Amit Chaudhuri: Quotes about time

“It seemed there was no democracy among children – always an aristocracy based on strength, intellect and seniority. But seniority counted most, because a boy of ten is bound to be stronger and cleverer than a boy of nine, having spent an extra year in the world, at a time when each year is like a precious deposit in a newly opened bank account. Among boys of the same age, there would be a silent tussle, a clean, honourable contest. Once a leader emerged, however, no elections were held.”

“Years ago, my mother and I fell in love with Busybee’s voice, its calm, even tone, and a smile which was always audible in the language. My father, meanwhile, is clipping his nails fastidiously, letting them fall on to an old, spread-out copy of the Times of India, till he sneezes explosively, as he customarily does, sending the crescent-shaped nail-clippings flying into the universe.”

“… the world’s cheapest small car, Tata’s Nano, worth only $1500. This toy-like ill-fated vehicle, whose destiny it was to look as if it had been prematurely brought into the world, more foetus than car, and whose birth was near abortive and then indefinitely delayed, this car, when it finally took to the road, turned out to have an engine that at times exploded mysteriously. Until 2009, it was seen to be Bengal’s quirky but irreplaceable mascot for development.”

“While reading the Times of India each morning, my father spares a minute for the cartoon by R. K. Laxman. While my mother is, like a magician, making untidy sheets disappear in the bedroom and producing fresh towels in the bathroom, or braving bad weather in the kitchen, my father, in the extraordinary Chinese calm of the drawing-room, is dmiring the cartoon by R. K. Laxman, and, if my mother happens to be there, unselfishly sharing it with her. She, as expected, misunderstands it completely, laughing not at the joke but at the expressions on the faces of the caricatures, and at the hilarious fact that they talk to each other like human beings.”

“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.”

“‘… the history of the “secular” as a cultural, humane, interstitial space in the midst of logos itself, has lost out to the idea of the “secular” as a fundamental manifestation of the rationality of the nation-state, just as the histories of modernity and cosmopolitanism in India have been subsumed, in our time, and for a variety of reasons, by a history of the nation.’”

“Afternoon’s the most dreamless and introspective time of day, a sort of midnight of the daytime …”

“Tinkling sounds came from outside, of hammering and chiselling, as labourers worked like bees, and seven- or eight-storeyed buildings rose in the place of ancestral mansions that had been razed cruelly to the ground, climbing up like ladders through screens of dust. An old mansion opposite the veranda had been repainted white, to its last banister and pillar, so that it looked like a set of new teeth. … In another sphere altogether, birds took off from a tree or parapet, or the roof of some rich Marwari’s house, startling and speckling the neutral sky. Not a moment was still or like another moment. In a window in a servants’ outhouse attached to a mansion – both the master’s house and the servants’ lost in a bond now anachronistic and buried – a light shone even at this time of the day, beacon of winter.”

“Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ (‘Rain falls / The leaf trembles') in Iswarchandra Vidyasagar’s Bengali primer Barna Parichay (Introducing the Alphabet). There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ (‘Rain falleth / the leaf trembleth’). This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its thees and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.”

“… my mother will settle on the rug and unclip the bellows, pulling and pushing them with a mild aquatic motion with her left hand, the fingers of the right hand flowering upon the keys, the wedding-bangle suspended around her wrist. Each time the bellows are pushed, the round holes on the back open and close like eyes. Without the body music is not possible; it provides the hollow space for resonance as does the curved wooden box of the violin or the round urn of the sitar. At the moment of singing, breath tips in the swelling diaphragm as water does in a pitcher. The voice-box itself is a microscopic harp, its cords tautening and relaxing with each inflection.”

“… I sensed that Park Street is, essentially (even for the destitute), a place of brief acquaintances and meetings no one has too much time for anyone else, you yourself are part of a web of motivations that are fading and resurrecting – and you must be on the move constantly to be in the street’s ebb and flow of traffic.”

“This second time round, she’d discovered that to be happy was not so much a self-sufficient, spontaneous emotion, such as you might feel in relation to a dream or a secret, but a way of reacting to the rest of the world; that to be happy this time, she must curb the natural human instinct to look up at the sky, with its all-encompassing definition, and gaze towards the immediate ground and horizon, with its lack of shape, or abode, or clear ending.”