5
" I love London. I love everything about it. I love its palaces and its museums and its galleries, sure. But also, I love its filth, and damp, and stink. Okay, well, I don’t mean love, exactly. But I don’t mind it. Not any more. Not now I’m used to it. You don’t mind anything once you’re used to it. Not the graffiti you find on your door the week after you painted over it, or the chicken bones and cider cans you have to move before you can sit down for your damp and muddy picnic. Not the everchanging fast food joints – AbraKebabra to Pizza the Action to Really Fried Chicken – and all on a high street that despite its three new names a week never seems to look any different. Its tawdriness can be comforting, its wilfulness inspiring. It’s the London I see every day. I mean, tourists: they see the Dorchester. They see Harrods, and they see men in bearskins and Carnaby Street. They very rarely see the Happy Shopper on the Mile End Road, or a drab Peckham disco. They head for Buckingham Palace, and see waving above it the red, white and blue, while the rest of us order dansak from the Tandoori Palace, and see Simply Red, White Lightning, and Duncan from Blue. But we should be proud of that, too. Or, at least, get used to it. "
― Danny Wallace , Charlotte Street
8
" It's the what if? The what then? And we know that if we go for it, if we risk it, we immediately stand to lose it. But weirdly, some part of us believes the feeling is two-way, because it must be; it's too special not to be. We believe that something's been shared, even if the evidence we have is ... what? A look that lasted a breath longer then we're used to? A second glance, when the glance could easily have been to check whether there are any cabs coming, or whether the jacket we're wearing that's caught their eyes would look good on their boyfriend, or why it is we seem to be staring at them.
I saw you. You don't use overhead handles on the train. Hoped it would jolt and you would fall to me. But no.
I smiled. These small moments, never said out loud, as formed and perfect as sweet little haikus, romance and longing carved out in the dust of a grubby city. "
― Danny Wallace , Charlotte Street
15
" Why doesn't he say something to her?
But I knew why. Because there's the creeping fear that these moments don't actually exist outside your own head. No eyes meet across a crowded room, no two people thing precisely the same thing, and if only one person actually has that moment, is it even really a moment at all?
We know this, so we say nothing. We avert our eyes, or pretend to be looking for change, we hope the other person will take the initiative, because we don't want to risk losing this feeling of excitement and possibilities and lust. It's too perfect. That little second of hope is worth something, possibly for ever, as we lie on out deathbeds, surrounded by our children, and our grandchildren and our great-grandchildren, and we can't help but quickly give on last selfish, dying thought to what could have happened if we'd actually said hello to that girl in the Uggs selling CDs outside Nando's seventy-four years earlier. "
― Danny Wallace , Charlotte Street
18
" Listen, um ... in case you even feel like saying hello ...' I said, and I handed something else to her
My disposable camera. Twelve moments of my own.
She took it, and smiled like she understood, then looked at me once more. It was a look of recognition, something slowly dawning on her, my face meaning more to her then it had.
'I knew I knew you,' she said.
'I think I knew I knew you, too," I said. "
― Danny Wallace , Charlotte Street
