Novelists From India

"Well.. for so many years, people—let's say in India—have been fighting this very idea of progress, of infinite growth, of this form of development which has resulted now in what we call jobless growth, what everybody knows to be the case. You have nine individuals who own the same amount of wealth as the bottom 500 million. This is what infinite growth has led to—infinite growth for some people. So this idea that you will never question your idea of progress, you will never question the comfort of the Global North. And by Global North—now and the elite South, and the downtrodden North, you know? Years ago, I wrote an essay which ended by saying, “Can we leave the bauxite in the mountain?”...Can you look at the mountain and not just calculate its mineral worth? Can you understand that a mountain has much more than just the value of the minerals in it? And there is—it's a civilizational issue, right? That for people who have lived there, have known that mountain, they know it sustains not just the people. It's not just a question of who is getting displaced. But how does, for example, that bauxite mountain—which stores water and waters the plains all around it, which grows the food, which sustains a whole population—but it's meant for a corporation that is given the mining contract. It's just, how much does that bauxite cost? Can we store it and trade it on the futures market?"

"Can the hungry go on a hunger strike? Non-violence is a piece of theatre. You need an audience. What can you do when you have no audience? People have the right to resist annihilation."

"Where there is oppression, it will always be challenged by those of us who will challenge it with greater intensity, you know? So that's why I don't believe that there can ever be peace without justice, you know? The two go together. And there cannot be peace in the world with full-spectrum dominance or, you know, nuclear warfare or any of those things. They won't help, because always there will be people who demand dignity, who demand justice, who demand their rights."

"It’s not just the one million soldiers on the border who are living on hair-trigger alert. It’s all of us. That’s what nuclear bombs do. Whether they’re used or not, they violate everything that is humane. They alter the meaning of life itself. Why do we tolerate them? Why do we tolerate these men who use nuclear weapons to blackmail the entire human race?"

"When India and Pakistan conducted their nuclear tests in 1998, even those of us who condemned them, balked at the hypocrisy of Western nuclear powers. Implicit in their denunciation of the tests was the notion that Blacks cannot be trusted with the Bomb. Now we are presented with the spectacle of our governments competing to confirm that belief."

"In Kashmir the only thing to do with nightmares was to embrace them like old friends and manage them like old enemies. (p358)"

"In battle...enemies can't break your spirit, only friends can. (p273)"

"Sleep came to them, quick and easy, like money to millionaires. (p261)"

"Who can know from the word goodbye what kind of parting is in store for us. (p260)"

"It was herself she was exhausted by. She had lost the ability to keep her discrete worlds discrete—a skill that many consider to be the cornerstone of sanity. The traffic inside her head seemed to have stopped believing in traffic lights. The result was incessant noise, a few bad crashes and eventually gridlock. (p235)"

"People—communities, castes, races and even countries—carry their tragic histories and their misfortunes around like trophies, or like stock, to be bought and sold on the open market. (p198)"

""...India belongs not to Punjabis, Biharis, Gujaratis, Madrasis, Muslims, Sikhs, Hindus, Christians, but to those beautiful creatures—peacocks, elephants, tigers, bears…" (p172)"

"Even in the most uneventful of our lives, we are called upon to choose our battles (p165)"

"The moment I saw her, a part of me walked out of my body and wrapped itself around her. And there it still remains. (p156)"

"maybe that’s what life is, or ends up being most of the time: a rehearsal for a performance that never eventually materializes. (p155)"

"Normality in our part of the world is a bit like a boiled egg: its humdrum surface conceals at its heart a yolk of egregious violence. It is our constant anxiety about that violence, our memory of its past labours and our dread of its future manifestations, that lays down the rules for how a people as complex and as diverse as we continue to coexist – continue to live together, tolerate each other and, from time to time, murder one another. As long as the centre holds, as long as the yolk doesn’t run, we’ll be fine. In moments of crisis it helps to take the long view. (p154-5)"

"The TV channels never ran out of sponsorship for their live telecasts of despair. They never ran out of despair. (p103)"

"she had learned from experience that Need was a warehouse that could accommodate a considerable amount of cruelty. (p10)"

"The United States supported Saddam Hussein and made sure that he ruled with an iron fist for all those years. Then they used the sanctions to break the back of civil society. Then they made Iraq disarm. Then they attacked Iraq. And now they’ve taken over all its assets. p. 126-127"

"Osama Bin Laden and George Bush were both terrorists. They were both building international networks that perpetrate terror and devastate people’s lives. Bush with the Pentagon, the WTO, the IMF and the World Bank. Bin Laden with Al-Qaeda. The difference is that nobody elected Bin Laden..."

"These interviews were a flexible way of thinking aloud, of exploring idea, personal As well as political, without having to nail them down with an artificially structured cohesion and fit them into an unassailable grand thesis. This book was born and raised in that amorphous, luminal space – somewhere between the spoken and the written word. (Preface)"

"Modern democracies have been around long enough for neoliberal capitalists to learn how to subvert them. They have mastered the technique of infiltrating the instruments of democracy—the 'independent' judiciary, the 'free' press, the parliament—and moulding them to their purpose."

"Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing."

"While, legally and constitutionally, speech may be free, the space in which that freedom can be exercised has been snatched from us and auctioned to the highest bidders."

"Remember this: We be many and they be few. They need us more than we need them."

"The corporate revolution will collapse if we refuse to buy what they are selling – their ideas, their version of history, their wars, their weapons, their notion of inevitability."

"Our strategy should be not only to confront empire, but to lay siege to it. To deprive it of oxygen. To shame it. To mock it. With our art, our music, our literature, our stubbornness, our joy, our brilliance, our sheer relentlessness – and our ability to tell our own stories. Stories that are different from the ones we’re being brainwashed to believe."

"What can we do? We can hone our memory, we can learn from our history. We can continue to build public opinion until it becomes a deafening roar. We can turn the war on Iraq into a fishbowl of the U.S. government's excesses. We can expose George Bush and Tony Blair-and their allies for the cowardly baby killers, water poisoners, and pusillanimous long-distance bombers that they are."

"There are many Americans who would be mortified to be associated with their government's policies. The most scholarly, scathing, incisive, hilarious critiques of the hypocrisy and the contradictions in U.S. government policy come from American citizens. When the rest of the world wants to know what the U.S. government is up to, we turn to Noam Chomsky, Edward Said, Howard Zinn, Ed Herman, Amy Goodman, Michael Albert, Chalmers Johnson , William Blum, and Anthony Arnove to tell us what's really going on."

"The U.S. empire rests on a grisly foundation: the massacre of millions of indigenous people, the stealing of their lands, and following this, the kidnapping and en- slavement of millions of black people from Africa to work that land. Thousands died on the seas while they were being shipped like caged cattle between continents. "Stolen from Africa, brought to America"-Bob Marley's "Buffalo Soldier" contains a whole universe of unspeakable sadness."

"He stepped onto the path that led through the swamp to the History House. He left no ripples in the water. No footprints on the shore. He held his mundu spread above his head to dry. The wind lifted it like a sail. He was suddenly happy.Things will get worse, he thought to himself. Then better. He was walking swiftly now, towards the Heart of Darkness. As lonely as a wolf. The God of Loss. The God of Small Things. Naked but for his nail varnish."

"Thirty-one. Not old. Not young. But a viable die-able age."

"He watched her. He took his time. Had he known that he was about to enter a tunnel whose only egress was his own annihilation, would he have turned away? Perhaps. Perhaps not. Who can tell?"

"He is Karna, whom the world has abandoned. Karna Alone. Condemned goods. A prince raised in poverty. Born to die unfairly, unarmed and alone at the hands of his brother. Majestic in his complete despair. Praying on the banks of the Ganga. Stoned out of his skull. Then Kunti appeared. She too was a man, but a man grown soft and womanly, a man with breasts, from doing female parts for years. Her movements were fluid. Full of women. Kunti, too, was stoned. High on the same shared joints. She had come to tell Karna a story. Karna inclined his beautiful head and listened. Red-eyed, Kunti danced for him. She told him of a young woman who had been granted a boon. A secret mantra that she could use to choose a lover from among the gods. Of how, with the imprudence of youth, the woman decided to test it to see if it really worked. How she stood alone in an empty field, turned her face to the heavens and recited the mantra. The words had scarcely left her foolish lips, Kunti said, when Surya, the God of Day, appeared before her. The young woman, bewitched by the beauty of the shimmering young god, gave herself to him. Nine months later she bore him a son. The baby was born sheathed in light, with gold earrings in his ears and a gold breastplate on his chest, engraved with the emblem of the sun. The young mother loved her first-born son deeply, Kunti said, but she was unmarried and couldn't keep him. She put him in a reed basket and cast him away in a river. The child was found downriver by Adhirata, a charioteer. And named Karna. Karna looked up to Kunti. Who was she? Who was my mother? Tell me where she is. Take me to her. Kunti bowed her head. She's here, she said. Standing before you. Karna's elation and anger at the revelation. His dance of confusion and despair. Where were you, he asked her, when I needed you the most? Did you ever hold me in your arms? Did you feed me? Did you ever look for me? Did you wonder where I might be? In reply Kunti took the regal face in her hands, green the face, red the eyes, and kissed him on his brow. Karna shuddered in delight. A warrior reduced to infancy. The ecstasy of that kiss. He dispatched it to the ends of his body. To his toes. His fingertips. His lovely mother's kiss. Did you know how much I missed you? Rahel could see it coursing through his veins, as clearly as an egg travelling down an ostrich's neck. A travelling kiss whose journey was cut short by dismay when Karna realised that his mother had revealed herself to him only to secure the safety of her five other, more beloved sons - the Pandavas - poised on the brink of their epic battle with their one hundred cousins. It is them that Kunti sought to protect by announcing to Karna that she was his mother. She had a promise to extract. She invoked the Love Laws."

"To the Kathakali Man these stories are his children and his childhood. He has grown up within them. They are the house he was raised in, the meadows he played in. They are his windows and his way of seeing. So when he tells a story, he handles it as he would a child of his own. He teases it. He punishes it. He sends it up like a bubble. He wrestles it to the ground and lets it go again. He laughs at it because he loves it. He can fly you across whole worlds in minutes, he can stop for hours to examine a wilting leaf. Or play with a sleeping monkey's tail. He can turn effortlessly from the carnage of war into the felicity of a woman washing her hair in a mountain stream. From the crafty ebullience of a rakshasa with a new idea into a gossipy Malayali with a scandal to spread. From the sensuousness of a woman with a baby at her breast into the seductive mischief of Krishna's smile. He can reveal the nugget of sorrow that happiness contains. The hidden fish of shame in a sea of glory. He tells stories of the gods, but his yarn is spun from the ungodly, human heart. The Kathakali Man is the most beautiful of men. Because his body is his soul. His only instrument. From the age of three he has been planed and polished, pared down, harnessed wholly to the task of story-telling. He has magic in him, this man within the painted mark and swirling skirts. But these days he has become unviable. Unfeasible. Condemned goods. His children deride him. They long to be everything that he is not. He has watched them grow up to become clerks and bus conductors. Class IV non-gazetted officers. With unions of their own. But he himself, left dangling somewhere between heaven and earth, cannot do what they do. He cannot slide down the aisles of buses, counting change and selling tickets. He cannot answer bells that summon him. He cannot stoop behind trays of tea and Marie biscuits. In despair he turns to tourism. He enters the market. He hawks the only thing he owns. The stories that his body can tell. He becomes a Regional Flavour."

"It didn't matter that the story had begun, because kathakali discovered long ago that the secrets of the Great Stories is that they have no secrets. The Great Stories are the ones that you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don't deceive you with thrills and trick endings. They don't surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover's skin. You know how they end, yet you listen as though you don't. In the way that although you know that one day you will die, you live as though you won't. In the Great Stories you know who lives, who dies, who finds love, who doesn't. And yet you want to know again. That is their mystery and their magic."

"'Ammu,' Chacko said, his voice steady and deliberately casual, 'is it at all possible for you to prevent your washed-up cynicism from completely colouring everything?' Silence filled the car like a saturated sponge. Washed-up cut like a knife through a small thing. The sun shone with a shuddering sigh. This was the trouble with families. Like invidious doctors, they knew just where it hurt."

"She wondered what had caused the bald pilgrims to vomit so uniformly, and whether they had vomited together in a single, well-orchestrated heave (to music perhaps, to the rhythm of a bus bhajan), or separately, one at a time."

"Humbling was a nice word, Rahel thought. Humbling along without a care in the world."

"Ammu had an elaborate Calcutta wedding. Later, looking back on the day, Ammu realized that the slightest feverish glitter in her bridegroom's eyes had not been love, or even excitement at the prospect of carnal bliss, but approximately eight large pegs of whiskey. Straight. Neat."

"Kochu Maria watched with her cake-crumbs. The Fond Smiles watched Fondly. Little Girls Playing. Sweet. One beach-coloured. One brown. One Loved. One Loved a Little Less."

"They all crossed into forbidden territory. They all tampered with the laws that lay down who should be loved, and how. And how much."

"Ammu explained to Estha and Rahel that people always loved best what they Identified most with."

"Her own grief grieved her. His devastated her. (On Sophie Mol's death, describing Mamachi's grief, and Chacko's)."

"The secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don't deceive you with thrills and trick endings. They don't surprise you with the unforeseen.. They are as familiar as the house you live in. Or the smell of your lover's skin. You know how they end yet you listen as though you don't. In the way that you know that one day you will die, you live as though you won't. In the Great Stories you know who lives, who dies, who finds love, who doesn't. And yet you want to know again. That is their mystery and their magic. ..."

"In those early amorphous years of life, when memory had only just begun, when life was full of Beginnings and no Ends, and everything was Forever"

"Independence itself came to us as what Gandhi famously called a "wooden loaf'-a notional freedom tainted by the blood of the thousands who died during Partition."

"Kashmir has never been an integral part of India. It is a historical fact. Even the Indian government has accepted this."

"These horrific murders are only a symptom of a deeper malaise. Life is hell for the living too. Whole populations — millions of Dalits, Adivasis, Muslims and Christians — are being forced to live in terror, unsure of when and from where the assault will come."

"The story of the Narmada valley is nothing less than the story of Modern India. Like the tiger in the Belgrade zoo during the NATO bombing, we've begun to eat our own limbs."