gets, the better the writing gets, until it's like I'm just taking dictation.

Pretty soon I forget all about hustling and getting a hit. I'm scribbling like a maniac; heart pumping, adrenaline rushing, hands trembling. I'm so excited I almost crap on myself.

It's just like taking a hit.

Before I know it, I have a whole story.

I go to read the thing and it's a mess. The pages are all out of order. Parts are scratched out. Other parts are written sideways in the margins. But what I can read looks pretty good.

Even great in parts.

By the time I go back and carefully rewrite the thing, it's too late at night for me to bother going out, which is a remarkable thing for me because I don't think there's been a day since I started that I have gone without at least one hit.

So I read the story over and over.

Fix a few things.

And what I end up with reads like Tennessee Williams (I have a paperback with all his short stories in it) in the way it kind of comes in through the side door. I mean, Williams will start off talking about, say, what it smells like to work in a shoe factory and before you know it, he's going on about wanting to kill his father or something like that.

That's how my story went.

It started with my friend's house and then I have a guy sitting there with him who wants to get some pills from him so he can take himself out before the AIDS virus gets him -- you see, he is HIV positive -- and when he gets the pills, he goes over to the park to just lie down and fade away on the grass.

Only he feels the need to apologize to the world because he has to die in public. And someone will have to come along and pick up his sorry dead ass and all. But he's homeless, there's no place for him to go.

I guess they'll never make a musical out of it.

But the thing is--and this is what gets me -- when I read the story, I can feel this guy's pain! I mean, I haven't been able to feel much of anything in years. And there I am, sitting down there under Grand Central, reading this thing scribbled in an old composition book, and I'm practically in tears.

The next day I take the story over to my friend's house and he reads it. All I'm expecting from him is a sarcastic remark because this guy is one of those snob alcoholics. He doesn't approve of anything.

Ever.

Least of all me.

But he just puts it down quietly when he finishes and gives me the slightest nod. Then he says,

"Do you love me?"

I know why he asks this.

Because in the story the two guys are friends but they would never admit it. They just hang around together putting each other down all the time -- a lot like my friend and me -- and in the end the one guy is sorry because he'll never have the chance to tell his buddy that he loves him -- in a normal sort of way, I mean -- and that he'll miss him.

He never realizes this until he's dying.

The only real difference between the story and me and my friend, come to think of it, is that I'm not HIV-positive and I'm not dying.

But my friend is.

And when he asks me whether or not I love him, it gets to me because I would never have thought he gave a shit one way or the other. So I go over to him and hug him, and that weepy shit starts kicking up again.

What can I tell you?

It was one of those moments.

All because I sat in my hole and wrote this little story.

Next thing you know, I'm up at the Street New office with it, asking if anybody'd be interested in putting it in the paper, and -- sure enough -- damned if I don't open up the next issue and there's my story!

That's how I got my first thing published in Street News.

I think I called it "No Place to Call Home."

A couple of months later I had a regular column in there. And -- one thing after the other -- I had the writing bug.

After that there were four things I did every day. Hustle up money, cop some stuff, beam up, and write. And in the end I wound up dropping the other three.

Copyright © 1998 by Caverly Singer

Read More Show Less

Reading Group Guide

Reading Group Guide

The suggested questions are intended to help your reading group find new and interesting angles and topics for discussion for Lee Stringer's Grand Central Winter: Stories from the Street. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.

DISCUSSION QUESTIONS

  1. Lee Stringer has said, "I wanted to put flesh and bones on what they call the issue of homelessness, but not write about it as an issue. I wanted a book about the '80s, when a lot of people were feeling a deepening sense of despair, not just the poor." How does Grand Central Winter achieve these goals?
  2. Instead of simply telling readers about life on the street, Stringer shows readers life on the street. What techniques does he use to do this?
  3. What is the style, or the voice, in which Lee Stringer writes each of the pieces in Grand Central Winter? Do you find his perspective realistic or stylized? Angry or dispassionate? Sentimental or clear-eyed? Explain.
  4. Describe the nature of Stringer's politics, particularly in light of the "Dear Homey" letters in Chapter 15.
  5. Alongside the expected images of violence and squalor — images which wholly dominate media depictions of homelessness — Grand Central Winter breaks refreshing new ground by also putting individual faces on the denizens of the street, and by observing various acts of kindness, humor, and even heroism. How did this book challenge your preconceptions about homeless people? How did it alter or reinforce any of your convictions about social policy and reform?
  6. Stringer has been driven by a pair of powerful addictions — to crack cocaine, and to writing. How are these twin obsessions linked, and how do they shape and color the odyssey of Grand Central Winter?
  7. Beginning with the preface, the book characterizes the 1980s as a time of extreme economic disparity as well as racial and social estrangement. Grand Central Winter digs beneath the surface of the storied Reagan era to reveal how the other half of America lived at the time. How do you look at the 1980s now, and what was your own experience during that decade?
  8. "In New York City," writes Stringer, "there are three centers for people living on the street: Central Park, Grand Central Terminal, and Central Booking." In what ways have Stringer's portraits of these settings — in addition to Hell's Kitchen, Times Square, and the Upper East and West Sides — changed your conceptions of New York City? How does Stringer's New York compare to Woody Allen's New York? To Spike Lee's?
  9. Which story in Stringer's memoir affected or surprised you the most? Why?

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Customer Reviews

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted August 19, 2008

    Grand Central Winter: Stories From the Street

    In working with the homeless many of whom suffer the horrors of addiction it is hard to find stories to relate other than common 'war stories'. In Grand Central Winter Mr. Stringer takes us on an adventure from sleeping in the bowls of New York City's Grand Central Station to a triumph of spirit over the soul. I know his story to be genuine and from the heart because I have suffered and surmounted similar circumstances. I am grateful to have had the privilege to read Grand Central Winter. I highly recommend this book to anyone whose soul has cried out into the night. RJ Beaumont Executive Vice President Christian Charity Fund NEPA Wilkes-Barre, PA

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 19, 2008

    Grand Central Winter: Stories From the Street

    In working with the homeless many of whom suffer the horrors of addiction it is hard to find stories to relate other than common 'war stories'. In Grand Central Winter Mr.Stringer takes us on an adventure from sleeping in the bowls of New York City's Grand Central Station to a triumph of spirit over the soul. I know his story to be genuine and from the heart because I have suffered and surmounted similar circumstances. I am grateful to have had the privilege to read Grand Central Winter. I highly recommend this book to anyone whoes soul has cried out into the night. RJ Beaumont Executive Vice President Chhristian Charity Fund NEPA Wilkes-Barre, PA

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 29, 2011

    No text was provided for this review.

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