Polly Dugan

Polly Dugan

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Polly Dugan
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Carolyn had gotten utterly lost in the agency's labyrinthine building, where a few non-profits leased space. Palmer got her to the organization she wanted, then saw her again when she was leaving.  "Did I thank you?" she'd said. "You need a beacon to navigate this joint." "I can get you out of here too," Palmer said. "How about having a drink with the beacon?" --from "Handfuls"

Carolyn had gotten utterly lost in the agency's labyrinthine building, where a few non-profits leased space. Palmer got her to the organization she wanted, then saw her again when she was leaving. "Did I thank you?" she'd said. "You need a beacon to navigate this joint." "I can get you out of here too," Palmer said. "How about having a drink with the beacon?" --from "Handfuls"

As more cats come in, the techs stack the crates as many as five high. The rows and columns of carriers start to resemble walls a child might build with blocks. Except each box has whiskers and wide eyes--one face or even four or five--peeking out its front door. --from "KItten Season"

As more cats come in, the techs stack the crates as many as five high. The rows and columns of carriers start to resemble walls a child might build with blocks. Except each box has whiskers and wide eyes--one face or even four or five--peeking out its front door. --from "KItten Season"

Peter excuses himself. Already he needs a break and literal distance from the three women. He feels estranged in what was once his second home. The apartment is vast--Graham and Joan have been here for twenty-five years--and the walk through it is a kind of homecoming for him a peculiar homecoming following a painful exile. --from "Legacies"

Peter excuses himself. Already he needs a break and literal distance from the three women. He feels estranged in what was once his second home. The apartment is vast--Graham and Joan have been here for twenty-five years--and the walk through it is a kind of homecoming for him a peculiar homecoming following a painful exile. --from "Legacies"

Selecting the caskets had furnished the most torture. You shouldn't be able to pick up a coffin for a person with your own two hands. You needed to call on eight strong men, or at least six. Palmer wasn't sure he and Carolyn would make it through the task, but what had held them up had been the funeral director, Matt MacKay, and his gentle comfort and sympathy, devoid of pity. --from "Handfuls"

Selecting the caskets had furnished the most torture. You shouldn't be able to pick up a coffin for a person with your own two hands. You needed to call on eight strong men, or at least six. Palmer wasn't sure he and Carolyn would make it through the task, but what had held them up had been the funeral director, Matt MacKay, and his gentle comfort and sympathy, devoid of pity. --from "Handfuls"

That night Edie picks her up and they drive out to the country, in the opposite direction from Floss's farm, to a barn where the float is under construction. Inside, it's like a factory. --from "So Much a Part of You"

That night Edie picks her up and they drive out to the country, in the opposite direction from Floss's farm, to a barn where the float is under construction.

The hedges they pass have not been trimmed, and they narrow the sidewalk, so Anna follows Edie until the hedges end. Then she stops and listens to the lecture about her own life. --from "So Much a Part of You"

The hedges they pass have not been trimmed, and they narrow the sidewalk, so Anna follows Edie until the hedges end. Then she stops and listens to the lecture about her own life. --from "So Much a Part of You"

The afternoon of the preference parties, Audrey puts on the dress she and her mother shopped for at Talbots over the Christmas break. --from "Blackball"

The afternoon of the preference parties, Audrey puts on the dress she and her mother shopped for at Talbots over the Christmas break. --from "Blackball"

Once they are untethered from land, over the water and crossing the Broadway Bridge, Palmer's words break the silence inside the car. "I think we're going in different directions."-- from "Handfuls"

Once they are untethered from land, over the water and crossing the Broadway Bridge, Palmer's words break the silence inside the car. "I think we're going in different directions."-- from "Handfuls"

Peter and Anna ride the R until they have to change for the 6. They emerge from the subway, walk three long blocks, and they've arrived. The doorman is attentive and holding the door for them.--from "Legacies"

Peter and Anna ride the R until they have to change for the They emerge from the subway, walk three long blocks, and they've arrived. The doorman is attentive and holding the door for them.--from "Legacies"

On Tuesday Anna and Peter take the train into Manhattan. The pockets of people at the funeral mass at Saint Jean Baptiste are dense and multigenerational. --from "Legacies"

On Tuesday Anna and Peter take the train into Manhattan. The pockets of people at the funeral mass at Saint Jean Baptiste are dense and multigenerational. --from "Legacies"