The actor's life offers, on a daily basis, the simulacrum of love; a mask can be satisfied, or at least consoled, by the echo of what it seeks. - Salman Rushdie

Once upon a time there was a mother who, in order to become a mother, had agreed to change her name; who set herself the task of falling in love with her husband bit-by-bit, but who could n ever manage to love one part, the part, curiously enough, which made possible her motherhood; whose feet were hobbled by verrucas and whose shoulders were stooped beneath the accumulating guilts of the world; whose husband's unlovable organ failed to recover from the effects of a freeze; and who, like her husband, finally succumbed to the mysteries of telephones, spending long minutes listening to the words of wrong-number callers . . . shortly after my tenth birthday (when I had recovered from the fever which has recently returned to plague me after an interval of nearly twenty-one years), Amina Sinai resumed her recent practice of leaving suddenly, and always immediately after a wrong number, on urgent shopping trips.

What you were is forever who you are.

It may be that writers in my position,exiles, or emigrants or expatriates, are haunted by some sense of loss, some urge to reclaim, to look back, even at the risk of being mutilated into pillars of salt. But if we do look back, we must do in the knowledge - which gives rise to profound uncertainties- that our physical alienation from India almost inevitably means that we will not be capable of reclaiming precisely the thing that was lost, that we will, in short, create fictions, not actual cities or villages, but invisible ones, imaginary homelands, Indias of the mind.