Mihr Chand

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Book cover for Americanah
He turned to her and said, “About time,” when the train finally creaked in, with the familiarity strangers adopt with each other after sharing in the disappointment of a public service.
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Taylor Jenkins Reid
“And just as she was about to leave the mircophone, she said 'And to anyone tempted to kiss the TV tonight, please don't chip your tooth.”
Taylor Jenkins Reid, The Seven Husbands of Evelyn Hugo

Kacen Callender
“Do you ever feel like you’re only ever watching? I ask Declan. Never really participating. Never really doing. Just always watching.”
Kacen Callender, Felix Ever After

Kacen Callender
“I just want to prove that I'm good enough, too. That I deserve it. It's kind of like proving that–I don't know, proves I deserve respect and love, too, even if no one else agrees with me. Even if no one else believes it.”
Kacen Callender, Felix Ever After

Kacen Callender
“Austin smiles at me while Leah argues with Hazel. Now that I know he’s Ezra’s new maybe-special friend, I pay a little more attention to him than I would have before. He kind of reminds me of a golden retriever, with his floppy blond hair and blue eyes. The first time I saw him in acrylics class, I kind of immediately hated the guy. He’s the sort of person the world adores, just based on the way he looks, a little like the way people obsess over men like Chris Hemsworth and Chris Evans and Chris Pine and all the other famous Chrises, plus Ryan Gosling, claiming that they’re liberal and that they aren’t racist and that they’re feminists, but not really thinking about why they’re so obsessed with white men, and why they don’t love any people of color the same way. I love that I have brown skin. I love that I’m queer, and that I’m trans. But sometimes, I can’t help but think how much easier my life would be if I was someone like Austin.”
Kacen Callender, Felix Ever After

“How Mughal paintings signified cannot be argued out here, but my point is that the work of categorizing must–if Indian paintings are to emerge from the margins of art history–make room for a return to questions about how they mattered to viewers.”
Molly Emma Aitken, A Magic World: New Visions of Indian Painting

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