Pragyaa Jain

“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.”
― Pallavi Aiyar, 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?”
― Pallavi Aiyar, 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.”
― Pallavi Aiyar, 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.”
― Anuk Arudpragasam, A Passage North