From Second Avenue to 242nd Street, spanning mahjongg parlors and halfway houses, "Bruna Mori creates a lyrical alchemy of the debris and mythology of New Amsterdam (Brenda Coultas)." "Mori rides the New York City subway to its terminus, and in so doing reminds us that those oft forgotten souls who inhabit urban outreaches are adamant bridges between their old world and new (Martine Bellen)." The book honors (and strays from) the Situationist theory of the dérive, or "drift"--where one or more persons during a certain period let themselves be attracted to the terrain, détourning one's steps on noncapitalized time. Through drift, Mori "found" collaborator Matthew Kinney painting the skyline in sumi-ink on a torn-edged canvas--a carryover from his skate-punk days when he regularly made impromptu washes on cardboard kept in his backpack. Not long after, they decided to combine their work.