Nithya Narayanan

“Thank you for your kindness,” he tells her, knowing his smile will translate while his words will not.”
― Jai Chakrabarti, A Play for the End of the World

“The economic interests of the unwanted and the fearful middle class are aligned—but so many can’t see that because of how much they fear the different, the refugee, the immigrant. In its most naked form, this is racism. In a more polite form, it takes the shape of defending one’s culture, where one would rather remain economically poor but ethnically pure.”
― Viet Thanh Nguyen, The Refugees

“In India, he thought he might bury the ghost of Misha and the ghost of Pan Doktor and the story of the house on Krochmalna Street, but this is no more possible now than it had been thirty years ago, stepping off the barge into this city that sheltered him. He will keep his ghetto memories. They will weary him. They will question his time on this earth, and they will challenge his love for Lucy. This he cannot change, though with the years, he might grow a second heart: he might love this world more than his ghosts.”
― Jai Chakrabarti, A Play for the End of the World

“And he longs, it is true, for the four close walls of his lodging, where no one else ever comes, where no one looks for him or asks for him or speaks to him or bothers him, where there is just a bed, a coffer, a desk. Nowhere else can he escape the noise and life and people around him; nowhere else is he able to let the world recede, the sense of himself dissolve, so that he is just a hand, holding an ink-dipped feather, and he may watch as words unfurl from its tip. And as these words come, one after another, it is possible for him to slip away from himself and find a peace so absorbing, so soothing, so private, so joyous that nothing else will do.”
― Maggie O'Farrell, Hamnet