Amogha

“To know if a tale is worth its weight in gold, check if it reveals threefold.
In your bloodstream. In the town square. In the turning of galaxies.
If it does: Gold.
If it makes you giddy just to think of the scope of the tale: Gold.”
― Amruta Patil, Adi Parva - Churning of the Ocean

“This country, already ancient when I was born in 1982, has changed every instant I’ve been alive. Titanic events have ripped it apart year after year, each time rearranging it along slightly different seams and I have been touched by none of it: prime ministers assassinated, peasant-guerrillas waging war in emerald jungles, fields cracking under the iron heel of a drought, nuclear bombs catering the wide desert floor, lethal gases blasting from pipes and into ten thousand lungs, mobs crashing against mobs and always coming away bloody. Consider this: even now, at this very moment, people are huddled in a room somewhere, wanting to die. This is what I have told myself for the last six years, each time I have had the urge to speak. It will make no difference in the end.”
― Madhuri Vijay, The Far Field

“To a lover, the beloved is ocean and mountain, fatigue and relief, poison and amrit - indeed, all of churning itself”
― Amruta Patil, Adi Parva - Churning of the Ocean

“Originally, he'd wanted to focus his work on the convict leasing system that had stolen years off of his great-grandpa H's life, but the deeper into the research he got, the bigger the project got. How could he talk about Great-Grandpa H's story without also talking about his grandma Willie and the millions of other black people who had migrated north, fleeing Jim Crow? And if he mentioned the Great Migration, he'd have to talk about the cities that took that flock in. He'd have to talk about Harlem, And how could he talk about Harlem without mentioning his father's heroin addiction - the stints in prison, the criminal record? And if he was going to talk about heroin in Harlem in the '60s, wouldn't he also have to talk about crack everywhere in the '80s? And if he wrote about crack, he'd inevitably be writing, to, about the "war on drugs." And if he started talking about the war on drugs, he'd be talking about how nearly half of the black men he grew up with were on their way either into or out of what had become the harshest prison system in the world. And if he talked about why friends from his hood were doing five-year bids for possession of marijuana when nearly all the white people he'd gone to college with smoked it openly every day, he'd get so angry that he'd slam the research book on the table of the beautiful but deadly silent Lane Reading Room of Green Library of Stanford University. And if he slammed the book down, then everyone in the room would stare and all they would see would be his skin and his anger, and they'd think they knew something about him, and it would be the same something that had justified putting his great-grandpa H in prison, only it would be different too, less obvious than it once was.”
― Yaa Gyasi, Homegoing