Ashim Shanker Quotes

“His hatred for all was so intense that it should extinguish the very love from which it was conceived. And thus, he ceased to feel. There was nothing further in which to believe that made the prospect of feeling worthwhile. Daily he woke up and cast downtrodden eyes upon the sea and he would say to himself with a hint of regret at his hitherto lack of indifference, 'All a dim illusion, was it? Surely it was foolish of me to think any of this had meaning.' He would then spend hours staring at the sky, wondering how best to pass the time if everything—even the sky itself— were for naught. He arrived at the conclusion that there was no best way to pass the time. The only way to deal with the illusion of time was to endure it, knowing full well, all the while, that one was truly enduring nothing at all. Unfortunately for him, this nihilistic resolution to dispassion didn’t suit him very well and he soon became extremely bored. Faced now with the choice between further boredom and further suffering, he impatiently chose the latter, sailing another few weeks along the coast , and then inland, before finally dropping anchor off the shores of the fishing village of Yami.”
― Ashim Shanker, Only the Deplorable

“There will be times in which things appear hopeless. You will begin to doubt everything around you. You will even begin to doubt yourself. You will think things will never look up and you may be in the deepest, darkest, loneliest place in the world. Everything which had once been infused with wonder may appear disappointing and harsh. You may grow cynical and come to believe that this is simply the way the world is...that one must bear with the unforgiving realities of the world and only hope that it doesn’t get worse. You might grow suspicious of others, as adults tend to do, and close yourself off from the rest of the world. You might just look to the past and reminisce about better days...or you might just dwell in one place for a little too long and become nostalgic for the future. Just remember—regardless of where you are, what experiences you have, and who you have become—that there will always be those who have loved you. Those whom you may have taken for granted, but have nonetheless, always had you in their hearts and in their hopes and wishes. Lives that you have touched: whether you realize it or not. To separation you may venture, but indissolubly in union shall you drift...you will always be at the whims of forces, both great and small, and far beyond your capacity to control. That’s how all our stories go. Innumerable arcs intersect and scatter into a vast indefinite sea.”
― Ashim Shanker, Don't Forget to Breathe

“Light and Dark: each was unaware that the other existed.”
― Ashim Shanker, Don't Forget to Breathe

“At one moment, his eyes sparkled in the light and in the next they were enshrouded in shadow. What connected those bands of light and dark? Could they indeed have been distinct entities?”
― Ashim Shanker, Don't Forget to Breathe

“The lights became stars,
which became streaks
in the grayspace,
and then networks
of fading
shimmers”
― Ashim Shanker

“In my mind, I could sense their roots under the soil, creeping in helical tangles of ever-increasing complexity outward and in all directions—out beyond the perimeter of the Helsingør Wood, out below Yami’s Under City, out along the banks of the river, out to the nearest coast and thereupon out into the sea; the roots crept down further along the continental shelf, downward into the abysses, downward into the ocean floor, burrowing under the corals and under trenches, and then back up again to sprout in the darkened forest on a foreign continent: all the trees of the world now had conjoined roots, for they were now of one conjoined consciousness!”
― Ashim Shanker, Only the Deplorable

“He had given himself over to endless wanderings, a life of migration from life-to-life, albeit not necessarily a set of migrations one must view as physical, but rather a set of migrations between circumstances, a set of migrations where the players surrounding him were just as likely to move as he, but nonetheless, a set of migrations calling forth a life unalterable only by its lack of permanence. Along with this came the slow, but dawning realization that he had relinquished his claim over those new memories he could have created alongside the friends and relatives closest to him; and that he had, furthermore, ceased to exist in such people’s minds, except as a faint and indistinct silhouette of what he had once been, situated seamlessly against the vivid and oddly memorable backdrops of spaces and moments which shall never be again.”
― Ashim Shanker, Only the Deplorable

“The passage that he had found in the book had been riddled with ambiguities and contradictions only reserved for those most valiant in overriding their legalistic forbearance into a necessary frenzy that would allow them to suitably work up a case for one side or the other on how the Law, without the possibility of misinterpretation, states If ABC, then DEF—or for the sake of acknowledging the counterargument first as a courtroom tactic, the case might also be made that the Law states the antithesis of the aforementioned If ABC, then DEF, but gives allowance within reasonable parameters for a provisional XYZ to be granted in exceptional cases. And thus, it was a matter not so much of making one’s case in a clear and logical sense, but one for the lawyers to battle out in the arena of pathos, as it was clearly the emotional pleas that could evoke a sense of sympathy in the courtroom and overturn otherwise painstaking endeavors at using the tools at hand to make pleas based upon incontrovertible facts.”
― Ashim Shanker, Don't Forget to Breathe

“What indeed is the half-life of a mortal consciousness? What is the half-life of a memory of that mortal consciousness? Of course, this is purely an academic question and of no immediate concern to those of us existing in the world of the living, for we possess already a memory, in its stead, which serves as a basis of our perception of the past. Accurate or not, this nature of memory allows us to understand the past according to the positions occupied by the flesh about which we seek to know, but, unfortunately, not in a way relative to the flesh itself—that flesh stripped of identity and circumstance, that flesh which, in its most rudimentary capacity, had once collided, interacted, fought, competed, negotiated, cooperated, and mated with other flesh: there is no history of this kind, thoroughly naked and telling enough, which is accessible to us, for we are composed of the very same substance, the very same flesh, and sadly incapable of stepping outside of it, even momentarily.”
― Ashim Shanker, Only the Deplorable

“These facilities were relatively rustic even for this area of the world. Other inns at least had indoor plumbing and electricity. Most even had radios. But not this one.

Perhaps it had something to do with the part of town he was in. It was known to the locals as the Nostalgia District, though no one really knew how the area had gotten its name. Did it come about through the feeling that it evoked in its residents and visitors? Or was it due to a lack of modern conveniences? The former certainly seemed less likely than the latter as it seemed doubtful that its long-time residents could continually, over the course of years, manage to be subject to a sense of nostalgia. After all, wouldn’t the perpetual absence of a modern context, eventually, defeat the purpose of evoking such a feeling? In fact, it would seem more appropriate to assume that visitors who spent enough time within the confines of this area were unwittingly apt to live in the past and become nostalgic for the modern day...or even the future.”
― Ashim Shanker, Don't Forget to Breathe

“All probabilities have
stacked up to this imminent form, and
all causes have aligned according to
this pathway and not another. I could
otherwise have been another complex
of particles, another material altogether,
and perhaps also another form, for how
much does the material influence the
fingers that shape it? Does the material
similarly shape the whims of its
sculptor?”
― Ashim Shanker, trenches parallax leapfrog