We have no means of understanding a fraction of the thought and science and philosophy and law that have gone to make that outside world. We simply a… - V. S. Naipaul

It had been hard enough to drive past the area. It was harder to imagine what it was like living there. Yet people lived with the stench and the terrible air, and had careers there. Even lawyers lived there, I was told. Was the smell of excrement only on the periphery, from the iridescent black lake? No; that stench went right through Dharavi. Even more astonishing was to read in a Bombay magazine an article about Papu's suburb of Sion, in which the slum of Dharavi was written about almost as a bohemian feature of the place, something that added spice to humdrum middle-class life. Bombay clearly innoculated its residents in some way.

I had another glimpse of Dharavi some time later, when I was going in a taxi to the domestic airport at Santa Cruz. The taxi-driver - a Muslim from Hyderabad, full of self-respect, nervous about living in Bombay, fearful of sinking, planning to go back home soon, and in the meantime nervously particular about his car and his clothes - the taxi-driver showed the apartment blocks on one side of the airport road where hutment dwellers had been rehoused. In the other direction he showed the marsh on which Dharavi had grown and, away in the distance, the low black line of the famous slum.

Seen from here, Dharavi looked artificial, unnecessary even in Bombay: allowed to exist because, as people said, it was a vote-bank, and hate-bank, something to be drawn upon by many people. All the conflicting currents of Bombay flowed there as well; all the new particularities were heightened there. And yet people lived there, subject to this extra exploitation, because in Bombay, once you had a place to stay, you could make money.

What matters in the end in literature, what is always there, is the truly good. And — though played out forms can throw up miraculous sports like The Importance of Being Earnest or Decline and Fall — what is good is always what is new, in both form and content. What is good forgets whatever models it might have had, and is unexpected; we have to catch it on the wing.

Before comfort had been squeezed out of the hard land, like blood out of stone.