Amit Chaudhuri Quotes

Trenches and mounds of dust everywhere give the city a strange bombed-out look.

Calcutta is like a work of modern art that neither makes sense nor has utility, but exists for some esoteric aesthetic reason.

Her hair is troublesome and curly ... It falls in long, black strands, but each strand has a gentle, complicated undulation travelling through it, like a mild electric shock or a thrill, hat gives it a life of its own; it is visually analogous to a tremolo on a musical note.

Years ago, my mother and I fell in love with Busybee’s voice, its calm, even tone, and a smile which was always audible in the language. My father, meanwhile, is clipping his nails fastidiously, letting them fall on to an old, spread-out copy of the Times of India, till he sneezes explosively, as he customarily does, sending the crescent-shaped nail-clippings flying into the universe.

While reading the Times of India each morning, my father spares a minute for the cartoon by R. K. Laxman. While my mother is, like a magician, making untidy sheets disappear in the bedroom and producing fresh towels in the bathroom, or braving bad weather in the kitchen, my father, in the extraordinary Chinese calm of the drawing-room, is dmiring the cartoon by R. K. Laxman, and, if my mother happens to be there, unselfishly sharing it with her. She, as expected, misunderstands it completely, laughing not at the joke but at the expressions on the faces of the caricatures, and at the hilarious fact that they talk to each other like human beings.

At the base of her ankle is a deep, ugly scar she got when a car ran over her foot when she was six years old. That was in a small town in Bangladesh. Thus, even today, she hesitates superstitiously before crossing the road, and is painfully shy of walking distances. Her fears make her laughable. The scar is printed on her skin like a radiant star.

The armchairs, with their flat, sedentary cushions, were designed for society, but the bed was made for solitude. It had a straitened and measured narrowness, an austere frame made to contain the curves of a single body, to circumscribe it, carry it, give it a place, and when I slept at night, I possessed it entirely.

... my mother will settle on the rug and unclip the bellows, pulling and pushing them with a mild aquatic motion with her left hand, the fingers of the right hand flowering upon the keys, the wedding-bangle suspended around her wrist. Each time the bellows are pushed, the round holes on the back open and close like eyes. Without the body music is not possible; it provides the hollow space for resonance as does the curved wooden box of the violin or the round urn of the sitar. At the moment of singing, breath tips in the swelling diaphragm as water does in a pitcher. The voice-box itself is a microscopic harp, its cords tautening and relaxing with each inflection.

Water begins to boil in the kettle; it starts as a private, secluded sound, pure as rain, and grows to a steady, solipsistic bubbling.

When afternoon came to Vidyasagar Road, wet clothes ... hung from a clothesline which stretched from one side to another on the veranda of the first floor. The line, which had not been tightly drawn anyway, sagged with the pressure of the heavy wet clothes that dripped, from sleeves and trouser-ends, a curious grey water on to the floor, and, especially in the middle, one noticed the line curved downwards, as if a smile were forming.

Tinkling sounds came from outside, of hammering and chiselling, as labourers worked like bees, and seven- or eight-storeyed buildings rose in the place of ancestral mansions that had been razed cruelly to the ground, climbing up like ladders through screens of dust. An old mansion opposite the veranda had been repainted white, to its last banister and pillar, so that it looked like a set of new teeth. ... In another sphere altogether, birds took off from a tree or parapet, or the roof of some rich Marwari’s house, startling and speckling the neutral sky. Not a moment was still or like another moment. In a window in a servants’ outhouse attached to a mansion – both the master’s house and the servants’ lost in a bond now anachronistic and buried – a light shone even at this time of the day, beacon of winter.

There was a special purpose in these throws, for the readers of Ganashakti were fellow-travellers of the Communist party, they believed in its necessity and vision, and an inexplicable bond was formed between the distributor, whose every aim with the bundle seemed to be a salute, and the silent house.

The city was still .... Soon the machinery would start working again, not out of any sense of purpose, but like a watch that is wound daily by someone’s hand. Almost without any choice in the matter, people would embark upon the minute frustrations and satisfactions of their daily lives. It was in this moment of postponement that the azaan was heard, neither announcing the day nor keeping it a secret.

There was a gulmohar tree in the lane, the flaming orange flowers erupting from within, and banyan trees, private and removed as ancient pilgrims.

... the cleverest way of battling the heat was not moving.