Each view has a history. You sense you're where others have been. - Amit Chaudhuri

At the conclusion of Hollywood disaster movies and epics, time moves backward, piecing together like a jigsaw the elements that had come apart. The Titanic resumes its journey; Russell Crowe is reunited with his murdered wife and son. It's not a happy ending; it's a convention created for the purposes of an impossible sense of uplift at the end of death and tragedy: the happy beginning. Technology makes Hades unnecessary.

'Internationalism' is a way of reading, and not a demography of readership ...

Calcutta, for me, was a particular idea of the modern city, and I found it in many forms, works, and genres. ... by 'modernity' I have in mind something that was never new. True modernity was born with the aura of inherited decay and life. ... if you look at paintings and photographs, and see old films of the city, you notice that these walls and buildings were never new – that Calcutta was born to look more or less as I saw it as a child. I'm not referring here to an air of timelessness; the patina that gave to Calcutta's alleys, doorways, and houses their continuity and disposition is very different from the eternity that defines mausoleums and monuments. It's this quality I'm trying to get at when I speak of modernity. ... modernity in the nineteenth century is indistinguishable from nature; perhaps it is nature – in some ways, the culvert, which has emerged from the rock, seems more of its place than the mountain itself.