Curled deep in his burrow in a Grand Central Station crawlspace, Lee Stringer--ragged, homeless, addicted to crack--is digging around for something he can use to clean his crack pipe. Finally his fingers latch around "some sort of smooth straight stick": a pencil. In the days that follow, he carries it with him wherever he goes. "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." And so that's what he does. "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."
Grand Central Winter is the tale of Stringer's twin addictions--writing and crack--and the lengths he went to in order to satisfy each. But Stringer dwells on neither his descent into hell nor the long journey back. Instead, he paints a nuanced portrait of street life itself, its pleasures as well as its terrors. Hustlers, hookers, dealers and addicts come to life in a series of vignettes that are tough, unsentimental, but compassionate to the core. There's honest rage to be found in Grand Central Winter, but precious little political posturing. "Policy is never the real issue," he writes in "Dear Homey," his advice column for New York's homeless paper, Street News. "The real issue is the hearts of men."
--This text refers to an out of print or unavailable edition of this title.