I always think first about the nature of the story. When I had the idea for ‘The Namesake,’ I felt that it had to be a novel – it couldn’t work as a story.
And so the eight months are put behind them, quickly shed, quickly forgotten, like clothes worn for a special occasion, or for a season that has passed, suddenly cumbersome, irrelevant to their lives.
I have terrible urges, Mr. Kapasi, to throw things away. One day I had the urge to throw everything I own out the window, the television, the children, everything. Don’t you think it’s unhealthy?
He looked at her, in her red plaid skirt and strawberry T-shirt, a woman not yet thirty, who loved neither her husband nor her children, who had already fallen out of love with life.
Those who don’t belong to any specific place can’t, in fact, return anywhere.
If I want to understand what moves me, what confuses me, what pains me – everything that makes me react, in short – I have to put it into words.
Those who don’t belong to any specific place can’t, in fact, return anywhere. The concepts of exile and return imply a point of origin, a homeland. Without a homeland and without a true mother tongue, I wander the world, even at my desk. In the end I realise that it wasn’t a true exile: far from it. I am exiled even from the definition of exile.
And yet I know that expressing oneself necessarily means being different. The writer’s voice is a singular one, solitary. Art is nothing other than the freedom to express oneself in any language, in whatever manner, dressed any which way.
If the process of writing is a dream, the book cover represents the awakening.
A new language is almost a new life, grammar and syntax recast you, you slip into another logic and another sensibility.
Is it really pain you feel, Mrs. Das, or is it guilt?
Things were different now, of course; those solitary hours he’d once savored had become a prison for him, a commonplace.
She turns on her laptop, raises her spectacles to her face. She reads the day’s headlines. But they might be from any day. A click can take her from breaking news to articles archived years ago. At every moment the past is there, appended to the present. It’s a version of Bela’s definition, in childhood, of yesterday.
Personally, I think it deplorable to place the words and opinions of others on the book jacket. I want the first words read by the reader of my book to be written by me.
In the face of everything that seems to me unattainable, I marvel. Without a sense of marvel at things, without wonder, one can’t create anything.
Even those family members who continue to live seem dead somehow, always invisible, impossible to touch.
When I write in Italian, I think in Italian; to translate into English, I have to wake up another part of my brain. I don’t like the sensation at all. I feel alienated. As if I’d run into a boyfriend I’d tired of, someone I’d left years earlier. He no longer appeals to me.
Why, as an adult, as a writer, am I interested in this new relationship with imperfection? What does it offer me? I would say a stunning clarity, a more profound self-awareness. Imperfection inspires invention, imagination, creativity. It stimulates. The more I feel imperfect, the more I feel alive.
The unknown words remind me that there’s a lot I don’t know in this world.
But death, too, had the power to awe, she knew this now-that a human being could be alive for years and years, thinking and breathing and eating, full of a million worries and feelings and thoughts, taking up space in the world, and then, in an instant, become absent, invisible.
I believe that reading in a foreign language is the most intimate way of reading.