Betty
by
In my mind, she was the girl born on a staircase who then became a woman torn between taking a step up into the light or a step down into the dark.
“Unlike other methods of repair, like welding or glueing, kintsugi’s power was in its refusal to disguise the brokenness of an object, he said. It did not aim to make what was broken as good as new, but to use the cracks to transform the object into something different, and arguably even more valuable.”
― Orienting: An Indian in Japan
― Orienting: An Indian in Japan
“Never before had Descartes been in greater need of an update than in the twenty-first century. Over the last two decades, between first Nokia and then Apple, cogito ergo sum had surely been pushed aside by habeo a phone, ergo sum. But if ‘I have a phone, therefore I am’ were true, what of the phoneless?”
― Orienting: An Indian in Japan
― Orienting: An Indian in Japan
“Until moving to Japan, I’d tended to feel that if my interlocutor didn’t talk, she was expressing her boredom. But I was coming around to becoming cautiously appreciative of what, to a talkative Indian like me, was the ‘peculiar’ Japanese ease with silence.”
― Orienting: An Indian in Japan
― Orienting: An Indian in Japan
“the story of Kuttimani’s death told in the seventh chapter is based on Rajan Hoole’s account in The Arrogance of Power: Myths, Decadence, and Murder; the documentary described in chapter nine is Beate Arnestad and Morten Daae’s My Daughter the Terrorist; the account in chapter nine of Buddhist women’s poetry is based on a translation from the Pali by Charles Hallisey.”
― A Passage North
― A Passage North
“The country came across like an upper-class spinster from a historical novel with impeccable manners who spent her days dabbing the edges of her mouth with a linen napkin while internally tutting at the uncouth dining etiquette of today’s upstarts, id est: the Chinese.”
― Orienting: An Indian in Japan
― Orienting: An Indian in Japan
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