Jhumpa Lahiri Quotes

"You got cats at home?"
"No cats. Only a husband."

I have only the desire. Yet ultimately a desire is nothing but a crazy need.

That year, and every year, it seemed, we began by studying the Revolutionary War. We were taken in school buses on field trips to visit Plymouth Rock, and to walk the Freedom Trail, and to climb to the top of the Bunker Hill Monument. We made dioramas out of colored construction paper depicting George Washington crossing the choppy waters of the Delaware River, and we made puppets of King George wearing white tights and a black bow in his hair. During tests we were given blank maps of the thirteen colonies, and asked to fill in names, dates, capitals. I could do it with my eyes closed.

That's the thing about books. They let you travel without moving your feet.

The first sentence of a book is a handshake, perhaps an embrace. Style and personality are irrelevant. They can be formal or casual. They can be tall or short or fat or thin. They can obey the rules or break them. But they need to contain a charge. A live current, which shocks and illuminates.

It's a sort of literary act of survival. I don't have many words to express myself — rather, the opposite. I'm aware of a state of deprivation. And yet, at the same time, I feel free, light. I rediscover the reason that I write, the joy as well as the need.

The thought of Christmas overwhelms him. He no longer looks forward to the holiday; he wants only to be on the other side of the season. His impatience makes him feel that he is incontrovertibly, finally, an adult.

You always wanted calm seas. You used to claim you got along with everyone, that you kept to yourself, that you needed nothing from no one. But one can’t ask the sea to never swell into rage. And you asked a great deal from me.

(What immigrant fiction has been the most important to you, both personally and as an inspiration for your own writing?) I don’t know what to make of the term “immigrant fiction.” Writers have always tended to write about the worlds they come from. And it just so happens that many writers originate from different parts of the world than the ones they end up living in, either by choice or by necessity or by circumstance, and therefore, write about those experiences. If certain books are to be termed immigrant fiction, what do we call the rest? Native fiction? Puritan fiction? This distinction doesn’t agree with me. Given the history of the United States, all American fiction could be classified as immigrant fiction. Hawthorne writes about immigrants. So does Willa Cather. From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme.

Most people trusted in the future, assuming that their preferred version of it would unfold.

In the days that follow, he begins to remember things about Moushumi, images that come to him without warning while he is sitting at his desk at work, or during a meeting, or drifting off to sleep, or standing in the mornings under the shower. They are scenes he has carried within him, buried but intact, scenes he has never thought about or had reason to conjure up until now.

The sky was different, without color, taut and unforgiving. But the water was the most unforgiving thing, nearly black at times, cold enough, I knew, to kill me, violent enough to break me apart. The waves were immense, battering rocky beaches without sand. The farther I went, the more desolate it became, more than any place I'd been, but for this very reason the landscape drew me, claimed me as nothing had in a long time.

The best sentences orient us, like stars in the sky, like landmarks on a trail. They remain the test, whether or not to read something. The most compelling narrative, expressed in sentences with which I have no chemical reaction, or an adverse one, leaves me cold. In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil. The first sentence of a book is a handshake, perhaps an embrace. Style and personality are irrelevant. They can be formal or casual. They can be tall or short or fat or thin. They can obey the rules or break them. But they need to contain a charge. A live current, which shocks and illuminates.

Lying in his parents' house, in the middle of the night, she told him the whole story, about meeting Dimitri on a bus, finding his resume in the bin. She confessed that Dimitri had gone with her to Palm Beach. One by one he stored the pieces of information in his mind, unwelcome, unforgivable. And for the first time in his life, another man's name upset Gogol more than his own.

Like pregnancy, being a foreigner, Ashima believes, is something that elicits the same curiosity of from strangers, the same combination of pity and respect.