Grafton Street Quotes

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All that night, after I shut the door and left Number 16 empty, I went looking for the parts of my city that have lasted. I walked down streets that got their names in the Middle Ages: Copper Alley, Fishamble Street, Blackpitts where the plague dead were buried. I looked for cobblestones worn smooth and iron railings gone thin with rust. I ran my hand over the cool stone of Trinity’s walls and I crossed the spot where nine hundred years ago the town got its water from Patrick’s Well; the street sign still tells you so, hidden in the Irish that no one ever reads. I paid no attention to the shoddy new apartment blocks and the neon signs, the sick illusions ready to fall into brown mush like rotten fruit. They’re nothing; they’re not real. In a hundred years they’ll be gone, replaced and forgotten. This is the truth of bombed-out ruins: hit a city hard enough and the cheap arrogant veneer will crumble faster than you can snap your fingers; it’s the old stuff, the stuff that’s endured, that might just keep enduring. I tilted my head up to see the delicate, ornate columns and balustrades above Grafton Street’s chain stores and fast-food joints. I leaned my arms on the Ha’penny Bridge where people used to pay half a penny to cross the Liffey, I looked out at the Custom House and the shifting streams of lights and the steady dark roll of the river under the falling snow, and I hoped to God that somehow or other, before it was too late, we would all find our way back home.
Tana French (Faithful Place (Dublin Murder Squad #3))
Grafton, Massachusetts, in early 1842, while working solo, Douglass was met by mob hostility in addition to an unwelcoming clergy. So he went to a hotel and borrowed a “dinner-bell, with which in hand I passed through the principal streets,” he recalled, “ringing the bell and crying out, ‘Notice! Frederick Douglass, recently a slave, will lecture on American Slavery, on Grafton Common, this evening at 7 o’clock.”13
David W. Blight (Frederick Douglass: Prophet of Freedom)
Idly, I wondered what it'd be like to have a city street named after me. Kinsey Avenue. Kinsey Road. Not bad. I figured I could learn to live with the tribute if it came my way.
Sue Grafton (C is for Corpse (Kinsey Millhone, #3))
Joseph worked in the men’s clothing department of a big store in Grafton Street.
Geraldine O'Neill (A Letter From America)
I don’t. I take it he was homeless.” Aaron shrugged. “That’s my guess. A group of them have been congregating in that grassy patch across the street from the Santa Teresa Inn. Before that, they camped in the park adjacent to the municipal swimming pool.” “Who called it in?” He took off his glasses and polished
Sue Grafton (W is for Wasted (Kinsey Millhone #23))
Tussy’s announcement that she was double-brained was coincident with the time of her first conscious memory:   My earliest recollection . . . is when I was about three years old and Mohr . . . was carrying me on his shoulders round our small garden in Grafton Terrace, and putting convolvulus flowers in my brown curls. Mohr was admittedly a splendid horse.29   Putting Marx in harness was a family tradition. Tussy ‘heard tell’ that at Dean Street, Jenny, Laura and her dead brother Edgar would yoke Mohr to chairs which the three of them mounted as their carriage, and make him pull. As the youngest and a later arrival, Tussy got her own mount and his dedicated attention:   Personally – perhaps because I had no sisters of my own age – I preferred Mohr as a riding-horse. Seated on his shoulder holding tight by his great mane of hair, then black, but with a hint of grey, I have had magnificent rides round our little garden and over the fields . . . that surrounded our house at Grafton Terrace.30   Severe whooping cough in the winter of 1858 gave Tussy opportunity to assume dominion of the household: ‘The whole family became my bond slaves and I have heard that as usual in slavery there was general demoralisation.
Rachel Holmes (Eleanor Marx: A Life)
...another city, existing alongside the glossy one I knew. This city was composed of dead ends and blind alleys and back streets full of garbage bags, and had its own cast of inhabitants, who lived in a permanent stench of urine and decay and had to be nudged to life with a toe before one could question them as to Droyd’s whereabouts. Sometimes they were too intoxicated to speak; sometimes they tried to make up stories in the hope of getting some change. Sometimes they didn’t respond to the toe, and we would have to roll them over and squint at their grubby faces till we were sure they weren’t him. The sheer volume of these wretched people was incredible. And as we made our way back down Grafton Street, I realized that they were here too, had been here all along, living their heroiny lives: slumped by cash machines, lurking in suspicious-looking groups around dustbins, making lunatic speeches to office workers who scurried by pretending not to hear, or simply ghosting wall-eyed through the crowd, with beakers from McDonald’s and misspelled cardboard signs. It was slow, painful work. As the day dragged on, and yet another pile of garbage bags disclosed yet another human form, it started to seem as if there could hardly be anyone left who hadn’t, in some fashion, fallen through the cracks; and the city began to take on the appearance of a newspaper photo, when you look at it close up and at some unannounced point the image gives way, leaving you with a collection of unsignifying dots in a vast empty space; so much space that you forget there had ever been a picture at all.
Paul Murray
believe I lasted three Sundays before my aunt was asked to take me down the street to the Presbyterians.
Sue Grafton (D Is For Deadbeat (Kinsey Millhone, #4))