Sublime

“I’m Mrs. Burns-Cooper,” said the woman, “and after this, well, it’s all right this time, because it’s your first time, but after this time always use the back entrance.” There is a pear in my icebox, and one end of rye bread. Except for three Irish potatoes and a cup of flour and the empty Christmas boxes, there is absolutely nothing on my shelf.

Vic is a pointy-faced man of about forty with slicked-back dark hair who looks like a weaselly sort of hood, or maybe just a weasel, with his small eyes and vicious smile. Before landing here at the DMV, Vic worked as a bouncer, a roadie, a security guard, a fitness trainer, an auditor, and a head cook—name a job where you got to intimidate people

She was Melissa’s oldest, boldest friend. They had gone to the same primary school. Hazel worked in advertising. She had a wide and glamorous smile behind which was an oft-foul tongue, and long, bouncing, half-French, half-Ghanaian curls falling down her back, the most beautiful, the most envied of their schoolgirl pack, the one the boys always wen

A moment later, wearing a corn-colored jacket over green velour pants and an orange-and-green-plaid tie, Jack Ashkenazy came in, followed by George Deasey, who, as ever, appeared to be in a testy mood. He was, as Anapol had mentioned, a graduate of Columbia, class of 1912. Over the course of his career, George Debevoise Deasey had published symboli

Girl Talk, produced by Andy Warhol.