"‘Writers don’t so much write about their own lives as create them, Barthes said; it’s an oddly modern idea. Bengalis, similarly, had to make their own history. They did it in houses, tenements, and in neighbourhoods connected by stifling alleys that are no wider than a small room ... And this is why I feel, even now, that the most revealing places in Calcutta are not the museums or the great monuments ... but the houses and lanes in which people live.’"

“‘By the second half of the nineteenth century, the importance of light and space as both metaphors or, and habitations for, the human self, or “the substance called the mind”, is absolute, especially with Tagore, who, in a letter in 1894 to his niece, would demand, not political freedom ... but “more light, more space”.’”

“Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ in Iswarchandra Vidyasagar’s Bengali primer Barna Parichay . There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ . This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its thees and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.”

“There was a difference between his parents with regard to appliances; his father distrusted them as he would a rival; his mother had no confidence in using them, but none the less desired them.”

“The Roman Catholic portrait at the reception of the Indian YMCA displayed the generic Christ, the timorous, blonde-haired, blue-eyed face upturned to the heavens, a lost middle-class student searching for guidance in an inhospitable world.”

“‘... what I’ve tried to allow is for the essay to be a space in which the consciousness which reads poetry or remembers a line of poetry or listens to music or goes for a walk, is also the consciousness that is inflected and threatened and endangered by the political; is also the consciousness that registers and is permeated by the political. That somehow it is not a separate ... consciousness that is hiding behind the facade of the man who remembers a line of poetry or forgets it, but that it is the same consciousness in which these various things are coming in and going out.’”

“‘To the far left, above your shoulder’s gentle/curve, like golden pods, the sodium vapour/lights in the naval dockyard ... And before us,/a continuous, unreal flare of fire defined/the horizon’s extremity, a stain on a brow.’”