“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.”

“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.”

“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.”

“Water begins to boil in the kettle; it starts as a private, secluded sound, pure as rain, and grows to a steady, solipsistic bubbling.”

“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.”

“At the base of her ankle is a deep, ugly scar she got when a car ran over her foot when she was six years old. That was in a small town in Bangladesh. Thus, even today, she hesitates superstitiously before crossing the road, and is painfully shy of walking distances. Her fears make her laughable. The scar is printed on her skin like a radiant star.”

“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.”

“When afternoon came to Vidyasagar Road, wet clothes ... hung from a clothesline which stretched from one side to another on the veranda of the first floor. The line, which had not been tightly drawn anyway, sagged with the pressure of the heavy wet clothes that dripped, from sleeves and trouser-ends, a curious grey water on to the floor, and, especially in the middle, one noticed the line curved downwards, as if a smile were forming.”

“The armchairs, with their flat, sedentary cushions, were designed for society, but the bed was made for solitude. It had a straitened and measured narrowness, an austere frame made to contain the curves of a single body, to circumscribe it, carry it, give it a place, and when I slept at night, I possessed it entirely.”

“The dull pulse-like beat started at eleven o’clock at night. It was a new kind of music called ‘rap’. It baffled Ananda even more than disco. He had puzzled and puzzled over why people would want to listen and even move their bodies to an angry, insistent onrush of words – words that rhymed, apparently, but had no echo or afterlife. It was as if they were an extension of the body: never had words sounded so alarmingly physical, and pure physicality lacks empathy, it’s machine-like.”

“Her hair is troublesome and curly ... It falls in long, black strands, but each strand has a gentle, complicated undulation travelling through it, like a mild electric shock or a thrill, hat gives it a life of its own; it is visually analogous to a tremolo on a musical note.”

“Class was what formed you, but didn’t travel to other cultures – it became invisible abroad. In foreign places, you were singled out by religion and race, but not class, which was more indecipherable than any other mother tongue. He’d learnt that not only were light, language, and weather contingent – class was too.”