This is one of those bracing, uncompromising New York February days, when the icy wind bites between the weave of your clothes; the chill a presage of the snowstorm that will, in fact, hit the city the following day. In such conditions, the actress Emily Mortimer is a real trooper, posing on a balcony of the Chelsea Hotel in an inadequate, if cute, fluffy coat, so that our photographer can capture her in front of the iconic establishment's neon sign. There isn't a hint of complaint or impatience. James, the photographer, tries to take her mind off the cold with an excited commentary on the hotel, in particular one of the rooms we've rented for the shoot. I grimace, wondering whether Mortimer really wants to know this. But, having interviewed her before, I should know better; for she is of that certain kind of English, public school-educated middle-class that has a wilfully, wickedly rude edge to its good manners. Two hours later, she will be excitedly telling me about her early appearance in the television show Silent Witness, in which "I had to give a guy a blowjob for a gram of cocaine.
Watch and have fun!
In the opening story of Posing Nude for the Saints, the daughter of a prostitute falls in love with a Mennonite and finds herself torn between two worlds. The title story follows a divorcee who responds to a Craigslist ad for boudoir photography and finds more than what she bargained for. In ""Food for the Gods,"" a widow shops for a last supper for herself and her unborn child; in ""Passion Play,"" a cynical lawyer has a chance to save a life. The central character in ""Almost a Wolf"" does quiet battle with a rural pastor who's made a critical mistake.
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